But we’ve been on the Continent for centuries. They often think they are more Arab people than African, because some of our ancestors came from Saudi and that region back in the days. Many Moroccans don’t see themselves as Africans, somehow.
I really don’t understand how Africans get separated in their minds.
How do you see Morocco connected with the rest of the Continent? At least not with the younger generation. Coming back to your earlier question, it’s also what’s motivated me with the African re-edits… Even though artists like Salif Keita have become super famous, I do think they may not have gotten all the light they deserve. It’s been true in Morocco with Gnaoua and Berber cultures, which found new exposure but also helped refresh our own electronic sound. It benefits these cultures, but it also giving new life to electronic music, by bringing new sounds and inspirations. So yes, electronic music is a good conduit for other cultures and folklores to be discovered, and I wish producers would get more into it. I remember the old chill-out compilations for example, where I’d hear beautiful Indian or Afghani music, I’d start researching the artist and discovering whole new genres. And as you’ll see in my selection with Dennis Ferrer’s Funu, that’s how I started hearing African music mixed with electro, which led me to discover the charms and beauty of music coming out of Africa and beyond. It was something different, more energetic, it caught me completely. You know, I got into this electronic thing when I was super young. That’s been true even for me in fact: I discovered African music through electronic music. So it’s like using electronic music as a platform for more traditional sounds?Įxactly. I was stuck in a gigs / studio / gigs / studio / gigs type of routine. Before COVID I never had time to meditate. It’s given time for finding myself even more and helped me figure out how I want to evolve as an artist post-pandemic. Making music helps me forget about the negativity that comes with the pandemic, but I have to say that this period also enabled me to take steps back and reflect about my career. Like many DJs and producers out there, pretty much the only thing I have been doing is making music – lots of it actually – but I don’t have a clear strategy of how and when to release it, because of all the uncertainty.
The hardest part for me is that we have no visibility, no end date in sight, which makes it impossible to plan. Only unauthorized parties have taken place, but I’ve stayed away from those, for obvious reasons. Since beginning of pandemic, there have been absolutely no official events going on, so it’s been tough for everyone on the scene: DJs, venues, promoters, club owners. Can you tell us how you all have coped in Morocco? The pandemic has hit the music scene real hard everywhere.