Gil J. Wolman // Mégapneumes + Wolman Et Son Double 2xLP BUNDLE

フランスの実験音楽家／美術家Gil J. Wolman (1929-1995)が、2025年6月にイタリアの実験レーベルAlga Marghenからリリースした2枚組レコードです。

 2作のアルバム『Mégapneumes』と『 Wolman Et Son Double』がセットになってお得です。

レコードのみでの発表となります。

レーベルその他作品はこちら /// Click here to see more Alga Marghen releases available at Tobira. 

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A special bundled edition of 2 albums by Gil J. Wolman released on Alga Marghen: newly released 'Mégapneumes' (released in an edition of 220 copies) and 'Wolman Et Son Double' (released in an edition of 350). 

2 x 12" black vinyl in separate reverse-board sleeves, presented in large printed envelope. 

Tracklist:

Mégapneumes:

A1                    Un Coup Pour Rien     4:28
A2                    Un Coup Pour Deux    4:24
A3                    Mégapneumes            14:49
B1                    Les Calles        3:26
B2                    Mégapneume 3:28
B3                    Mégapneumes ( Excerpt )       13:22
B4                    Tu Vas La Taire Ta Gueule        5:32

Wolman Et Son Double:          

A                      Part I   15:34
B                      Part II  15:26

Text by Alga Marghen:

On Mégapneumes:

"This third Gil J Wolman LP record released by alga marghen, bringing together mégapneumes from the 60s, shed new light into the poetic revolution of the time, or a kind of organic infra-language. It’s the physical poetry of a serial killer that we hear recorded in the two “Mégapneumes” as well as in the extract from the (last?) “Mégapneumes” (excerpt), a tape that was found still wound on Wolman's tape recorder
after the author’s death.

“Les Callas”, an astonishing piece possibly based on several super-imposed recordings of Wolman's voice at Radio Télévision Française (ca 1961), features a Lettrist choir recycling Rimbaudian vowels, while high-pitched screams “à la Artaud” emerge, culminating in a polyphony worthy of some primitive tribes resistant to domestication.

“Un coup pour rien”, “Un coup pour deux” and “Tu vas la taire ta gueule”, recorded at Radio Canada in 1965, are presented here for the first time on record, completing the program of this historical and radical anthology.

In a conversation with Ilse Garnier, she told Frederic Aquaviva (the curator of this edition for alga marghen) that Henri Chopin had precipitated the end of his attempts at sound poetry with this definitive formula: “Le souffle, c'est moi!”. On the other hand, in Gil J Wolman's record library, we could find this eloquent dedication by Chopin on his record “Audiopoems” LP, released by the English label Tangent in 1971: “For Gil J Wolman, evident in 1 (because the first), evident in 1971, evident in 2071, evident in 3071, in short to the sup-verbal Gil”.

The same Chopin in his book “Poésie Sonore Internationale” published in 1979, placed Wolman at the very end of the old poetic world: “This one - historically - is our hinge, since it goes beyond the phonetic poem made of letters. He invented his mégapneumes in 1951, poems in ‘expectorations’, without verbs or semantics, going from the point of view of speech to the negation, and from the point of view of breath to the concreteness of the air to be expressed”.

But unlike Isidore Isou, Wolman was not the sort of person to send out a leaflet in order to make clear what he had achieved with this new poetry, and besides, he himself had consigned Isou to the old world, with the new beginning represented by his mégapneumes, which in fact date from 1950, when he first joined the Lettrist movement. It is also a misunderstanding of Wolman's work to forget that he was undoubtedly one of the first poets to use the resources of the tape recorder and its vari-speed, for example in “L'Anticoncept” in 1951, or a decade before Brion Gysin with “I Am that I Am” and Henri Chopin.

Wolman is an essential innovator and artist: a poet, writer, visual artist, film-maker and video-maker who, like Gherasim Luca, did not need to give numerous public recitals or recordings to make his mark.

To be Duchamp or Arman: Wolman chose his side!"

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On Wolman Et Son Double:

"Might it be as a ‘détournement’ of Artaud’s famous collection and masterpiece “Le theâtre et son double” that Gil J Wolman calls this recording “Wolman et son double”? Artaud’s conference at the Vieux Colombier theater on January 13, 1947 had a major impact on the future sound poets François Dufrêne, Jean-Louis Brau and Gil J Wolman. Wolman’s ‘mégapneumie’ appeared as early as 1950 and eventually developed into an improvisation for breath and organic sounds originating from the throat. The whole body seems to be  mobilized to perturb the human appearance of any possible speech.

“Wolman et son double”, a previously unreleased recording probably from the end of the 70’s, is Wolman’s most theatrical, musical and lyrical piece, his most accomplished and extreme. This is due both to its duration and above all to its experimental recording techniques: Wolman records a series of improvisations on a 30 minute track, then mixes them with a new series of ‘mégapneumes’, mixing and manipulations with echo and Larsen!

The first track begins with a hum, immediately overlaid by Wolman’s ‘poésie physique’: hoarseness, cough, strangulation, twisting, wheeze, rumbling, hiccups, asphyxia, a whole set of grips against himself and his speech. Wolman breaths and winces, he mimes the impacts, the scars of the blows by an invisible fighter… actually his double.

Antonin Artaud observed that ‘actors in France no longer know how to do anything but talk’… “Wolman et son double” may well be the national strike of that show, of masterpiece art."

Artist : Gil J. Wolman

Label : Alga Marghen

cat no : plana-W 34VocSon180, plana-W 26VocSon091