BIO
Artwork Igor Hofbauer
ADORCISM. Your personal DEVIL has taken possession of your SOUL and you can never be rid of him. At times he demands your whole body, he desperately needs it because you’re feeling bad. So the healing community is coming with dances, qraqebs and tablas, fire, benzoin and water and will drive you rapidly towards your WILDEST SIDE in a frantic ritual that will only end when you have lost all of your senses. Your personal Devil will then own you entirely.
This is a HEALING RITUAL of POSSESSION and TRANCE, a centuries old heritage brought here by former slaves who had been sold in North Africa. A syncretism between animism and Islam. Diwan (Algeria), Gnawa (Morocco), Stambeli, Banga (Tunisia).
Lost for months, immersed in cities, deserts and oases, recording, filming, working and composing with the healing communities. 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 Africa 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.
IFRIQIYYA ELECTRIQUE is a unique project. More than a concert, it is a RESEARCH around several rites and trances as practised by the healing communities, from Gnawa to Banga. A recomposed music, a Transcendental and Post-industrial Ceremony. A performance from a Maghrebi COLLECTIVE of musicians interacting with Electronics and Amps.
« Rûwâhîne » album was released in May 2017 by GLITTERBEAT RECORDS. In July 2017, the album "Rûwâhîne" reached the 4th place in the TRANSGLOBAL WORLD MUSIC CHART (USA) and 6th in the WORLD MUSIC CHARTS EUROPE.
In May 2018, ARTE Television (D+F) filmed & boadcasted the whole concert live at Nuits Sonores Festival( Lyon, F).
« LAYLET EL BOOREE », Ifriqiyya Electrique second album was published by GLITTERBEAT RECORDS in April 2019. It was immediately cataloged "album of the year" by several medias.
IFRIQIYYA ELECTRIQUE
Adorcist & Post-Industrial Ritual
Devils, Possession & Trance.
Syna Awel : vox, percussions
Fwad Darwich : vox, percussions
Alima Hamel : vox, percussions
Sanae Assif : vox, percussions
Gianna Greco : bass, vox, computer, footage
François R. Cambuzat : guitars, vox, computer, footage, research
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Zoé Martinot : drums, backing vocals
Awatef Fettar : vox, percussions
Simoh Bouchra : vox, qraqebs
Boualem Fedel : vox, qraqebs
Youssef Ghazala: vox, teshektshekas
Yahya Chouchen: vox, teshektshekas
Tarek Soltan: vox, teshektshekas
Fatma Chebbi: vox, teshektshekas
FRANÇOIS R. CAMBUZAT comes from extreme musics, from the improvisation,
from the avant-garde as well from flamenco, worked with some big names
of the jazz, the contemporary classical music as with the classical music
from the Maghreb. François R. Cambuzat is convinced that any music
will be little substantial if conceived then executed without strong
emotion, risk, rebellion, savagery, flight and transcendence.
François R. Cambuzat published 21 albums and made more than
5000 concerts all over the world. Founder of many emergencies
(Gran Teatro Amaro, L’Enfance Rouge, P*T*N Club, Machine Rouge,
Trans-Aeolian Transmission, Ruuhaaniia), he works at present among others
with Lotfi Bouchnak (TN), Lydia Lunch (USA), Eugene S . Robinson (USA) and Denis Lavant (F).
GIANNA GRECO left everything behind her. Heroin of the Italian electric musical scene,
she lives today between Pamir, France and Djrid, and follows only what makes her tremble.
With François R. Cambuzat, Gianna is the co-founder of the Trans-Aeolian Transmission,
the research cell which is at the base of I'Ifriqiyya Electrique and many other risky
and impossible journeys. Gianna Greco is also the co-founder of the P*t*n Club,
a hyper-active unit of musical militancy. She works at present among others
with Lydia Lunch (USA), Denis Lavant (F, Machine Rouge) and Lotfi Bouchnak (TN, Ruuhaaniia).
SYNA AWEL Amazigh singer from Kabylia, then explorer of all the dark corners of the middle sea,
howling ancient beliefs, from gorgonians to the name of Allah, and so much further.
She fears nothing and no one. Girls must and are the first.
FWAD DARWICH percussions, voice from Transcendental Morocco, Fwad is as well an awesome
bass player & composer with The New Dialects.
SANNAE ASSIF from Morocco, heading the whole world for music, theatre but mainly freedom.
More than a killer: a fighter.
HALIMA HAMEL and her language that comes from the depths of souls, which speaks the unspeakable,
which dares impudence, the painful, the marvelous. Elsewhere.
