{"id":16140,"date":"2021-03-22T15:48:08","date_gmt":"2021-03-22T14:48:08","guid":{"rendered":"http:\/\/www.auxsons.com\/?post_type=focus&#038;p=16140"},"modified":"2021-03-23T10:43:59","modified_gmt":"2021-03-23T09:43:59","slug":"les-90s-oubliees-de-la-musique-electronique-marocaine","status":"publish","type":"focus","link":"https:\/\/www.auxsons.com\/en\/focus\/les-90s-oubliees-de-la-musique-electronique-marocaine\/","title":{"rendered":"Les 90\u2019s oubli\u00e9es de la musique \u00e9lectronique marocaine"},"content":{"rendered":"<p><em>Dans la continuit\u00e9 du <strong><a href=\"https:\/\/www.auxsons.com\/focus\/breve-histoire-de-la-musique-electronique-en-tunisie\/\" target=\"_blank\" rel=\"noopener\">Focus \u00ab Br\u00e8ve histoire de la musique \u00e9lectronique en Tunisie \u00bb<\/a><\/strong>, et <a href=\"https:\/\/www.auxsons.com\/focus\/lunderground-algerien-un-projet-ambitieux-a-connaitre\/\" target=\"_blank\" rel=\"noopener\">\u00ab <strong>L\u2019underground alg\u00e9rien\u2026 un projet ambitieux \u00e0 conna\u00eetre !&nbsp;<\/strong>\u00bb<\/a> cet article vient clore une s\u00e9rie sur les musiques \u00e9lectroniques du Maghreb&nbsp;!<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Les 90\u2019s ont \u00e9t\u00e9 une d\u00e9cennie f\u00e9conde en musiques \u00e9lectroniques. Au Maroc, musiciens et producteurs utilisaient aussi des machines pour donner de nouvelles interpr\u00e9tations aux musiques traditionnelles et cr\u00e9er des formes musicales futuristes et complexes.<\/strong><\/p>\n<p>Le label Barraka El Farnatshi est pionnier dans ces m\u00e9langes de sonorit\u00e9s ancestrales du Maroc et styles contemporains de dub, trance, house ou techno. Il a \u00e9t\u00e9 fond\u00e9 par&nbsp;Pat Jabbar, artiste suisse amoureux du Maroc et de ses musicalit\u00e9s, pour produire le 1er album de son groupe Aisha Kandisha\u2019s Jarring Effects (<span class=\"caps\">AKJE<\/span>), en 1990. <i>El Buya<\/i> est un album qui plonge dans la \u201c<em>fraja<\/em>\u201d, danses collectives d\u00e9chain\u00e9es, emmen\u00e9es par l\u2019extase religieuse ou la pure euphorie. Son succ\u00e8s a fait conna\u00eetre <span class=\"caps\">AKJE<\/span> \u00e0 l\u2019\u00e9crivain et compositeur am\u00e9ricain Paul Bowles, qui a partag\u00e9 sa d\u00e9couverte avec le bassiste et producteur Bill Laswell.&nbsp; Le Pape du Dub invite Pat Jabbar \u00e0 New York pour cr\u00e9er Shabeestation. Laswell propulse <span class=\"caps\">AKJE<\/span> vers une nouvelle dimension : au-del\u00e0 de la profondeur de sa basse qui court sur tout l\u2019album, il y ajoute la voix d\u2019Umar Bin Hassan de The Last Poets et les claviers de Bernie Worrell, membre fondateur de Funkadelic-Parliament et compagnon de sc\u00e8ne de Talking Heads. Cette imbrication d\u2019\u00e9l\u00e9ments cr\u00e9e une transe hybride, et lance <span class=\"caps\">AKJE<\/span> dans leur 1\u00e8re tourn\u00e9e europ\u00e9enne en 1994. Pat Jabbar pr\u00e9cise :&nbsp;\u00ab&nbsp;<i>Avec cet album et les concerts, nous voulons que les gens se lib\u00e8rent, oublient tout ce qu\u2019il y a dans leurs vies et qu\u2019ils se mettent en transe sur la musique.