Ifriqiyya Electrique is a unique project.  More than a concert, it is a research around several rites and trances as practiced by the communities of healers, from Gnawa to Banga. A recomposed music, a transcendental and post-industrial ceremony.  A performance by a collective of North African musicians interacting with electronics and amplifiers. 

Coming from Tunisia, these musicians propose a unique formula: a ritual of sound healing in the form of adoration, this state of trance where bodies and souls enter in contact with immaterial powers. To achieve this, the Maghrebian collective combines traditional songs and instruments with the thundering sounds of industrial music, where abrasive guitars rub shoulders with a heavy rhythm section. 

“It is rather a wild process of improvised and recomposed music, traditional instruments, computers and electric guitars, a kind of neo-shamanic post-blues… A music of industrial trance” explains François Cambuzat, founder of the concept.

François R. Cambuzat comes from punk, improvisation and avant-garde, has worked with some of the biggest names in jazz, rock, contemporary classical music as well as Maghrebi classical music.

“The project led by Ifriyya Electrique (…) confronts the possession ritual of the Maghrebian communities with elaborate electronic sounds. The determination of the experimenters is such, and their respect so sincere, that no doubt is allowed as for their intentions. By mixing the noise of the industry with the incessant repetitions of the ceremony, this album establishes a metallic chaos to make all the demons flee and the organisms rejoice…” (LES INROCKS)

“Laylet el Booree”, the second album by Ifriqiyya Electrique was released by Glitterbeat Records in April 2019. It was immediately labeled “album of the year” by several media.