Gaume Jazz : Inui

INUI is one of those groups that are trying not to reinvent anything but to invent themselves in everything. In nature and in the clear-dark, what comes out of the almost Inuit gorges, quite powerful. What sounds, first. The voices. Modern and lively. Sometimes the revolt and torment tremble, sometimes the heat and the lyrical flights. What we hear, then, volcanic, liquid and aerial. Full of vertigo.

Full of dreaminess and unrestrained rhythms, flirting with jazz and the trance of electronic music, with the audacity of the first arts. The music of INUI is a multi-faceted music. Multiple and unanimous. The care for detail, the choice of movement. Square as an experimental pop machine, engaged like a rock protrusion, the quartet’s music is formidable. Positively formidable. Stubborn and headstrong. The quartet sets fire with Incendie, takes the air with Aria and chamanise with Primitives. Tautologique, INUI? Yes too. With bounces and without redundancy. Hypnosis is clear.

In the continuum of this search for sound and musicality, the two voices continue and find each other, rumble and merge. The one of Clémence Lagier exploring and playing to transcribe the sweetness and harshness of an imaginary covered with forests, migratory birds and surreal daydreaming. The powerful and sweet one by Valeria Vitrano, whose mouth has the sounds of a Sicily where volcanoes rumble, where waves hit rocks with a love rage. Supporting and then enveloping the two voices, there is bass and the stroke. Cursive, tireless and powerful. Maya Cros, bass in one hand and holds the other ostinato and psychedelia. Dimitri Kogane strikes as others breathe. Plentifully.