{"id":33991,"date":"2020-12-02T11:57:35","date_gmt":"2020-12-02T16:57:35","guid":{"rendered":"https:\/\/panm360.com\/records\/irun\/"},"modified":"2020-12-02T11:58:43","modified_gmt":"2020-12-02T16:58:43","slug":"irun","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/irun\/","title":{"rendered":"Irun"},"content":{"rendered":"\n

Tunisian-born Amine Ennuri lives in Denmark, but Africa still lives in him. The archival recordings selected by the artist here, processed and mixed with electronic influxes, come from his continent of origin or its diaspora: sub-Saharan areas of West Africa, also from the center and south of the continent, sometimes even from the Afro-Caribbean space. The polyrhythms unfold through drums, djembes, balafons, chants, tamas, drums, congas, etc.. Just as on Drup<\/em>, which Nuri released in 2017, the DJ and producer in no way distorts the power of these traditional polyrhythmic songs and percussion recorded on the field. However, he allows himself synthetic inserts and filtered voices in the original discourse, and can even isolate rhythmic loops from these recordings, thus maximizing the impact of the trance-like beat, instilling in it hypnotic virtues. Note that only the last piece on the program evokes Arabic Africa. Nuri is therefore tapping into an interesting vein by migrating this vast musical legacy into a digital environment. His reworking of field recordings could be further developed as future projects materialize, and this quest is clearly not over.<\/p>\n\n\n\n