Kulu Hatha Mamnua
september news 2019:
baldige Wiederveröffentlichung auf LP
“Kulu shey farachni mamnua”
(= alles, was Spass macht, ist verboten)
in neuer Auflage, bzw. Neubearbeitungen, neuen Klangkreationen u.v.m.
z.B. dieser neue Track!
oder diese Neubearbeitung
einer Ur-Aufnahme excl. mit Küchenutensilien
ursprünglich erschienen 1981 als LP, neu aufgelegt 1996 als "2 LP's auf einer
+ Manoeuvres d'Automne (siehe
see other CD's
produced & engineered by Fizzè between 1980 - 1987 at the Mensch House
Kulu Hatha Mamnua was recorded between 1980 and 1986 and
first released in 1986 as LP AGR (Les Disques de l'Art Gué) 001
Manoeuvres d'automne was released in 1987 as LP AGR 002
It is very rewarding
to see the warm response and utter dedication, these young people from “Décale”
come forth with research and empathy towards this
release. And most of all, how it triggered immense pleasure and motivation to
breathe fresh wind into some tracks, harbour out new sonic creations with
Zeitgeist, without losing the initial spirit in which these pieces originally
In the early 80ies, I worked briefly in
Jeddha (Saudia Arabia) and the experience boiled down to “Kulu shey farachni
mamnua” (all that’s fun is forbidden) or – in short - “Kulu Hatha Mamnua”.
There was not much else to do there but music…
It’s always been the connectivity (with
people) that all creations took birth from. Music, i.e. the making of music, was
essentially ‘only’ a tool to create joy, the sole meaning of being. And joy then
resonating until more connectivity inspires for more creative results and so
forth… a tantric cycle of sorts…
“Cuisine” e.g. started off in a kitchen, I helped out as an aid, when I noticed
that the chef kept on banging, tickling, wiping on his pots and pans while
constantly focussing on the quality of his work. His ‘percussive stirring’ had
this eerie, impeccable, irresistible GROOVE to it, although he insisted, he
wasn’t “a musician”, he never actively made music. However, I developed a form
of “lead sheet”, anyone can read provided one can count…
This genuine form of "notation" was born out of the necessyty to communicate
with "non"-musicians, who have no formal training of sheetmusic (not even
So here you'll find the "logistic form" how e.g. the
chef de cuisine worked "on demand" and became "chef on "Cuisine"
Hence we played some patterns with pots and pans (sometimes filled with water),
shook pepper mills, rattled a whisk, klicked ladles on concrete, snapped the
butcher knife on the kitchen table’s edge etc., just making “rounds” of measures
with each pattern and off came the track “Cuisine”. While the re-release of this
LP became a topic, I hosted an Iranian santur-player who bided his time here
practicing his instrument. The eerie quarter-scale tunings plus his subtle
hammering summed up the initial “Cuisine”_experiment from almost 40 years
earlier into “Nouvelle Cuisine”… nothing lost and plenty gained with another
This form of “connectivity” often times merged into solid friendship: Pascal
(the kitchen chef, R.I.P.) became an eternal friend, his kitchen pots and pans
an ongoing tribute/asset in many current projects…
Another “episode of connectivity” comes
very plain with “Kayanika”… (in Swiss German it means
“I had no idea”…) :
I often host and record ethnological musicians who come to record more for the
sake of documenting a culture or some rites and rituals within a culture. On one
of such occasions I had the pleasure to meet a quartet from Ouganda in which I
“spotted” Sylvia as an inquisitive musician and fantastic voice. She recorded an
epos (for children) and I asked if I may use excerpts for my
musical_experimental_joyful noises. This – I explained – as an obolus to our own
culture (i.e. being waylayers and/or mercenaries -, with all these castles uphills
show so well: when a caravan would head from north to south, the ‘lords of that
parish’ vultured down to squeeze some duty/obolus.) Sylvia laughed and agreed,
hence every now and then, excerpts of that epos pop up in mensch music pieces.
Another “ukulele”player asked, if he can contribute, too, so – without immediate
concept at hand – I had him play an ostinato on his little instrument for 4
minutes (he done 8 minutes enjoying the trance-like vibe it gave off)… now
fortuitously meeting the people from “Décale”, it stirred up the idea of why not
doing new “Kulu Hatha Mamnua” pieces… It made me reconnect
with long-time “co-pilot”
Gilles (Rieder) and he’d ask: so what you got for me to play ‘pon?
