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[Info]
Artist : Ifriqiyya Electrique
Album : Ruwahine
Label : Glitterbeat Records
Genre : Electronic
Street Date : 2017-05-26
Quality : 254 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.98.4 -V0
Size : 86.97 MB
Time : 43:32 min
Url : http://tinyurl.com/ybog6ntu
[Tracks]
1. Laa La Illa Allah 2:49
2. Qaadrii/Salaam Alaik/Massarh 7:33
3. Mawwel 1:09
4. Zuru El Haadi/El Maduulaa/Maaluuma 6:34
5. Stombali/Baba 'alaia 3:39
6. Annabi Mohammad/Laa La Illa Allah/Deg El Bendir 9:15
7. Lavo/Baba Marzug/Sidi Saad/Allah 4:46
8. Arrah Arrah Abbaina/Bahari/Tenouiba 5:42
9. Sidriiya 2:05
[Notes]
Sufi trance musicians and rituals û from the depths of the Tunisian desert û
in conversation with post-industrial sonics.
æNo theatre or stage or audience. The r¹wÔh¯ne have possessed and contorted
the bodies of the Banga. Teenagers leap to the floor, their legs arched and
tense, glaring transfixed [while] girls dance wildly, à accelerating the
rhythm of the hand percussionÆ
The film opens on a cloud-pressed, bleached-out desert highway and an
ominous electronic pulse, a devil of a wind, that you donÆt want to shake
off. Where are you? The truck in front carries human freight, half-glimpsed,
anxious and thoughtful.
YouÆre soon joined by the kind of dark lunar soundscapes familiar from Can,
by polyrhythms at once deft and relentless, and then, as the truck reaches
the outskirts of the town, by chants that seem to issue from the empty
streets themselves. Ifriqiyah was the medieval entity that contained
present-day Tunisia, as well as parts of Algeria and Libya: the boundaries,
more or less, of the Roman province of Africa. Is this where you are?
To get your bearings, you might first have to dive into a basement club
somewhere in Southern Europe: Barcelona, perhaps, or Taranto or Palermo. For
Ifriqiyya ElectriqueÆs Franþois Cambuzat û a guitarist and field recordist
(Turkey, China, Central Asia) û is a veteran of the Mediterranean punk and
avant-rock scene, which has always been more politically charged than its
counterparts to the north and (far) west. With bassist Gianna Greco, he is
one half of Putan Club û or one third when these two fierce and
uncompromising players are joined by legend of the NY underground, Lydia
Lunch.
These are not spaces of comfort but of challenge and confrontation.
But let us pull focus again û and this is crucial, bass and guitar and
electronics notwithstanding. Ifriqiyya Electrique was formed in the Djerid
Desert in southern Tunisia, home to the Banga ritual of Sidi Marz¹q. The
Banga is a key annual event in the lives of the black communities of the
oasis towns of southern Tunisia, descendants of the Hausa slaves transported
from sub-Saharan Africa. It is a ritual of adorcism not of exorcism: of
accommodating the possessing spirit rather than expelling it. The invitation
has been issued by the r¹wÔh¯ne themselves, the spirits from whom the record
borrows its title, and is taken up primarily in the streets and in private
houses.
The Banga is a musical tradition for sure, with stark, metallic, cavernous
percussion and voices of cool urgency, but should not be felt as such, for
it is most defiantly a ritual and remains so on this record. Cambuzat and
Greco are joined in live performance by the voices, krakebs and Tunisian
tablas of three members of the Banga community, Tarek Sultan, Yahia Chouchen
and Youssef Ghazala, with a fourth, Ali Chouchen, providing vocals and
nagharat on the record itself. The voices and rhythms are unaltered, of
course. What is new here is the conversation the group initiates between
guitar, bass and electronics and the rhythms and chants of the Banga û what
Cambuzat refers to a post-industrial ceremony. It wonÆt be an easy listen
for purists and propagandists; but if post-industrial ceremony doesnÆt
describe a large portion of the most challenging music of the last 40 years,
what does?
In short, the music can only be fully understood in the context of the
events that gave rise to it. Happily, Ifriqiyya Electrique is a film and
documentary project as much as a band. The footage is astonishing: of wild,
ecstatic gatherings that seem, to us, the un-initiates, by turns
other-worldly and utterly familiar. It is familiar because we all recognise
the need for ônew ways of forgettingö, in CambuzatÆs words. But we surely
need to remember too. For here is another deep tradition, another precarious
music, on the brink: a vital part of a Sufi culture being pressed on all
sides by the forces of reaction. Ifriqiyya Electrique will not be lamenting
its passing û because they will refuse to let it pass.
æThis is, then, most certainly not a ôworld musicö project (still less an
ethnomusicological one), but a wild process of improvisation and
re-composition that brings traditional instruments face to face with
computers and electric guitarsà [My work] is driven towards elevation,
sweat, blood, poetry and tears û not to some pretty colour postcardÆ ù
Franþois R. Cambuzat / Ifriqiyya Electrique
