Flux de Bouche

by Jaap Blonk

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1.
Seepferdchen und Flugfische (Seahorses and Flying Fishes) 
tressli bessli nebogen leila flusch kata ballubasch 
 zack hitti zopp 
zack hitti zopp 
hitti betzli betzli prusch kata 
 ballubasch 
fasch kitti bimm 
zitti kitillabi billabi billabi 
 zikko di zakkobam 
fisch kitti bisch 
bumbalo bumbalo bumbalo bambo 
 zitti kitillabi 
zack hitti zopp 
treßli beßli nebogen grügrü blaulala violabimini bisch 
violabimini bimini bimini fusch kata 
 ballubasch 
zick hiti zopp
2.
3.
4.
glasslass 02:13
5.
Ango laïna 04:28
Ango laïna Eine absolute Dichting (An Absolute Poem) Oiaí laéla oía ssísialu Ensúdio trésa súdio míschnumi Ia lon stuáz Brorr schjatt Oiázo tsuigulu Ua sésa masuó tülü Ua sésa maschiató toró Oi sengu gádse ańdola Oi ándo séngu Sengu ándola Oi séngu Gádse Ina Leíola Kbaó Sagór Kadó Kadó mai tiúsi Suíjo ańgola Schu mai sitá ka lío séngu Ia péndo ála Péndu síolo Toró toró Mengádse gádse se Ullái tiotúlo Zíalu nía myó Sésa sésa Lu snégan lílulei To kárta tor To lásra sísafan To balan fásan édomir To trésa trésa trésa míschnumi Uiagó Ia Ion schtazúmatu Ia Ion laschór Lilíte móe sagór Lilíte moé Kja ha hü hía-i Niólo zágan elra - Híotoro Eo tánja tánja Molái hýsialo Eo zísu fíjo émba ü téviolo Ua ssívo uá Laína uá Toliatór sagún Ia kárta tor Ia lásra sísafan Ia bálan fásan édomir Ia trésa trésa trésa - Uíja sagór Tailá tailá Schi oblaímono Gbomoloé oé oé oé Ango laína bobandó jo-ó Ango laína sjujuló jo-ó Ango laína dschastjadschast jo-ó Tailá tailá Sía ényo énya Lu líalo lu leíula Lu léja léja lioleíulu Ango laína kbámyo Ango laína nýome Ango laina édue Ango laina ángola Laína na Laina la Laó Laó aliósa ssírio séngu loé Ai tschírio tréva tschírio nýome Aliósa lüíja bobandó jo-ó Aliósa lüíja sjujuló jo-ó Aliósa lüija dschastjadschást jo-ó Tailá tailá Sía ényo énya Aliósa lüíja kbámyo Aliosa lüíja nýome Aliósa lüíja édue Aliósa ála Liósa la Laó. Laó tülü J schénschun míschnumi Ai zúgim ai tará ai brui huó Masuó tsagarátsa tsuígulu Moijamé sagün ia lon schtazúmato Ia lon laschór Ai tülü séngu moíja míschnumi Oiázo oíazo Tülü tülü Stuáz brorr schjatt Tülü tülü Oáli nýdo Zíalu nía myó Lu líalo lu leíula Lu léja léja lioleíulu Arriatór Saijú hialót Ui soá soá rre uíja hiyíjimini Ia hijaíjimini Oiaí laéla oía sísialu Chualá uadé ui sésa sésala Uialó uiagá uirrá Franfrá riará cadó. Cadó cadó ia lon cadó ssussíja schlújim Mojamé tiutí Aliósa ála Ala moí tiutí Tiutí tiutí tailá tiutí tiutí Mui ábba híalo mui ábba séngu Abba mengádse ábba míschnumi Ensúdio válo embamýolo Tuálo mýo Tuálo séndo Tuálo fújo Tuálo schíjo haíra zíu ísa muól Schu mai sitâ ka lío séngu Uáse To kárta tor Ahüíja loé To lásra sísafan Ahüíja loé To bálan fásan édomir Ahüíja loé To trésa trésa míschnumi Lasío tótoro Hüíja moé Angolaina kbámyo Schualó suadé kbaó - - - - - - - - - - - - - - - - - - Kbaó ángo laína ter kbaó Lu líalo lu leíula lu léja léja le- Schottá taró Suíjo ángola Ssigím ssisségim Ssóra schaóra tor Sadaím ochroóz Kronkróst Holratüst Ai ájulo Arrúro árruo ruó uó oúo Ja hyíja lyó Hýa éja luá I kúlja ssam Ui ála sió- - Niólo zágan elratúst schubaló Niólo zágan elratúst kronkróst Niólo zágan- - - Aliázo híjan híalot Hiaýio toliatór schaó Schaó aliósa ssísio séngu loé Mui ábba séngu ábba nýome Aliósa luíjo nýo moé Luíjo válo chualá Ensúdio válo Súdio toliatór Hiaýio toliatór schaó Schaó aliázo híjim híalot - - - - - - - - - - - - - - - - - - - - - - - - - - Mojamé soiagú o-ía ésa- mejamyni- - - - - - - - - - - - - - - - - - - - - - - - - - - Uáo-uaó-uó-oúo Hía ssísiala Örré schiílja rro Lu líalo leíula léja- Lasío tótoro Mosiátan éjo Maschíato lóo Moliáno úo Tiádan o Lusía fu E e e Stýan Hýat Élja Rúof Ma Mýa Schtóa Húa húalo Huáo-huaó-huó-hu-huoó-o Schu mai sitá ka lío séngu - - - - - - - - - - - - - - - - - - - - - - - - - - - I éja Alo Mýu Ssírio Ssa Schuá Ará Niíja Stuáz Brorr Schjatt Ui ai laéla - oía ssisialu To trésa trésa trésa mischnumi Ia lon schtazúmato Ango laína la Lu líalo lu leíula Lu léja léja lioleíolu A túalo mýo Mýo túalo My ángo ína Ango gádse la Schía séngu ína Séngu ína la My ángo séngu Séngu ángola Mengádse Séngu Ińa Leíola Kbaó Sagór Kadó
6.
7.
Popocatepetl 01:59
p p c t p tl o o a e e p p c t p tl
8.
Darg 04:39
9.
DINA SORE 07:42
10.
11.
12.
Totenklage (Dirge) ombula take bitdli solunkola tabla tokta tokta takabla taka tak Babula m'balam tak tru – ü wo – um biba bimbel o kla o auw kla o auwa la – auma o kla o ü la o auma klinga – o – e – auwa ome o-auwa klinga inga M ao – Auwa omba dij omuff pomo – auwa tru-ü tro-u-ü o-a-o-ü mo-auwa gomun guma zangaga gago blagaga szagaglugi m ba-o-auma szaga szago szaga la m'blama bschigi bschigo bschigi bschigi bschiggo bschiggo goggo goggo ogoggo a-o –auma
13.
14.
15.
Mnemosyne 02:32
16.
(brüllt) 09:00