Zoé Martinot a young drummer from the European avant-garde,and already
millions of kilometers. Special guest when possible.
Awatef Fettar from the Algerian Diwan & Moroccan Gnawas, as well singer & performer in the
Avant-Garde Mediterranean research, from Algiers to Berlin & further. She studied philosophy
of art, religious eruptions and various survival techniques in the pan-western world.
Simoh Bouchra Born in the Gnawa community, raised with the Moroccan rock scene.
Boualem Fedel from Algiers & the Maghrebi's transcendental musics.
Yahya Chouchen from the Banga community. Just for the music and spirit. Adored by
the community for his extroversion, his empathy.
Youssef Ghazala from Tozeur. Rhythm & elevation.
Tarek Soltan from Masghouna. Knives and tabla. The detonator.
Tarek is the first one to fly away, pulling the whole universe, taking over the conduction
of the rite when the rhythm slows down, then giving it back, spining to collapse and bounce,
and this for hours and hours.
Fatma Chouchen from Masghouna. Radical feminism, voice, dancing & percussions.
SOUND ENGINEER : José Arantes
VIDEO EDITOR (official) : Carlo Mazzotta
PHOTOGRAPHER (official): Renaud de Foville
Gianna Greco & François R. Cambuzat are performing on Mattia Maglio's guitars.
SOME CONCERTS PERFORMED
ROSKILDE Festival, DK WOMAD Festival, UK SZIGET Festival, H
WOMEX 17, Katowice, PL COLOURS OSTRAVA Festival, CZ VIEILLES CHARRUES, F
FMM SINES Festival, PT MILHOES DE FESTA , PT ETHNO PORT Festival, PL
NUITS SONORES, F KOMETA Festival, LV HAMMAMET Festival, TN
OFFEST, MK INNEBRZMIENIA Festival, PL NOTTE delle TARANTA Festival, I
FEST MED, PT SKRZYOWANIE KULTUR Festival, PL POHODA Festival, SK
URKULT Festival, SE BAM Festival, Barcelona, E EXPLORE THE NORTH Festival, NL
ANCIENNE BELGIQUE, B FESTIVAL MUSIKAREN EGUNA, F L'AMALGAME, CH
FESTIVAL NEVERS A VIF, F URBANG FESTIVAL, D MUSEE d'ETHNOGRAPHIE GENEVE, CH
ARIANO FOLK FEST, I ROCKOMOTIVES, F PLAI FESTIVAL, RO
KINO ŠIŠKA, SLO KLUB MOČVARA, HR CSC SCHIO, I
M4, B HORIZONS, F LE PLANCHER, F
WOMADELAIDE, AUS WOMAD NZ, NZ
"In effetti, le rivoluzioni storiche presentano tutti i caratteri della transe collettiva. Non si tratta di una transe ritualizzata come la si può incontrare nella macumba, nel vodu o nelle altre istituzioni della transe di origine africana. […] È l’effervescenza collettiva per così dire allo stato puro: senza istituzionalizzazione visibile. […] Esiste, infatti, dal punto di vista di ciò che Marx chiama transizione, un nesso “sotterraneo” tra il corpo in transe e il corpo sociale in effervescenza. Ma è solo nei periodi rivoluzionari della storia che esso si manifesta: quando i corpi asserviti si liberano, quando - come ha mostrato Boris Souvarine, nella sua descrizione del primo momento dell’insurrezione in Russia - le riserve di energia rivoluzionaria a lungo compresse fanno irruzione su tutti i punti, senza piano né parole d’ordine. La rivoluzione è una transe sociale." Gianni De Martino, prima edizione del Saggio Sulla Transe di Georges Lapassade (Feltrinelli, 1980). Grazie a Tobia D’Onofrio.
“In fact, historical revolutions present all the characteristics of the collective transe. It is not a ritualized transe as it can be found in macumba, voodoo or other institutions of the transe of African origin. [...] It is collective effervescence, so to speak, in its pure state: without visible institutionalization. […] In fact, from the point of view of what Marx calls transition, there is an “underground” connection between the body in transe and the social body in effervescence. But it is only in the revolutionary periods of history that it manifests itself: when the enslaved bodies are liberated, when - as Boris Souvarine has shown in his description of the first moment of the insurrection in Russia - the long-compressed reserves of revolutionary energy erupt on all points, without plan or passwords. Revolution is a social transe."
Gianni De Martino, first edition of Saggio Sulla Transe di Georges Lapassade (Feltrinelli, Italy, 1980). Thanks to Tobia D’Onofrio.
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