V.A. (VARIOUS ARTISTS) (COMPILATIONS) — Lunapark 0,10
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ORIGINAL-Aufnahmen von diversen Literaten, Dadaisten und Sound-Poeten der Avantgarde !!
"Diese Kollektion historischer Sprachaufnahmen versammelt den totalen Sound der Kultur des 20. Jahrhunderts, der westlichen. Sie umfasst literarische und kunstgeschichtliche Reflexionen von Apollinaire (1913) bis De Campos (1985), festgehalten auf Schellackplatten oder Tonbändern. Auf den Flügeln von Kurt Schwitters „Ursonate“ geht es in den Merzbau zur Verabredung mit James Joyce („Anna Livia Plurabelle“, 1929) und Gertrude Stein („Valentine to sherwood anderson“, 1934). Wer hörte jemals Antonin Artauds Originalstimme? Unentrinnbar wird der Hörer/die Hörerin Bestandteil seiner seltsamen Lebensgeschichte („aliénation et magie noir“, 1946). Wenn Brion Gysin „junk is no good, baby“ (1962) spricht dann baby junk no good is. Hintergrundgeräusche, die auf damalige Aufnahmebedingungen oder die Qualität der Originaltonträger zurückzuführen sind, verleihen den Beiträgen zudem einen Hauch von sound-poetry. So zum Beispiel dem schönen „tete de coq“ von Camille Bryen (1949). Vladimir Maiakovski, Richard Huelsenbeck, Tristan Tzara, Marcel Duchamp, E.E. Cummings, Julian Beck, Ghérasim Luca, Francois Dufrene, Pierre Guyotat sprechen, schreien und flüstern ebenso.
This collection of historical voice-recordings gathers the full sound of
20th century culture-¬ the western one. It ranges from pre-Hemingway-Paris-literature (Apollinaire, 1913) to De Campos (1985). You walk with Kurt Schwitters „Ursonate“ to Merzbau meeting James Joyce („anna livia plurabelle“, 1929) and Gertrude Stein („valentine to sherwood anderson“, 1934). Who have ever heard Antonin Artaud’s voice? Slowly he leads the listener into his strange live history. When Brion Gysin performs „Junk is no good, baby“ (1962) then baby junk no good is. Sometimes background noises are audible pretty strong, depending on the bad recording circumstances or the quality of the origin sound carrier. A consequence which takes the voice documents more into the fields of sound-poetry, like the nice „tete de coq“ from Camille Bryen (1949). Vladimir Maiakovski, Richard Huelsenbeck, Tristan Tzara, Marcel Duchamp, E.E. Cummings, Julian Beck, Ghérasim Luca, Francois Dufrene, Pierre Guyotat are talking, crying and whispering too." [Peter Schlewinski for Drone Records]
“A panorama of the most important avant-garde writers and artists of the century. This is a reissue of the 1999 Sub Rosa release. It begins in 1912 with Apollinaire and ends with the Brazilian avant-garde of the seventies. These are unique archival recordings most of which have never been released before. The concept of this release is from the writer, critic and close collaborator, Marc Dachy. Original recordings from: Guillaume Apollinaire (Parisian father of the avant-garde, 1912); Vladimir Maïakovski (leading Russian Futurist poet, 1914, 20); Richard Huelsenbeck (father of Dada in Berlin 1916 & 1967); Kurt Schwitters (the genius father of Merz, 1932); James Joyce (Irish writer and poet, 1929); Gertrude Stein (fiction writer, New York, 1934, 35); Antonin Artaud (Parisian playwright, actor, director, essayist, 1946); Tristan Tzara (father of Dada in Zurich, 1948, 49); Camille Bryen (one of the founding fathers of Tachism, 1932, 49); Marcel Duchamp (French/American painter and mixed media artist, 1957); e.e. cummings (American poet, painter, playwright, essayist); Brion Gysin (longtime Burroughs collaborator and cut-up technician, 1960, 62), Julian Beck (founder of the Living Theater, 1968, 73); Gherasim Luca (rare voice of the French poet in New York, 1969, 84); François Dufrène (French Lettrist and creator of crirythme, 1961, 73); Pierre Guyotat (Parisian avant-garde fiction writer, 1976); Augusto de Campos (Brazilian avant-garde poet, essayist and translator, as performed by Caetano Veloso, 1963, 79, 85).” [label info]
