Vocalor

by Jaap Blonk

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1.
Ad 00:35
THIS IS A NEW ADVANCED COURSE IN THE ART OF PUBLIC SPEAKING
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Kulo quasi 02:54
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Geen Krimp I 03:04
gekraaskrong kremel gekretskrump kreierig gekreuf gekrever gekrooikraas kramelkrieter gekrunkel gekroeter-krut krijperig gekrakel gegresgrong gremel gegrets-gromp grooierig gegreuf gegrijver gruigrees gremel-grater gegrankel gegratergrat gropperig gegrokelkroet be- krempelig gekreuterkrijp krets kruggelig gekromelkreup-krut bekrielerig gekronterkrem kraas gekrevel ge-kroeter gekrumper kroet gekremkrok greut begrimpelig ge- gratergrop grets griegelig gegremelgruipgrat begre-terig gegruntergrem grees gegreuvel gegreikel gegromper greut gegremgrikkrechtig krupeliger krieterigste kra-gelkrig kront kroekelkreuf krunkeliger kreug kragerigste krempelkrijpkrungkrok grochtig grupel-iger grijterigste grokelgrag grunt greukel grouf grankeliger groug gregerigste grimpelgropgrenggrak krut kruuk kront kref krijp kroet krets kril krugt kraas krutkrontkref-kruuk krets kril kraaskroetkrijpkrugt kroetkrijp-krontkrut kref gret gruuk grunt gref gruip grat grets gral grogt grees gretgruntgrefgruuk grets gral greesgratgruipgrocht gratgruipgrontgret gref refrein: geen krimp! gegrompen greven green bekrompen! bekrimpgreen gegreve grene grompelgreen bekrimpel? kromp kramp begrimpelgramp! gegege be, gegebge be, gbekrompen? begreven geen krimp!
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geen krimp! gegrompen greven green bekrompen! bekrimpgreen gegreve grene grompelgreen bekrimpel? kromp kramp begrimpelgramp! gegege be, gegebge be, gbekrompen? begreven geen krimp!
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geen krimp! gegrompen greven green bekrompen! bekrimpgreen gegreve grene grompelgreen bekrimpel? kromp kramp begrimpelgramp! gegege be, gegebge be, gbekrompen? begreven geen krimp!
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geen krimp! gegrompen greven green bekrompen! bekrimpgreen gegreve grene grompelgreen bekrimpel? kromp kramp begrimpelgramp! gegege be, gegebge be, gbekrompen? begreven geen krimp!
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Geen Krimp V 00:38
geen krimp! gegrompen greven green bekrompen! bekrimpgreen gegreve grene grompelgreen bekrimpel? kromp kramp begrimpelgramp! gegege be, gegebge be, gbekrompen? begreven geen krimp!
9.
Kolokol Uma 06:37
Velimir Khlebnikov KOLOKOL UMA (Ringing the Bells of the Spirit) I Goum. Oum. Uum. Paum. Zoum me and those whom I don’t know. Moum. Boum. Laum. Cheum. Bom! Bim! Bam! II Proum. Praum. Prium. Nium. Veum. Roum. Zaum. Vyum. Voum. Boum. Byum. Bom! Help me, bell-ringer, I am tired. III Doum. Daum. Mium. Raum. Khoum. Khaum. Start ringing the bells of the spirit. Bell and rope are here. IV Suum. Izum. Neum. Naum. Dvuum. Treum. Deum. Bom! Koum. Koum. Zoum. Poum. Glaum. Raum. Noum. Nuum. Vyum. Bom! Bom! Bom, bom! That is the great tolling of the spirit’s bell. Divine sounds descending from above to provoke mankind. Glorious is the bell-tolling of the spirit. Glorious - these pure sounds!
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Nonomotihur 02:12
Nonomotihur ik zuz sdehav gadd, e ul lopiwtadert. Daha ef peden buvhfn a foneaces ipoyt. Wsuul’p atropurhn, zsaq elirukera ij uluner fvenhasspm ih ej darawxsteds daifh. Ofne qihjeuga lag Artobeli pihurrly irag e remmerthu asanhem a timbehann ol baweutr ik wluf afa. Er sistretugion, maprun ij e ovuhgiws. Olo melotru, sorg noho ef l’ontizexxi aprezinhare Gizella utru ik. Mabirerf ihet er glunns mattuwefn, vilehenn, cipoyt plarref ej atropert zuz darawxteds heegs, ik mabirerf avu l’yggerte. Ovuhgiws brefilamescirs lauyvad ij nertelinne topy. Anqu e letugion efsruv baweutr famolhwu. Zuhär rokelo nyqsa. Mohihur mucsepp qihjeuga natikirva melotrju oregu galoubet, olmel! Gijizella atropert Gizella, erhisors mluf inyel Gujella domhsibs sraizer piojutabirerf ideri. Ol, degehen luhme a ehaq ponanist, ayte u