ARTIST OF THE MOMENT: Azu Tiwaline [Delayed x Mostra]

In the absence of everything, there often exists a profound sense of richness. Within the vast emptiness, we discover intricate connections to both our inner selves and the outer universe. In this void, we often perceive phenomena that blur the lines between reality and dream, yet does discerning between the two truly hold any significance? Perhaps it is within this trance-like state, this feverish exploration, where we find the answers we seek.

Azu Tiwaline, an artist attuned to these energies, channels them into her music, serving as conduits that transport us to these realms. Her 2023 album, "The Fifth Dream" (released by I.O.T. Records), stands as a testament to her ability to induce trance-like states through rhythmic focus and a diversity of influences. The Tunisian and France-based artist stands as one of the most interesting figures in contemporary electronic music, with her work deeply intertwined with the Sahara desert. Her sound defies genres and is deeply organic. There is a synesthetic aspect to her music, that very few artists can achieve. At the upcoming Mostra Festival, Azu will do a live performance on Sunday afternoon, set against the backdrop of the impressive Castle Montjuïc. This presents a chance for us to talk about her origins, her sonic palette, and, of course, the induction of trance.

Hi Azu, thank you for this interview. We are excited to feature you here. Let’s start with: where are you now and how is your state of mind?
Hi, thanks for having me. I’m actually at home in the South of Tunisia, in the desert. After my winter break, I’m feeling fully recharged and ready to go back to Europe. 

This year you play at the Mostra Festival. Have you ever been to the festival and what do you like most about it?
No, I’ve never been to this festival, but I heard some very nice feedback, so I’m super excited to discover and enjoy it. 

What I love about Mostra are the locations. They add a lot to the experience and let the music breathe differently. You will play in the Castel de Montjuic, a mighty fortress overlooking the ocean. What does this location evoke in you?
I already know this Castel and I’m so grateful to play there. The place is amazing, with a stunning view and architecture. One of the main monuments of beautiful Barcelona. I love playing in places that have a strong and old history. A soul. Looking forward to it so much. 

What is your typical approach to live sets, both in terms of technique and how has this approach developed throughout the years?
Generally, I’m collecting some tracks already produced in separate stems in a live session and then searching for the history I could imagine. Then, I’m writing super fast a lot of rhythm parts, percussions and simple tonal music material to complete the vibe. Atmospheres are created or generated live, and some melodies, too. And after, I’m dubbing everything, testing different combinations and it’s at this moment that everything starts to be fun. I've been making live sets for ages, and it’s always the same process. What is important for me is to be able to have hours and hours of music in the same live session. Then, depending on the events I’m playing, the audience, the vibe, and the time, for me, it’s easy to adapt. My live set is going from something super ambient experimental to peak techno stuff, through dub, deep techno, bass music, and so on. All the different genres I love!

You come from Tunisian roots, were raised in Ivory Coast, and have settled in southern France, living in a van. I've come across mentions of Tunisia's significance in shaping your work, sparking my curiosity about the influences of the Ivory Coast and France on you, particularly considering the complex history between France and your homeland.
Just a little precision: my mother was Tunisian yes, but my father is Cambodian. Born in France and raised in the Ivory Coast, and with these two extremely opposite origin cultures, I just feel like a citizen of the world. But my childhood roots are in Ivory Coast, which had the biggest influence on me. That’s why percussion, drums, and trance effect research are a deep part of my music. I started to make electronic music when I came to France as a teenager. So, I’m also hugely influenced by the 90s rave culture. All these origins, cultures, and musical influences are part of me. Even if knowing and awareness of history is essential, I prefer to focus on the present and future. There is nothing complex inside me considering this; on the contrary, I’m feeling super rich and grateful to have all these influences and cultures. 

What is your earliest recollection of a sound that captivated or fascinated you? Are there particular sounds that evoke a sense of "home" for you?
All the drums, and percussions in West Africa, during popular or traditional ceremonies. I've been captivated by this hypnotic, repeating pure rhythm since I was a young child. Being able to see how the music could affect consciousness and how the dancers could fall into a trance state was absolutely fascinating. Music from Africa resonates with me as a “home feeling.” Music from West and North Africa first, but also the ones coming from other parts of Africa. 

