1. Anoula 05:38
2. Rasin Kaf 05:53
3. Kayman 06:37
4. Anoula (Jako Marron rework) 04:04
5. Rasin Kaf (EMB rework) 04:08
6. Kayman (Boogzbrown rework) 03:05
7. Rasin Kaf (Aleksand Saya rework) 03:37
8. Kayman (Loya rework) 03:55
+ LINER NOTES
25 października 2022 r. ukaże się nowe wydawnictwo JuJu Sounds. Tym razem grupy ZÈNE'T PANON z Réunion. Muzyka Zène'T Panon jest wyjątkowa nawet w muzycznym mikrokosmosie wyspy Reunion. Na wschodnim wybrzeżu, najbardziej wilgotnej i zielonej części wyspy, grupa nasyca swoją wersję maloya rytmami i melodiami tamilskimi. Do oryginalnych nagrań są dołączone remiksy czołowych artystów z Réunion zajmujących się tworzeniem muzyki elektronicznej, czyli Jako Maron, EMB, Boogzbrown, Aleksand Saya i Loya.
Tamil rhythms recorded by the river in the lush greenery of eastern Réunion. B side reworks by Jako Maron, EMB, Boogzbrown, Aleksand Saya and Loya.
Zène’T Panon’s music is unique even within the musical microcosm of Réunion Island. On the eastern coast, the most humid and verdant part of the island, the group imbues their version of maloya with Tamil rhythms and melodies. Our recording session on the banks of the Rivière des Marsouins, deep among the lush vegetation, featured the hypnotic sounds of Tamil instruments: the morlon, tarlon and malbar drums. That lazy day by the river with the entire Zène’T Panon family contrasted sharply with the group’s explosive energy during their usual recordings. Besides their Tamil influences, the group are distinguished by their creative capacity for new rhythms and the energy that they deploy. The perfect harmony playing out between the musicians meant the material could be recorded outdoors in a single evening with practically no retakes, which was a blessing as a tropical rainstorm broke just minutes after the session ended.
This album is not just another nicely packaged world music artefact. Nor is it an academic attempt to archive Afro-Malagasy and Tamil heritage. Firstly, we don’t recognise the concept of ‘traditional music’. As with all concepts, of course, it serves a purpose. But music cultures have never been something fixed in time and space, something that can describe a permanent identity – on the contrary, they have always been rather fluid. The fixed, permanent trope is the domain of politics and institutional religion. Nowhere can this fluidity be observed better than in creole cultures worldwide. Already a blend of African, Malagasy, Tamil and European influences, maloya is now in the process of yet another transformation. This album is a bridge between the old-school, instrumental maloya and the thriving electro maloya scene. Played at private kabaré ceremonies by well-respected gramouns, maloya has been at the heart of Reunionese culture for generations. Can the kabaré – steeped in spiritualism, devotion and magic – become digital? Can a new form of maloya be a vehicle for the complexity of local social contexts? These questions are not unknown to the artists of new wave electro maloya. With this album, Jako Marron, EMB, Boogzbrown, Aleksand Saya and Loya strive to provide the answers.