World music in the West is most often formatted & presented as fancy & innocent
postcards: the sun, the dunes, the smiles, the welcome, the attaya or the ceebu jën
offered to the lovely toubabs, etc. However the music of the cruel, wild, frenzied,
real and even bloodthirsty worlds betrays that neo-colonialist postcard presentation.
To make a pact or cast out the demons as during the N'döep ceremonies
among the Lebous of Senegal, it will take much more than good intentions
but a huge volume to reach the elevation of the trance and it will take sweat
and blood to sanctify the action and to satisfy the spirits. Ceremonies of incredible
loudness and musical violence for a spirituality coupled with a magnificent
and imperious social role during rituals where Western griots like Meshuggah or
The Birthday Party would only be considered as well-educated choir boys.
(The volume of N'döep is so huge that its singers nowadays use megaphones.)
People around the world have always felt the need to transcend their fears
of life and death, to rise above their misfortunes and terrors.
Now it’s about time to destroy, immolate your own music and annihilate
your cultural influences by the power of other songs, melodies,
chants, other rhythms, other sweats of trance and elevation.
Breaking everything in turn, then reshaping the materials,
respectfully iconoclastic to become what music really is
when it is no longer commercial: a wind, little or nothing
but a wild and cathartic emotion.
Still working from years with Ifriqiyya Electrique,
François R. Cambuzat and Gianna Greco could not find out where
the North African adorcist communities, such Banga, Stambeli, Diwan, Gnawa, came from. Of the Arab-Muslim slave route, that was certain, but from which country, from which region? The traces seemed lost. Research after research, little by little this five-century-old road led them to West Africa, Senegal and the Lebu's n’döep. For months in Mbour, Guereo, Rufisque, Yoff and Ndar (Saint-Louis), François R. Cambuzat and Gianna Greco got lost among the seas and banks of Senegal, sacrificing to spirits
-most often aquatic- NDOX, water, in the Wolof language.
Tëdd ak Mame Coumba Lamba ak Mame Coumba Mbang: lying between Mame Coumba Lamba and Mame Coumba Mbang, the female geniuses of a tiny part of a huge continent.
Day maték, dou maté, boul dougal sa lokho. If it bites or does not bite, in any case do not put your hand in it (Wolof proverb).
"Ndox Electrique" is the fourth creation of Trans-Aeolian Transmission, winner of the Villa Ndar (French Institute of Senegal).
"Ndox Electrique" is first of all a research (field-recordings + video recordings) carried out in Senegal with Lebou master healers and musicians, then a reconstruction using computers and electric instruments, thus developing a Neo-Ritual & Post-Industrial music.
On stage, two musicians perform their documentary/fiction/road-movie in a cine-concert, on images shot by themselves for months between Mbour, Guéréo, Rufisque, Yoff and Ndar (Saint-Louis).
François R. Cambuzat: guitars, backing vocals, computer, videos
Gianna Greco: bass, vocals, computer, videos
Concert + Road-movie screening around the N'döep ritual, Senegal
Adorcist & post-industrial ritual.
Demons, possession & trance.
Photos extracted from the cine-concert
Copyright : François R. Cambuzat & Gianna Greco
Pape Laye, Grand Master Healer and Guardian of the Temple of Rufisque
Photos: François R. Cambuzat & Gianna Greco
Day maték, dou maté
boul dougal sa lokho.
If it bites or doesn't bite, in any case don't put your hand on it.