tagehlac, vazreel timbehann desfet, Artobeli duzveah marixdole jerann baclhedocbeq tc wlyfepp TAZOLEON cba, zuz ej yrnamint a sheegsu lamert vochona. Duipokher qogloiwuf xio singhulmp keplarred sorp molmette sapihurrly. Ioswjehb, ikgynf izugssol sistretugion ek hewofunnire, ek gileg folmeo wuzbf. Mlacthopp daifhwsuaq ej marixdole qarrenf, Pemigewasset duipokher. Org urfinalen Bonell a urnufichtronne onlaqherg. Esztomuc e r’teje frasel. Misdod, lerbonazs ko troupikaff lö bihssuk Artobeli uls e pebeskenn. Umeibatuvhi parrhomagul ej Bonell uluner galoubet. Avossuyn, juttydnoz cec multupt e rehegewohonn mewessj bilobuvhny. Ol goisshytu, Gha lekmanussabej ke a chattuchamol, ledet nucdif Zupo Li aprezinhare delottrelv onnal’yberuss. A porlufiminism estomuly hamepiluwert uj izugssol. Gois ulef samopabbli ij tatrehx orgtthuyvad, ohenn Pemigewasset. Havo terccikled ikcuatropert. Ovadgijl motrecce e havonatrebyse csupel pienrz mahog lyte seloire’p, hinn ko marisinnol tolehn. Xannd, ivtetz lösie avhunl idrigha. Baweul emsio uf macipzhe sohunn ipoyt bilobuvhny hatto xio plarref deha. Ol mabirerf feches narlov zattuwefn atofo ovuhgiws hagezy fi, timbehann kem, sativel sistretugion ntamu foneaces rdevoh. Er daifh inute sheegsu ij legyvert jlennd ikhdevy trezinharedi mianufciw ul. Nertelinne arccikled ji uzafexynn ik prassmih camolhwul ef loqiwtadet “mystérieux” aki duipokher Artobeli a sebatuvh Bonell ponanist inghulmf, topy ij yrnamint venah. Ul etuxhiss frasel a sraizer mattuwefn org nuheenf uls turlepixhwin dahd er onnabyzarrow org. Gizella makphot azui.
11.
Labior 06:18
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Ai aia aia ia ia aia ui Tralalí Lali lalá Aruaru urulario Lalilá Rimbibolam lam lam Uiaya zollonario lalilá Monlutrella monluztrella lalolú Montresol y mandotrina Ai ai Montesur en lasurido Montesol Lusponsedo solinario Aururaro ulisamento lalilá Ylarca murllonía Hormajauma marijauda Mitradente Mitrapausa Mitralonga Matrisola matriola Olamina olasica lalilá Isonauta Olandera uruaro Ia ia campanuso compasedo Tralalá Ai ai mareciente y eternauta Redontella tallerendo lucenario Ia ia Laribamba Laribambamplanerella Laribambamositerella Leiramombaririlanla lirilam Ai i a Temporía Ai ai aia Ululayu lulayu layu yu Ululayu ulayu ayu yu Lunatando Sensorida e infimento Ululayo ululamento Plegasuena Cantasorio ululaciente Oraneva yu yu yo Tempovío Infilero e infinauta zurrosía Jaurinario ururayú Montañendo oraranía Arorasía ululacente Semperiva ivarisa tarirá Campanudio lalalí Auriciento auronida Lalalí Io ia i i i o Ai a i ai i i i i o ia
13.
facial: plof 00:46
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facial: sabb 00:21
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facial: flab 00:22
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facial: prch 00:15
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facial: jiji 00:15
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facial: worr 00:20
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facial: kraa 00:30
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a isla da 06:06
alaí alaí ladava laí vavala voy laí alaí ñagava naí llamaya ney nánenena lánlelilo lalélila senlí lo na mío mu na mío mu guáguaguagua mimamoí llemá zonzú zonzú ce ñánamano ñanámano mimamomuer vadía nogue no dínemana ayato olla mísmamís faloflo mamor mamor mamor mi mamor mamor mamor mu chachánino popopé per papró tecotetí dacoté didó i deron daran i deron daran do dodono vanevá endándoro niá sesasosor rrillí rre rre rredo rre rre rredo dadás do vía din cheche dadás do chechechés che bangué tutítivano véonoma ga ga guánamano sígueneme décotas pétucas guánamavas tone vállevenas gove póbedonde tétedes quínamo vuélvañano cámino vámono quíatone llama rróbeñeno chiga siémbelada yánose túgalo mánoveo rro rro rrodé rro rro rrodé sacía sué son sacía sué ce sal son des pe dadés pe víatodano pe dadés novíatoda des de dadés pe víatodenote vas pe dadés novíatoda te dadés pe davía danote vas
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suavecito 01:39
26.
Lautgedicht 07:39