"Diese Kollektion historischer Sprachaufnahmen versammelt den totalen Sound der Kultur des 20. Jahrhunderts, der westlichen. Sie umfasst literarische und kunstgeschichtliche Reflexionen von Apollinaire (1913) bis De Campos (1985), festgehalten auf Schellackplatten oder Tonbändern. Auf den Flügeln von Kurt Schwitters „Ursonate“ geht es in den Merzbau zur Verabredung mit James Joyce („Anna Livia Plurabelle“, 1929) und Gertrude Stein („Valentine to sherwood anderson“, 1934). Wer hörte jemals Antonin Artauds Originalstimme? Unentrinnbar wird der Hörer/die Hörerin Bestandteil seiner seltsamen Lebensgeschichte („aliénation et magie noir“, 1946). Wenn Brion Gysin „junk is no good, baby“ (1962) spricht dann baby junk no good is. Hintergrundgeräusche, die auf damalige Aufnahmebedingungen oder die Qualität der Originaltonträger zurückzuführen sind, verleihen den Beiträgen zudem einen Hauch von sound-poetry. So zum Beispiel dem schönen „tete de coq“ von Camille Bryen (1949). Vladimir Maiakovski, Richard Huelsenbeck, Tristan Tzara, Marcel Duchamp, E.E. Cummings, Julian Beck, Ghérasim Luca, Francois Dufrene, Pierre Guyotat sprechen, schreien und flüstern ebenso.
This collection of historical voice-recordings gathers the full sound of
20th century culture-¬ the western one. It ranges from pre-Hemingway-Paris-literature (Apollinaire, 1913) to De Campos (1985). You walk with Kurt Schwitters „Ursonate“ to Merzbau meeting James Joyce („anna livia plurabelle“, 1929) and Gertrude Stein („valentine to sherwood anderson“, 1934). Who have ever heard Antonin Artaud’s voice? Slowly he leads the listener into his strange live history. When Brion Gysin performs „Junk is no good, baby“ (1962) then baby junk no good is. Sometimes background noises are audible pretty strong, depending on the bad recording circumstances or the quality of the origin sound carrier. A consequence which takes the voice documents more into the fields of sound-poetry, like the nice „tete de coq“ from Camille Bryen (1949). Vladimir Maiakovski, Richard Huelsenbeck, Tristan Tzara, Marcel Duchamp, E.E. Cummings, Julian Beck, Ghérasim Luca, Francois Dufrene, Pierre Guyotat are talking, crying and whispering too." [Peter Schlewinski for Drone Records]
“A panorama of the most important avant-garde writers and artists of the century. This is a reissue of the 1999 Sub Rosa release. It begins in 1912 with Apollinaire and ends with the Brazilian avant-garde of the seventies. These are unique archival recordings most of which have never been released before. The concept of this release is from the writer, critic and close collaborator, Marc Dachy. Original recordings from: Guillaume Apollinaire (Parisian father of the avant-garde, 1912); Vladimir Maïakovski (leading Russian Futurist poet, 1914, 20); Richard Huelsenbeck (father of Dada in Berlin 1916 & 1967); Kurt Schwitters (the genius father of Merz, 1932); James Joyce (Irish writer and poet, 1929); Gertrude Stein (fiction writer, New York, 1934, 35); Antonin Artaud (Parisian playwright, actor, director, essayist, 1946); Tristan Tzara (father of Dada in Zurich, 1948, 49); Camille Bryen (one of the founding fathers of Tachism, 1932, 49); Marcel Duchamp (French/American painter and mixed media artist, 1957); e.e. cummings (American poet, painter, playwright, essayist); Brion Gysin (longtime Burroughs collaborator and cut-up technician, 1960, 62), Julian Beck (founder of the Living Theater, 1968, 73); Gherasim Luca (rare voice of the French poet in New York, 1969, 84); François Dufrène (French Lettrist and creator of crirythme, 1961, 73); Pierre Guyotat (Parisian avant-garde fiction writer, 1976); Augusto de Campos (Brazilian avant-garde poet, essayist and translator, as performed by Caetano Veloso, 1963, 79, 85).” [label info]