about

Recorded and Edited by Abma Geluidstechniek, Amsterdam, October-December 1992
Produced by Jaap Blonk
Cover Photographs by Arthur Nieuwenhuijs
Design by Yvonne Willems
Released as Staalplaat STCD046 in 1993.
Gone out of print in 2010.

Liner notes from 1993:

Sound poetry comes alive only when you hear it. Though possibly the oldest form of oral poetry, ii is still a relatively unknown genre. Covering a wide area between ordinary speech and singing, it can take many shapes: poems in fantasy languages, text written in self-invented symbols, or voice sounds that cannot be notated at all. Good sound poetry is very direct communication, the human voice speaking out immediately, not bothering about meanings. The imagination of the listener is allowed to wander freely, without being directed by words (of course I also recorded some pieces to contradict this statement!).

Apart from a few isolated examples, the history of published sound poetry begins with Dada. One of its founders, Hugo Ball, wrote a cycle of six sound poems in 1916, which he read in ihe famous Cabaret Voltaire In Zurich. I recorded ihe 3rd, “Totenklage” (Dirge) and the 6th, “Seepferdchen und Flugfische” (Sea-horses and Flying Fishes). The latter was the very first sound poem I ever recited, back in 1977; I still love to improvise on it.
Like Ball, Rudolf Blümner (though not a Dadaist) was searching for a new language, pure and absolute, untouched by the clichés of everyday speech and ‘journalism’. “Ango laïna”, from 1921, is his only surviving poem.
Tristan Tzara's “(brüllt)”, meaning (roar) as well as (scream), is the most extreme Dada text I know. The concluding sentence says 'who still finds himself a very nice person’.

Of the three American texts from the 70s, “glasslass” by Dick Higgins and “DINA SORE” by Robert Wilson read like a kind of 'minimal poetry'. I tried to find intimate, yet intense voice qualities for them. In the Wilson piece I took the liberty to repeat the main strophe several times more than in the printed original.
In “Axtherastical” Guy de Cointet invented a very convincing language of his own.

Of my own pieces, the two versions of “der minister” could be called concrete poetry. Their game is played with the phrase ‘the minister regrets utterances of this kind’.
In November 1991 I taped a short improvisation and transcribed it with greal care. A year later I recited this notation; this produced “just a thought”. “Popocatepetl” is a puppets’ dance on a diminished version of this Mexican volcano.
“Darg” is made up of fragments of village names from Drenthe, for centuries Holland's most backward province, inhabited by farmers using their words sparingly. It has a lovely countryside.
Then there are my first two Phonetic Studies. Nr. 1, “Rhotic”, investigates the R. Nr. 2, “Frictional” manipulates the so-called ‘voiceless fricatives'. “Mnemosyne”, the Mother of the Muses, is teeming with little overtones.
Finally, “Flux-de-Bouche” is a more or less random fragment of the flow my mouth at times cannot help uttering.

I wish to say thanks to my friends, especially Lilian van Bennekom and Bart van der Putten, for their positive criticism and support in realizing this project.

Jaap Blonk
Amsterdam, January 1993

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released March 4, 1993

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