&nbsp;\u00bb<\/i><\/p>\n<p><strong>Shabeesation (1993)<\/strong><\/p>\n<iframe title=\"Aisha Kandisha's Jarring Effect - Fin Roh - Shabeesation (1993)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/1Vj7bnq1SdI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>Barraka El Farnatshi a produit des artistes qui proposent des hybridations personnelles, comme le groupe Ahlam (<i>Revolt Against Reason <\/i>(1992), <i>Acting Salam<\/i> (1995) et <i>Les Riam<\/i> (1997)), ou Sapho, chanteuse franco-marocaine qui digitalise l\u2019art ancestral des Cheikha. Tout au long de la d\u00e9cennie, la mosa\u00efque du label s\u2019enrichit avec Dar Beida 04, Am\u00efra Saqati, Hamid Baroudi, Mara <span class=\"amp\">&amp;<\/span> Jalal, Argan\u2026<\/p>\n<p>Pat Jabbar connecte les diff\u00e9rentes facettes de la sc\u00e8ne marocaine et les propulse sur la sc\u00e8ne internationale. Le projet Oujda-Casablanca Introspection, compilation \u00e0 deux volumes, vise ce double but par les diff\u00e9rentes collaborations qui la rythment : Lozane, Bouchra, Rached Kabbaj, l\u2019Orchestre Mani, Jil Jilala, Paco de Nass El Ghiwane, Hassan El Houssini \u2026 Les Fr\u00e8res Bouchenak, qui y apparaissent, sont embl\u00e9matiques de la sc\u00e8ne Oujdi avec leur approche avant-gardiste du ra\u00ef moderne. <em>Jennouni<\/em>, leur premier enregistrement de 1983, leur offre le premier prix du concours du label l\u00e9gendaire de Rabat Adouaa Al Madina. D\u00e8s lors, les Chevaliers du Ra\u00ef galopent sur les sc\u00e8nes maghr\u00e9bines et europ\u00e9ennes, \u00e0 coups de ra\u00ef, de malhoun, de po\u00e9sie, et d\u2019un arsenal d\u2019instruments \u00e9lectroniques et acoustiques (bo\u00eetes \u00e0 rythmes, s\u00e9quenceurs, synth\u00e9tiseurs, guitare, basse, batterie et saxophone).<\/p>\n<p><strong>Bouchnak - Hna Madabina (1988)&nbsp;<\/strong><\/p>\n<iframe title=\"Bouchnak - Hna Madabina | \u0627\u0644\u0625\u062e\u0648\u0627\u0646 \u0628\u0648\u0634\u0646\u0627\u0642 - \u062d\u0646\u0627 \u0645\u062f\u0649 \u0628\u064a\u0646\u0627\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/RDh8n0jmypM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p><span class=\"dquo\">\u00ab<\/span> <i>On \u00e9tait le premier groupe maghr\u00e9bin \u00e0 signer avec un major, Sony, en 1991 <\/i><i>\u00bb<\/i>&nbsp;<span style=\"font-weight: 400;\">souligne Hamid Bouchenak :<\/span> \u00ab <i>\u00c7a nous promettait une distribution mondiale et on a vendu plus de 450 000 albums. <\/i><i>\u00bb<\/i><\/p>\n<p>Aflak<span style=\"font-weight: 400;\"> est un autre symbole de cette \u00e9lectronisation des rythmes populaires, ils l\u2019ont m\u00eame pouss\u00e9 plus loin en cr\u00e9ant des arrangements sophistiqu\u00e9s et en maniant en live les derni\u00e8res technologies (synth\u00e9tiseurs, batteries \u00e9lectroniques\u2026) Une approche \u00e9galement adopt\u00e9e par d\u2019autres artistes comme <\/span>Khalid Fikri, Bouchra, Shuka, Sidonie<span style=\"font-weight: 400;\">\u2026 <\/span><\/p>\n<p>Cette explosion de la musique \u00e9lectronique marocaine dans les 90\u2019s prend racine dans les ann\u00e9es 60. En 1968, Brian Jones des Rolling Stones enregistrait <i>The Pipes of Pan of Jajouka<\/i> avec les musiciens de ce village du Rif marocain. 