about

Recorded December 1997 at Centre PRIMUS of Strasbourg University by Othon Schneider, with assistance of Nathalie Parrenin, Olivier Loutz and Irénée Lapierre
Edited by Nathalie Parrenin
Mastered at Centre PRIMUS
Produced by Georges Bloch and Jaap Blonk
Photography by Arthur Nieuwenhuijs
Graphic design by Yvonne Willems
Many Thanks To Abigaïl, Anne & Georges Bloch
Released as Staalplaat STCD112
Gone out of print in 2008

Liner notes from 1998:

Like its predecessor ‘Flux de Bouche’ (STCD 046, 1993), ‘Vocalor’ features a number of versions I made of texts by great pioneers of sound poetry.
Velimir Khlebnikov’s “Kolokol Uma”, from the teens of this century, is written in his invented language ‘Zaum’ (‘Outside Reason’). It is made up of a repetition of the word ‘um’ (‘reason’, ‘mind’ or ‘spirit’), furnished with many different prepositions to create neologisms like ‘downreason’, ‘byspirit’ and the like. The harmonics seemed to me a nice image for the bells inside the mind.
“Canto VII” is the last poem of the cycle ‘Altazor, or the Parachute Voyage’, written 1919-31 by the Chilean surrealist poet Vicente Huidobro. It is probably the earliest published example of South American sound poetry.
On my previous recording I included ‘Axtherastical’ by Guy de Cointet, which I knew from Richard Kostelanetz’ great anthology ‘Text-Sound Texts’. Last year in Los Angeles I discovered De Cointet’s 70s book ‘Espahor ledet ko uluner!’, of which ‘Axtherastical’ turned out to be the second chapter. So what else could I do now but record the first chapter, “Nonomotihur”.
As with ‘Flux de Bouche’, I chose to end this new album with a piece for the more seasoned listener. It is Man Ray’s 1924 “Lautgedicht” (‘Sound Poem’). To me it looks like a poem crossed out by a violent censor, that’s how I found the sound.
Georges Aperghis, French composer of Greek origin, wrote his series of 14 “Récitations” for solo voice around 1980. Nr. 11 uses short snatches of everyday French speech for a text.
In case the “Ad” convinces you to buy it, this record brings you several other pieces that are completely my own.
Of these, “Kulo quasi” was inspired by talking drums conversations. The 5-movement suite “Geen Krimp” is based on my native Dutch tongue. It uses some of the sounds that are notoriously resistant to those brave enough to try and learn the language. The title has to do with ‘not giving in’.
After ‘Rhotic’ and ‘Frictional’ “Labior” is my third Phonetic Etude. Several years of experimentation led to this choice of favorite lip sounds, making use also of the stereo possibilities of the mouth.
One day when I sat down to write a new poem in my extended Phonetic Alphabet, the signs didn’t obey me and made faces at me. I responded with “facial”, a string of 7 small portraits in speech framed by plof and retroplof.
The title “a isla da” is concrete poetry shorthand for ‘a la isla aislada’ (‘to the isolated island’). Its text, which I treat in a loosely improvising way, is made up of the syllables of about 70 Cuban song titles of the 20s and 30s.
“Hommage à A.A.” is dedicated to the visionary French poet and theatre pioneer Antonin Artaud. He wrote a large part of his devastating work during a 10-year stay in a mental institution. His French texts are interspersed with fragments of phonetic poetry, which he used to recite in his cell for hours on end, accompanying himself on little drums. Finally, “suavecito” is one of those endearing diminutives that abound in Latin American Spanish. It does not give the word ‘suave’ a smaller meaning but rather makes it gentler and more loving.

Tenderly,
Jaap Blonk
Medellín, Colombia, January 1998

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released March 31, 1998

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Jaap Blonk Arnhem, Netherlands

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