I remembered an oil-drum waltz that didn’t make it on the choice for this LP
(Animist) and picked it up again. Miraculously it marvellously meshed with a.m.
ostinato and off the experience started. Since “Animist” wasn’t chosen to be, I
reused the balafon, kalimba and other percussion bits/elements of it, added new
ones, amongst which Sylvia’s voice and some more ethnological bits and joyful
noises and here’s “Kayanika”. I still don’t know what Sylvia’s children lullaby
means, but I can very well feel that it eventually is a very pleasant tale of
Homo Sapionce, became not only another „remaster“, but
benefits from the same modus vivendi of connectivity:
originally, „Homo Sapionce“ started with an experiment: from a stay in HongKong
(early 1981), I brought home the first ever 4-Track cassette recorder (Tascam’s
'Syncasset 234'). It had this wicked green button on the right, labelled 'pitch',
i.e. a vari-speed, making the machine go faster and/or slower (even while
recording!). Why not just hum very softly for a little while and turn that pitch
from slowest to fastest and back and then hum a second track from fastest to
slowest and back. 4 tracks of such ‚wave_humming‘ made an eerie bordun, indeed...
When Gilles came in the next morning, he couldn't make anything of it, but
showed me some native (plains) indian chants he wanted to 'recreate'. Said and
done. To achieve that extra humpf (on 'hey-a-hey-a...'), hefty dancing/jumping
is required. So, two mad geezers with headphones hopping around, shouting and
banging some kitchen pans were seen from the outside by people in the street
staring through the window with open mouths… The result – as much as the fun we
had – is history…! The next experiment was to overdub that (Revox ¼ inch)
recording with the mix of my 4-tracks drone and that was 'Homo, ça pionce' (pioncer
is french for 'kipping')! I suggested we'd record coupla friends, remaking that
hum-drone with real voices, but we didn't find willing victims to do so… until
35 years later: I had 6 people from Tuva (for ethnic recordings I do every once
so often), so I asked them if they'd give me an obolus in the form of such
hum... adding wife and sons to it, the drone became all the more fantastic...
graced it with more sonic assets and finished it off with this great Tuvan ode
to the mountains, see translation at
Wo sich Fuchs und Hase gute
Nacht sagen, taucht nach einem Geburtsschrei ein majestätischer Taj Mahal auf...
Frösche begleiten singende
Presslufthämmer zu ruderschlagender Rythmik ("Marécage")...
einsam auslaufenden Badewanne klagt ihr Lied der kolumbianischen Flöte
selbstgebaute Instrumente ("Odessa") oder ein heteroklites Sammelsurium von Küchenutensilien
("Cuisine") metamorphosieren zu druckvollem Schlagwerk...
Universal-Dilettanten und Breitmaul-Kaliber-Musiküsse verschachteln in brachial-friedlichster Ton- und Unart
("Colorace") kompakte Kollagen ("00 Nul") zu symphonischen
gänse_gehäutete Ambient-Inflektionen ("Mutation",
"Le Soufflé d'Odo") schlängeln sich durch/hinter/über/unter organisch-animistische Rythmen ("Animist")...
ein Föhn fegt durch ein Phönomen
das Harmonium mutiert zum Hormonium...
archaische Bala- und
Lithofone ("C'est Loin") liebäugeln mit avantgardistischen und klassischen
Elementen ("Un peu d'air", "Futur Intérieur")...
hühnerhäutiges Bretterknarren ("Mer
Morte") versus rauchig-magisches Tenorsaxophon ("Mustafa PumPum")...
Lockpfeifen versus verträumtes Akkordeon ("Dérive")...
magische Posaunentöne ("Vision of Hope")...
Progressives ("La Mort Guette") versus
Humor, ohne den es keine seriöse Musik gibt ("Bonus Scratch"!) bringt
Musiker aus den gegensätzlichsten Richtungen von ihren Pfaden ab, überlistet
sie, lässt sie über den eigenen Schatten springen...
handgestrickter 'Art Brut'...
Elektronika für Handbetrieb...
Filmmusik für jedes einzelne Ohr - nicht
... entstanden zwischen 1981 - 1987...
- ein europäisches Novum!
Verpackung bedruckt auf 100% Hanfkarton...
...neu bearbeitet für
CD-release 1996, zusätzlich instrumentiert mit ausgefuchstem Remix und Mastering...
see also Track Info