I’m second guessing that you won’t want this to stop. Alex Tea and Noha’s addictive transmission of uber funkiness grabs and shakes you down in all directions, simmering with a defiant grooviness while firing edgy rhythms straight at you. The excellent title track does all that, plus chimes with musicality, yet remains tough and heavy-duty. Then you may spot the sample from way back when as We come in Peace plays fast and lose with it all, leaving the energetic punch of Amico Mio to fizz with creative juice, compelling a warped sense of wonder into just under six minutes of brilliant, warped intensity.
Welcome to Magazine Sixty, Noha. Let’s start with your stunning release for Oscillat. Can you tell us about how your relationship with label happened?
Well, everything started one year ago, with me meeting up with Sam (S.A.M.) when I moved back to Berlin. I went to hear him play as we already chatted and exchanged some music without ever meeting. Few days later we were already becoming good friends and making some beats together at his place.
In a very spontaneous way I then started sending him lots of unreleased tracks that he eventually started to play. That’s how the other two components of Mandar, Charlie and Nick (Lazare Hoche and Malin Genie) discovered my music. In the following months I started chatting with Charlie and working on a remix for his “Time Guard Ep”, and I finally met face to face with Nick, as he was visiting Sam. When, months later, they asked me to send them something for Oscilalt, It felt it was the right thing, as I understood that beyond being friends we shared the same vision on music in general.
The title track, Nobody revolves around a series of voices. What’s the story behind them, and how important is the human voice in music for you, as opposed to purely rhythm?
For me integrating voices is a very good way of giving an intimate feeling to the track. It might be used as a percussive element, but I prefer when it also brings emotional content, a story.
The track explores an exciting series of ideas. Can you talk us through some of you influences both within Dance Music and from outside of it â€“ any writers, painters etc who have also inspired what you do musically?
As I was finishing high school I was getting deeply fascinated by the idea of Minimalism, especially applied to architecture, design and painting. I guess American Minimalism from the 60’s became the main focus. Especially Mark Rothko. I remember that I wrote with a marker “Simple expression of complex thought” on my Wallet, taken from the manifesto written by Rothko and Adolph Gottlieb. Yes, I was young and naive. But I understood back then how I wanted to express myself.
Can you talk us through the process of how Nobody was produced, including any particular favourite software/ hardware you like to use?
I was working on this loop for days, and I got stuck with it, wasn’t going anywhere. I understood that I was trying to force a direction, not really letting my intuition dictate what to do. I suddenly felt a heavy sense of melancholy and I said to myself “ok let’s try again now”. In a few hours the entire track happened, and If I think about it, I get the feeling that the track did itself.
Regarding how it was made, like most of my track it was a mix between analog gear and software. This track will always remain an important lesson, a reminder that intuition and acceptance of where I am emotionally should guide me.
How would you describe the importance of Dance Music culture in today’s world, relevant to political and social life? As you have lived and visited different cities would you say there are there certain things which unify us through music?
This is a very controversial topic. Clubbing can be an escape from reality and at the same time a chance to embrace a primordial connection with others through dancing together. It comes down to what one wants to make out of it, it can either be a moment to get fucked up with your friends and finally let loose after working as a machine for an entire week, or the most enlightening experience. I am not here to judge anyone.
It sounds terribly cheesy, but for me Music itself is a universal language. The most interesting part of touring, apart from sharing the music you love with a big crowd, is to meet up with local djs and producers, get to know their stories, visit their studio and share experiences. We all have to thank the music for this, a common love that creates a community free of racism of any kind. And we need that more than ever right now.
And finally. Please tell us about any forthcoming plans for the summer and remainder of 2019?
Summer is going to be busy, there’s the Nobody ep coming out followed by the next Patagonia release (me and Alex Tea joining forces) coming on Panickpanick and the launch of an edit label where I’m going to finally share edits that I have been playing for the last year.
The next gig that I’m looking forward to is an all-nighter at Underbron in Stockholm, the 26th of July.
Aaaaaand, for the first time in 4 years I’m going to have a 2 week vacation, a road trip in Sicliy with my best friends. No studio time! Time to switch off.