Researches, then creations, faraway & elsewhere

Concerts & Road-Movies

A new concept: travelling/composing/writing/filming somewhere else, as far as possible,  where neither the Music Industry nor the Artistic Agencies will ever take any western musician, really gone-out in countries defined impossible to reach, considered much too dangerous - but especially of derisory earnings and thus unimportant interest. They say.

Living there, travelling for days, weeks, months. Meeting musicians from other worlds. Being destroyed, sacrificing any own music and annihilating any own cultural influences by the power of other songs, melodies, by other rhythms and by other sweats.

Breaking everything when coming back, spiting and modelling the materials, without absolutely any respect, just to approach to be and to become what is really the music is when it is not venal any more: a wind, a flutter, a little thing otherwise nothing, but an libertarian emotion.

Finally, the TRANS-AEOLIAN TRANSMISSION will be a concert interpreted on the projection of a documentary-fiction-road-movie realized by the artist. Farther.


Xinjiang, Taklamakan & Karakoram, Xinjiang, People's Republic of China, 2013

Ifriqiyya Electrique, Djerid desert, Tunisia, 2015

Alevilik Aşkına, Dersim, Turkey, 2020
Ndox Electrique, Senegal, 2022



In adolescence the music was considered first of all as a way to travel freely. After a few years and otherthousand kilometers, we noticed that these famous somewhere else remained confined in the western world and its outskirts: where there was a certain wealth, where the money-power allowed it.

After the fall of the wall of Berlin, the world shrank in shagreen, and the European Union showed itself exclusively conceived for the free circulation of a destructive, degrading and jailish ideology.

The Somewhere else stayed somewhere else, even farther.

But the wind still blows everywhere.

The Trans-Aeolian Transmission declines a creation in places until then only imagined/desired, the accaparation, the theft and misappropriation of field-recordings, finally the wild concerts of these far somewhere else.


The inhabitants of the whole world since always tested the need to transcend their fears of life, of death, in order to rise above their misfortunes and terrors.


Today, from techno to kraut-rock until the most obscure sacred musics, the human beings still always seek the rise and the lapse of oneself by transe.

After years of experiments in the Maghreb around the maalouf, stembali, sufi music, quarter tones combined with a certain Western electricity (larsens, feedbacks, distortions, atonality…), first of all with the National orchestra of Rachidia (Tunisia, album «Trapani-Halq al Waady», 2010),, then with the famous traditional singer Lotfi Bouchnak (Tunisia, 2013),, François R. Cambuzat explodes from now on his research for the mystic musics until the most distant borders of the planet.

François R. Cambuzat comes from rock, flamenco, punk, from the improvisation and the avant-garde, he studied the classical singing in Amsterdam as the Eastern music at the Tunis Conservatorium. He worked with some great names of jazz, contemporary classical music, avant-rock and Maghrebian classical music. After these first 35 years of musical experimentations, he is now convinced that any music is absolutely not consistent if conceived then carried out without strong emotion, risks, rebellion, brutality, flight and transcendence.

Because it is not any more the composition or the harmony which interests François R. Cambuzat, but the design of a rise in the skies or a descent to hells - more for the listener than for the musician. The duende, cherished by Garcia Lorca, is in the center of its music.

So this is certainly not a world-music project, even less ethnomusicology, but a wild process of improvised then recomposed musics, traditional instruments, computers and electric guitars, as all the journey of this creative movement (we are talking here about kilometers). The Trans-Aeolian Transmission creation is revisiting the traditional instrumentation while violating Westren electric guitars to squeak a neo-shamanic post-blues, to carry out a music of fright and transe in direct filiation with the industrial music, characterized by its dissonance and its importance attached to the experimentation, exceeding the influence of bands such as Throbbing Gristle, Coil or Einstürzende Neubauten. Because the Monte Cazazza’s motus “Industrial Music for Industrial People” applies from now on particularly well to the contemporary world, from old Europe to the Chinese borders, countries with a strong social mutations resulting from their beastly exaggerated developments.

As prooved by François R. Cambuzat since years, his research is based on the real authenticity of the unique act. It is towards rise, sweat, blood, poetry and tears that its work moves - and it will not be a coloured and pleasant postcard.


In musics and images recorded and filmed in situ by François R. Cambuzat and Gianna Greco throughout long trips out of the beaten tracks, the Trans-Aeolian Transmission is about a concert-documentary-fiction-road-movie.

In concert :

François R. Cambuzat : research, field-recordings, composition, programming, guitars, filming.

Gianna Greco : programming, bass, filming.

On a projection of videos shot in wandering.