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PT
Ifriqiyya Électrique é um projecto especial, que parte dos rituais transe da tradição sufi do sul da Tunísia e da reinterpretação dos mesmos.
Dois músicos, François M. Cambuzat (francês) e Gianna Greco (italiana), emergiram durante meses no oásis de Tozeur, perto de Djerid, o deserto de sal no sul da Tunísia, onde conheceram os sacerdotes Banga que celebram o culto do santo sufi Sidi Marzûq. Durante meses gravaram, filmaram e compuseram música em conjunto, explorando cruzamentos entre as percussões, o canto e a dança característicos destes rituais, com as as cordas ácidas e a eletrónica provenientes do background punk e rock destes dois músicos europeus. Ifriqiyaa Électrique é portanto uma cerimónia transcendental pós-industrial.
Ao vivo o espectáculo é marcado por uma forte componente cénica, com imagens captadas a partir das cerimónias realizadas no deserto tunisino. Rûwâhîne de 2017 é o seu disco de estreia e foi editado pela Glitterbeat records.
PRESS
“... It’s completely overwhelming ... To me, it’s the most vital that industrial music has sounded in years.”
John Doran in The Guardian
“How to enrich traditional world music without being dishonoured? How can you work on improvisation and reworking compositions without losing roots, bowing to traditional music? "Rûwâhîne" album gives the answer, half way between tradition and technology, at the hub where you instantly get acquainted with raw emotion. Or as Ifriqiyya Électrique formulates: "elevation, sweat, blood, poetry and tears".
Philippe De Cleen in Written in Music
ENG
Ifriqiyaa Electrique is a particular project, more than a concert, it’s the real adorcist rite & trance of Sidi Marzûq practised by the Banga community which is performed, with some Banga musicians adding Electronics & Amps. A recomposed music, a transcendental and postindustrial ceremony.
“Lost for months, immersed in Djerid, the desert of salt and the oases of the Tunisian South, recording, filming, working and composing with the Banga community – the former Haussa black slaves. Neither musical notes nor tempo were changed. We let the devils communicate with COMPUTERS and ELECTRIC GUITARS to recompose together this adorcist rite of possession and trance. We were aware that from Djerid to the TECHNO discos of Ibiza and the Moscow ROCK clubs the NEED TO FORGET ONESELF, to rise, was absolutely identical. Blood and sweat were intermingled, the final point of no return had been crossed, the veil had been lifted from the normal: nobody and nothing would ever be the same again. But do not be mistaken: Ifriqiyya Electrique is about of SUFISM, contemporary, savage, essential.”.
Rûwâhîne is the debut album from Ifriqiyya Electrique released by Glitterbeat records.
PRESS:
“... It’s completely overwhelming ... To me, it’s the most vital that industrial music has sounded in years.”
John Doran in The Guardian
“How to enrich traditional world music without being dishonoured? How can you work on improvisation and reworking compositions without losing roots, bowing to traditional music? "Rûwâhîne" album gives the answer, half way between tradition and technology, at the hub where you instantly get acquainted with raw emotion. Or as Ifriqiyya Électrique formulates: "elevation, sweat, blood, poetry and tears".
Philippe De Cleen in Written in Music
