Contirbutor
Long before “Afro house” became a global movement, this artist was already weaving Moroccan and African influences into electronic music, not as a trend, but as a natural extension of identity. In this conversation, they reflect on the fine line between cultural expression and globalisation, the spiritual depth of Gnawa traditions, and the responsibility of carrying heritage into modern club spaces. From reworking a 15-year-old track with new perspective to soundtracking sunrise sets at Burning Man, this interview explores how emotion, intention, and authenticity continue to shape a sound that resonates far beyond borders.
MI4L – You’ve been blending Moroccan and African musical elements into electronic music long before “Afro house” became a global term, did it feel like you were building something new, or simply expressing something that already existed within you?
Amine K – It never felt like I was building something new, to be honest, nor that it was Afro House. It was more like uncovering something that was already there. I grew up with these sounds, these rhythms, this spirituality… so when I started producing electronic music, it was natural for those elements to come through.
At the time, there wasn’t a label for it, Afro House was what Louis Vega and its peers were doing, music that I actually grew up with.
On my side, it was just instinct. I wasn’t trying to fit into a scene, I was just translating my identity into sound.
MI4L – When you look at the current global explosion of Afro house, do you feel pride, concern, or a mix of both about how the sound is being interpreted worldwide?
Amine K – It’s definitely a mix. There’s pride because these sounds, these rhythms, this energy are finally getting global recognition. That’s important.
But there’s also a bit of concern. When something grows that fast, it can lose context. Sometimes the depth, the history, the meaning behind the music gets simplified into just a vibe or a trend and the overall quality and message just drops in general.
So I think it’s a beautiful moment, but also one that requires awareness and respect.
MI4L – Your track “Foul Gnawa” was originally produced nearly 15 years ago, what did that version represent in your life at the time, and what does the new version say about who you are today?
Amine K – The original version was made at a time when I was still searching, both musically and personally. It was raw, instinctive, maybe a bit naive in a good way. I didn’t overthink things, I just followed a feeling.
This new version is more intentional. It carries experience, maturity, and a deeper understanding of where I come from and the dancefloor in general. It’s still the same energy at its core, but now it’s more grounded, more precise.
In a way, it’s like reconnecting with a younger version of myself, but with clarity.
MI4L – There’s a strong sense of spirituality in Gnawa music. How do you translate something so rooted in ritual and tradition into a club environment without losing its essence?
Amine K – For me, it’s about intention. Gnawa music is not just sound, it’s a spiritual language. So the challenge is not to copy it, but to respect its essence.
In the club nowadays, people are not in a ritual setting, but they can still be open, especially on a dancefloor. There’s a form of collective trance that can still happen.
So I try to create space for that, through repetition, tension, release… without overproducing or over-polishing it. Sometimes it’s about knowing what not to touch.
MI4L – Artists like BB King and Danny Tenaglia are very different influences, where do those worlds intersect for you creatively?
Amine K – They intersect in emotion and honesty.
BB King is pure feeling, every note means something. Danny Tenaglia is about energy, storytelling, love and connection with the crowd over time.
For me, both are about truth. Whether it’s a blues guitar or a 10-minute club track, it’s the same goal: to move people in a real way.
View this post on Instagram
MI4L – You’ve played everywhere from Myanmar to Mauritius, how has introducing Moroccan sounds to new audiences shaped your understanding of cultural exchange?
Amine K – It’s taught me that people connect to emotion before they understand culture. You can play a Moroccan rhythm in a place where no one knows where it comes from, and they still feel it.
That’s the beauty of music. But at the same time, it made me more aware of my role. Because when you bring something from your culture to the world, you’re also responsible for how it’s represented.
It’s not just about playing tracks, it’s about carrying a story and respect it.
MI4L – Do you think Afro house today is still connected to its African roots, or is it at risk of becoming a globalized aesthetic detached from its origins?
Amine K – I think it’s still connected, but that connection is being stretched.
There are artists who are deeply rooted, who carry the culture forward with respect. And then there’s a more globalized / fast food version that becomes more about aesthetics and numbers than substance.
It’s part of evolution. But the risk is forgetting where it comes from and why it was created in the first place as a form of expression and the culture. And when you lose that, the music loses its soul.
MI4L – Your Moroko Loko concept brings international artists to Morocco while exporting Moroccan culture abroad, what responsibility do you feel as a cultural bridge?
Amine K – I stopped Moroko Loko in 2019 as I felt our mission to create a proper scene in the country and put Morocco on the global map was accomplished. However, the responsibility was real and still is as a proud Moroccan Dj who tours the world. It’s not something I take lightly.
With Moroko Loko, the idea was never just to import or export artists, it’s about creating dialogue. Giving Moroccan artists a platform internationally, while also inviting the world to experience Morocco beyond clichés and export our talents, culture and vibes.
Being a bridge means being honest on both sides. Not diluting things, not packaging culture just to make it more digestible.
MI4L – Sunrise sets at Robot Heart during Burning Man have become a stapple in the industry, what makes that moment so aligned with your musical identity?
Amine K – There’s something very pure about that moment. The night is ending, the sun is rising, and people are in a very open state. No distractions, no pretenses.
Musically, it allows me to go deeper, more emotional, more spiritual. It’s less about performance and more about connection.
That’s probably the closest I get to why I started doing this in the first place.
MI4L – If someone unfamiliar with Moroccan electronic music asked you where to begin, what feeling, not artist or track, would you want them to understand first?
Amine K – I would say: don’t start with a track, start with a feeling of surrender. Open your mind to a culture that will welcome you with open arms.
Moroccan electronic music, when it’s true to itself, is not just about dancing. It’s about letting go, entering a kind of trance, sharing the love and vibes, even if just for a moment.
If you understand that feeling, then everything else will make sense.
Keep up to date with all things Amine K and Izil Recordings, and grab a copy or stream Foul Gnawa here