translation:
There can be so many ways of disarranging a globe map of the world, upsetting and
manipulating the borders that separate the nations. Fizzč found out a very special way,
putting into practice a truly pacifist strategy to effectively redraw the map in new
shapes (how I wish those in power would purchase musical instruments instead of wasting
money in missiles...).
So here comes Peeni Waali, a strange name that should be already familiar to those of you
who know "Voix vulgaires". It’s a transcultural project that joins both the
coasts of the ocean, a self-managed and independent initiative coordinated by Fizzč, once
keyboardist with Nimal (an amazing act at the 1987 Zurich Jazz festival, they put out an
album of the same name on the Swiss label Rec Rec, and a live cassette tape).
In this adventure, Fizzč rearranged a musical map of the world according to many
different choices and preferences, approaching the mountain valleys of his homeland to the
summer beaches of Jamaica, not to forget a handful of the subversive mist permanently
clouding the London suburbs.
No rhythmical Adrian Sherwood-ish anxiety in this record: here you can freely breathe the
mood for joking and amusement typical of certain new Swiss musicians. An honest commitment
and an upright attitude give birth to a new kind of open music (another example of this
"new wave of amazing contemporary music" is the album release of Ensemble Rayé,
recently released on the French label Ayaa Disques). Anyway, amusement here is not just
another word for banality.
Peeni Waali’s album first track is "Beacon of Hope", a poem by Linton Kwesi
Johnson performed by the composer himself over a multicoloured background. A small bright
Brixton mosaic pulsating with so many tendencies and tastes, just in the middle of the
land of chocolate. I have never heard such an attracting rhythm before. It’s an
unheard interweaving of noise and sound. Johnny Human’s accodion dancing happily on
the corner.
Strong feelings and amusement: can you aqsk for more to a record? "Beacon of
Hope"’s flashes still echoing, and here comes "Skarab". If you already
know "Voix vulgaires...", you will easily see Kulu Hatha Mamnua in disguise.
Fizzč took a plane to Kingston, Jamaica, and asked Robbie Shakespeare and other friends
some contribution. And again "Ricochet", with well known and largely used in
these recordings Rico Rodriguez on trombone, "Licht & Stein" with Dennis
Bovell, a horn section from Liechtenstein and a dub-feverish Lee "Scratch"
Perry.
It’s a complete mess on your mind, as you listen to "Irish Irie", a
wonderful gemstone of Irish reels and reggae rhythm: such music is unheard and someway
upsetting. You’ve just the time to breathe, and you’re again in deep water
listening to Duke Ellington’s masterpiece "Satin Doll", heretotally
rearranged in the form of a timeless jewel of no geography.
I find Peeni Waali is great because it’s no sort of musical cosmetic surgery.
It’s not definetely world-music-at-all-costs: again, go back to the "Voix
vulgaires" booklet and read Fizzč’s controversial writings on the subject.
Peeni Waali is a giant step forward David Byrne and Brian Eno’s pioneeristic
expedition in the bush of ghosts: once the duo did manipulate tapes, today Fizzč deals
with people, and he does his job with extreme respect.
Peeni Waali works because it’s the long-awaited new approach to making music.
It’s a new and fresh and clean and open minded attitude, a definetively new way in
creating music and love together. And Peeni Waali is reggae, it is dub, it is experimental
music, it is rumorism, it is folk music from the middle of Europe... and it sounds nothing
like these labels!
The only thing you should really do now is to purchase this record (go to
Orders)...