20 ans apr\u00e8s, Elliot Sharp collabore avec Bachir Attar des Master Musicians of Jajouka pour cr\u00e9er un <span class=\"caps\">LP<\/span>, enregistr\u00e9 en live et mixant rhaita, guembri et fl\u00fbtes avec les beats stylis\u00e9s de la noise exp\u00e9rimentale de l\u2019Am\u00e9ricain. Dix ans plus tard, Talvin Singh, virtuose de la fusion entre musique classique indienne et \u00e9lectronique, allie son art aux Master Musicians of Jajouka pour pondre un album \u00e9ponyme, avec des titres marquants comme <i>Above the Moon<\/i>. Le voyage propos\u00e9 est une transe symbiotique entre tabla \u00e9lectro et instruments spirituels du&nbsp;rif.<\/p>\n<p><strong>Bachir Attar with Elliot Sharp - Arracks Tehta\u2019l Kamar&nbsp;<\/strong><\/p>\n<iframe title=\"Bachir Attar with Elliot Sharp - Arracks Tehta'l Kamar\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/LNLvqgrg0CU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>Talvin Singh est l\u2019un des symboles de la sc\u00e8ne british des 90\u2019s li\u00e9e au clash v\u00e9cu par la 2\u00e8me g\u00e9n\u00e9ration issue de la migration des ann\u00e9es 60 : entre traditions familiales et chaos culturel <span class=\"caps\">UK<\/span>. Les ann\u00e9es 80 voient l\u2019arriv\u00e9e d\u2019immigr\u00e9s maghr\u00e9bins qui s\u2019int\u00e8grent \u00e0 cette sc\u00e8ne bab\u00e9lienne comme U-Cef, prodige de la digitalisation des musiques marocaines. Il traduit les sonorit\u00e9s Gnawa, les hymnes du melhoun et les chants Amazigh dans les codes de la drum\u2019n\u2019bass, de la dub ou du ragga. Tout cela prend forme en 1998 dans ses opus <i>Hijra<\/i>, <i>Tagazout<\/i> et plus tard <i>Halalium<\/i> o\u00f9 une pl\u00e9thore d\u2019artistes sont invit\u00e9s (Natacha Atlas, Rachid Taha, <span class=\"caps\">UK<\/span> Apache, <a href=\"https:\/\/www.auxsons.com\/playlists\/playlist-de-oum\/\" target=\"_blank\" rel=\"noopener\"><span class=\"caps\">OUM<\/span><\/a>\u2026).<\/p>\n<p><strong>U-Cef - Gazel Fatma (1999)<\/strong><\/p>\n<iframe title=\"Gazel Fatma\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/UF5Qd8sh9I8?list=PLXTtWmI5UUlOaWwA18NRIXRpDxoeHNzMy\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>Le label Apartment 22 qui a produit les deux premiers <span class=\"caps\">EP<\/span> de U-Cef a aussi travaill\u00e9 avec&nbsp;MoMo.<\/p>\n<p><span class=\"dquo\">\u00ab<\/span>&nbsp;<i>U-Cef ou MoMo sont juste des artistes marocains qui font de la musique marocaine, sauf que c\u2019est de la musique d\u2019aujourd\u2019hui. Il est temps de donner plus d\u2019espace \u00e0 cette musique \u00bb<\/i>, expliquait <a href=\"https:\/\/www.auxsons.com\/focus\/mogoya\/\" target=\"_blank\" rel=\"noopener\">Andy Morgan<\/a>, le fondateur du&nbsp;label.<\/p>\n<p>C\u2019est pr\u00e9cis\u00e9ment la proposition simple et puissante de MoMo (Music of Moroccan Origin). Les trois musiciens du groupe, exil\u00e9s \u00e0 Londres, ont cr\u00e9\u00e9 leurs propres mixtures compos\u00e9es de rythmes et sons traditionnels dans des structures techno, trance ou encore garage et breakbeat, ce qu\u2019ils appellent Digital Roots Music, abr\u00e9g\u00e9 en DaR (maison en&nbsp;arabe).