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Title: La Peur And Co (1958-1979)
Format: CD
Label: ? Records/Hundertmark
Country: Germany
Price: $23.00
A collection of early text-sound compositions: "Dynamisme intégral", (1966), "Présence du Soleil" (1971), "Dentales soufflées" (1979), "Le Peur" (1958/1969). Edition of 400 copies.

Title: Revue OU
Format: 4CD/Book
Label: Alga Marghen
Country: Italy
Price: $112.00
"Alga Marghen proudly presents a new edition of the already historical Chopins Revue OU. All the original contents (4CDs + book + complete inserts) have also been included here, but presented now in a more modern and flexible way. The first press heavy boxset had been substituted with a lighter and colour slipcase while many important details and info about the contents of this anthology (missing in the original layout) are presented on a new colour obi." Incredible that this has been reissued again, at a slightly cheaper cost even! Miraculously over-the-top presentation of Henri Chopins famous sound-poetry "magazine", issued on 4CDs (or 6 LPs -- a few copies of the original LP reissue box still available). "Since the end of the fifties, Henri Chopin, an explorer in the new recorded sound poetry field, has never ceased, through hid own work as well as through his publishing activities (Revue OU, a magazine with record from 1963 to 1974) to defend the electronic exploration of the voice and the body. If Henri Chopins Revue OU is such a remarkable publication, then this is surely because it is one of the truly -- and most authentically -- contemporary publications of its time. Yet at first sight, the word contemporary seems to offer a rather simplistic description of such a visionary publication as Chopins OU. When we consider in the general cultural context of the sixties, for example, arent all mid-century art publications generally contemporary in one way or another? And when considered in terms of most other poetry publications of the sixties, doesnt Chopins OU clearly stand out as one of the most significant experimental or avant-garde publications of the mid-century? As Chopin observes, he considered the sound poetry published on the records in OU to be a distinctively new form of art. On one hand sound poetry constitutes an almost archetypal practice, but on the other hand sound poetry also emerges from the very sources of recording technology by means of its use of electro-magnetics. As this collection of CDs (remastered under the supervision of Henri Chopin) reissuing the complete Revue OU records indicates, Chopins most striking achievement was to consistently identify and publish the first major works of many of the most visionary transatlantic artists exploring the new recording technologies of the fifties, sixties and seventies. Far from attempting to establish any monodimensional movement, Chopin characteristically championed a wide veriety of those poets, writers and composers whom he perceived to be in movement, and whom he subsequently applauds as Fabulous Independents. Following an editorial logic of selectively eclectic inclusion, Chopins OU records published an astonishing diversity of inter-generational and international experiments. These include intense electronic readings by William Burroughs and Brion Gysin; pioneering optophonetic works by the Dadaist Raoul Hausmann; crirythmes and vocalic improvisations by François Dufrene and Gil J Wolman; fragmentary poemes-partitions by Bernard Heidsieck; high-tech text-sound works by composers such as Ake Hodell and Sten Hanson; electronic abstractions by Bengt Emil Johnson; phonetic poems by Mimmo Rotella; handy tech performances on self-built electronic instruments by Hugh Davies; haunting tape-manipulations by Ladislav Novak; playful improvisations by Bob Cobbing with Anna Lockwood; dramatic monologues by Paul de Vree; electronic concrete music by Jacques Bekaert and -- of course -- Chopins dynamic orchestrations of the bodys factory of corporeal sounds. Chopins writings equally consistently championed the electronic language revolution facilitated by what he describes as technological means which extend the human body, thereby inaugurating an enormous expansion of human expression. Many manifestos and theoretical texts, as well as original photos, have been published in a 76 page book. Also included are 30 fold-out black and white OU inserts reproducing the original scores of the audio works featured on the 4 CDs (by Chopin, Heidsieck, de Vree, Davies, Cobbing, Bekaert) as well as graphic works by John Cage, Tom Phillips, Arrigo Lora-Totino, Michel Seuphor, Ben Vautier, Stefan Themerson, Richard Orton, Pierre Albert-Birot." - Alga Marghen.

Title: OH Audiopoems
Format: Double LP
Label: Slowscan
Country: Netherlands
Price: $45.00
250 pressed but only 150 available for sale (the other 100 going to the estate, collaborators, Chopin archive, etc..). Originally issued in 1978 on cassette by Balsam Flex. "Balsam Flex was a cassette label run by the artist Erik Vonna-Michell in the late 1970s and early 1980s, and evidence of a relatively overlooked moment when a number of London-based British poets were producing work that was influenced by performance art, conceptual art, sound art, text-sound composition, Fluxus, and situationism. One of their most impressive release is Oh: Audiopoems, by the legendary Henri Chopin, a collection of his work from 1958 to 1979. Henri Chopin was a key figure of the French avant-garde during the second half of the 20th century. Towards the end of the second world war, Henri Chopin, who has died aged 85, escaped from a forced labour camp in Olomouc, in what is now the Czech Republic, after it had been bombed. He then spent time with the advancing Red Army, until, recaptured by the Germans, he and inmates of concentration and extermination camps were sent west on a Nazi "death march".

In the 1950s Henri created sound poetry, capturing breaths and cries made by his voice and body. He was, said his friend William Burroughs, an "inner space explorer", but the Frenchman remained a solitary figure, outside any artistic grouping, almost the only exponent of his art, and almost certainly the only poet to record sounds and movements by swallowing a microphone.

Known primarily as a concrète and sound poet, he created a large body of pioneering recordings using early tape recorders, studio technologies and the sounds of the manipulated human voice. His emphasis on sound is a reminder that language stems as much from oral traditions as from classic literature, of the relationship of balance between order and chaos.

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