Let’s stick with the topic of location for longer. For your production periods, you regularly return to the Sahara, to a very secluded and isolated space. It must feel almost like a complete blank page. I’d love to hear more about your process when you are there and how the “emptiness” (and at the same time vastness) is influencing how you play with sounds. 
Before being able to start from a blank page, I need to reset and empty everything in me. This means taking the time to disconnect completely and going through a healing process for my body and mind that are over-saturated from a busy touring period. Simple routines such as meditating, doing yoga exercises, reading, having long chills in the middle of the desert…Then, I imagine the music I would like to make, and after that, I write and draw different sketches to help me structure my ideas. Once I’m feeling ready, I go to my studio, channel creativity and inspiration with intention and then, the magic happens. That I can take this time in my home, in the desert, by being alone and living as a hermit during this is definitely helping me to go into all these routines and processes. Vastness, infinite space, and silence in the desert are magical for inspiration and also for your well-being. Inside my music, I hope you can feel this vibe and even sometimes hear this silence. I love to play with the silence as if it were an instrument in my productions.

Repetition. Cycles. Both are recurring themes in your work and critical methods of inducing trance. What other elements would characterize your sonic landscape?
Well, I love to draw some sonic landscapes with a complex atmosphere, sound design, and field recordings. I rarely put a strong “front” melody in my tracks. It’s almost only about rhythm and atmosphere. 

You have been making music for over 25 years, a path that has led through different genres. The Mostra announcement describes your music beautifully as “communication with the transcendental”. Tell us a bit more about your process of distilling your distinct musical vision amidst all the influences you’ve had over the years, please.
I think that in order, I went from hard techno to hardcore, to techno, to break beat, to 2step, to dubstep, and now to more dubby techno-ish trippy styles. But definitely, since the beginning, the use of tribal percussion, the research of trance state effects, and “psychedelism” have been the key points. Even if I went through so many styles, I always tried to keep a personal sound signature. 

What role do your ancestors play in your understanding of music? What were the most profound pieces of knowledge or insights they have passed down to you?
There is nothing specific in the understanding of music but rather in the understanding of life and myself. My ancestors, my parents, through their education and legacy, gave me all I needed to fully enjoy this privileged situation of doing some music, but also deal with all the difficulties you have on this path. Struggling with my doubts, fears, uncertainties, lack of self-confidence, insecurity, social pressure… and I am extremely grateful to them, otherwise I would never be where I am today.

Mostra is a festival that specifically also focuses on nourishing the local scene in Barcelona and has built a tight community around them. How do you perceive the scene in Northern Africa and what are developments there?
It’s quite a shame for me, but the truth is that I am always living far from everything, physically and mentally. Neither in Tunisia nor France, isolated mostly in my bubble, digging so much music from any genre and parts of the world, but always in the music I’m looking for, resonating in. I already feel I don’t have enough time for that, so having the time to be open and aware of what is happening in a scene or a place, or not, is difficult for me. I know for sure a few artists from North Africa, but I cannot talk about the scene as I’m not connected enough to have a legitimate opinion. 

Tribal communities and nomadism are necessary forms of living in the desert - also to survive. Slowly but surely we are seeing more narratives around communities and electronic music events being seen as rituals. What are your hopes for the community and the electronic music scene that you are part of?
In the 60’s, we had Hippies. In the 90s, techno sound systems travelers, and nowadays, yes, it seems that there is a revival of this deep need to reconnect to a community, which often has its own rituals. But, I guess we all have this inside our DNA and through our first human ancestors on the Earth. At this time and during centuries, it was necessary to survive. 
I discovered electronic techno music in the 90s and all these techno sound systems travelers, living as nomads in amazing homes on wheels. I experienced this for years and remember how fascinated I was by this life of freedom and its values. Now it’s different. It’s always been a part of me, but since then, I have gone on different paths and connected with other scenes. I’m lucky to feel at “home” between so many scenes, but at the same time, I’m always feeling aside. My only hope for anyone is to experience pure love, freedom, passion, and consciousness, whatever you are or you are doing.

Trance holds a significant place in the musical traditions of your heritage, and Tunisian Trance music has left its mark on you. The symbiotic relationship between trance and dance is undeniable. Renowned Goa Trance figure, Goa Gil, once remarked, "Dance is active meditation. When we dance, we transcend thought, surpassing the mind and individuality, to merge into the divine ecstasy of unity with the cosmic spirit." As a producer and live performer, how do you experience this phenomenon, and which music channels this connection for you?
Dance, movement, energies in motion, vibrations, music, frequencies… Everything is deeply connected. In some cultures, it’s the dancer who follows the music, in other ones, it’s the musician who follows the dancer. Dancers are translating vibrations in movement. And musicians in frequencies and music. And when it becomes “cosmic”, it’s, for me, when the intention is pure, made with your heart, coming from your own divine essence.