<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Guedra Guedra - A brief History of Morocco\u2019s Electronic Music<\/strong><\/p>\n<iframe title=\"Darna@Home - A Brief History of Morocco's Electronic Music by Guedra Guedra - \u0643\u062f\u0631\u0629 \u0643\u062f\u0631\u0629\" width=\"640\" height=\"400\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&amp;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F781064800&amp;show_artwork=true&amp;maxheight=960&amp;maxwidth=640\"><\/iframe>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">La liste est loin d\u2019\u00eatre exhaustive tant \u00e0 partir de cette d\u00e9cennie il y a eu de marocains \u00e0 se faire une place l\u00e9gitime dans les espaces de la musique \u00e9lectronique, dans un \u00e9lan de d\u00e9colonisation de la bass&nbsp;music.&nbsp;<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><em>Merci \u00e0 Mouna Guidiri pour son aide pr\u00e9cieuse&nbsp;!<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p class=\"p1\"><em>Cet article s\u2019inscrit dans une s\u00e9rie sur l\u2019\u00e9lectro au Maghreb&nbsp;:&nbsp;<\/em><\/p>\n<p class=\"p1\"><a href=\"https:\/\/www.auxsons.com\/focus\/lunderground-algerien-un-projet-ambitieux-a-connaitre\/\" target=\"_blank\" rel=\"noopener\"><span class=\"dquo\">\u00ab<\/span> <strong>L\u2019underground alg\u00e9rien\u2026 un projet ambitieux \u00e0 conna\u00eetre !&nbsp;<\/strong>\u00bb<\/a><\/p>\n<p class=\"p1\"><a href=\"https:\/\/www.auxsons.com\/focus\/breve-histoire-de-la-musique-electronique-en-tunisie\/\" target=\"_blank\" rel=\"noopener\"><span class=\"dquo\">\u00ab<\/span> <strong>Br\u00e8ve histoire de la musique \u00e9lectronique en Tunisie.<\/strong> \u00bb<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dans la continuit\u00e9 du Focus \u00ab Br\u00e8ve histoire de la musique \u00e9lectronique en Tunisie \u00bb, et \u00ab L\u2019underground alg\u00e9rien\u2026 un projet ambitieux \u00e0 conna\u00eetre !&nbsp;\u00bb cet article vient clore une s\u00e9rie sur les musiques \u00e9lectroniques du Maghreb&nbsp;! &nbsp; Les 90\u2019s ont \u00e9t\u00e9 une d\u00e9cennie f\u00e9conde en musiques \u00e9lectroniques. Au Maroc, musiciens et producteurs utilisaient aussi<\/p>\n","protected":false},"author":271,"featured_media":16141,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-16140","focus","type-focus","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Les 90&#039;s oubli\u00e9es de la musique \u00e9lectronique marocaine - #AuxSons<\/title>\n<meta name=\"description\" content=\"Dans la continuit\u00e9 du Focus \u00ab Br\u00e8ve histoire de la musique \u00e9lectronique en Tunisie \u00bb, et \u00ab L\u2019underground alg\u00e9rien\u2026 un projet ambitieux \u00e0 conna\u00eetre !\u00a0\u00bb cet\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.auxsons.com\/en\/focus\/les-90s-oubliees-de-la-musique-electronique-marocaine\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les 90&#039;s oubli\u00e9es de la musique \u00e9lectronique marocaine - 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