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Rhyme Report

Published on December 3rd, 2018 | by Dr. Jerry Doby

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Special Report: Exploring Hip Hop in Morocco With Erin Lee

Photos and text, Erin Lee

www.erinleephotography.com

When I decided to discover what was going on in the rap and hip-hop scene in Morocco, I really didn’t know what to expect. I imagined that I would meet artists aggravated by the regime, frustrated with the restrictions of expression and encounter a style shaped by and large, by American hip-hop.

What I actually found is a breed of incredibly motivated, ambitious, humble and multi-talented artists who are firstly not bothered by, and secondly too busy to be worried about state restrictions, or trying to imitate some other style of music. They are energetically working in their home studios or out on the streets collaborating to make their own beats, mix their own tracks, shoot their own videos, all the while stacking up fans, views, and carving out a style on the fringe of mainstream culture in Morocco.

I met with some of Morocco’s most influential and up-coming artists to discover the diverse world of rap, trap and hip-hop made up of dozens of MCs, DJs and beat makers who are creating a genuinely international and un-categorisable sound, mixing Darija (Moroccan Arabic), French and English to create an innovate style which deserves to be heard worldwide.

Hip-hip in Morocco can be traced back to the early 1990’s but it has been during the last decade, thanks to the internet and the smartphone revolution that the genre has quickly become one of the most popular in the country. When this style of music first arrived to the Kingdom not everyone had access to a smartphone as they do today, now everybody is connected and able to watch the latest videos on YouTube, follow Instagram profiles and listen to their favorite artists on a daily basis. This has had a huge influence on up and coming artists’ success; despite media coverage being scarce, they are able to create their own hype. The biggest problem that Moroccan artists face today is the lack of music industry, in which the labels that do exist concentrate on conservative or commercial music styles, shutting hip-hop artists out.

Moroccan artists are respectful to their traditions while embracing the new; they choose to rap about their upbringings, society and the youth, while steering clear of overly political messages. Most of them agree that you are able to say what you want, you just have to be astute about how you do it, by sending your message indirectly or using slang, they know their fans will be able to read between the lines. Moroccan rappers do speak about their struggles and this is always a reflection of politics, society and the reality of living in a Kingdom.

A rapper from the original generation, MC Pirate who transitioned into rap from the world of motorbike stunt riding and now also works as a video director and producer believes that freedom of expression does exist in Morocco, you just can’t cross a certain line. “I believe the freedom of one’s expression stops when you encroach on the freedom of expression of another. But you can’t directly insult the King using his name, there are rappers who have done that in the past and had to flee in exile, it’s better that way to keep the order”.

But crossing that line is not Pirate’s style anyway, himself along with other rappers and producers agree that there are young artists out there today who just like to insert 2 or 3 ‘shock’ words into their lyrics, delivering it with zero style or technique just to make a buzz. They try to get attention by simply touching on taboo subjects rather than creating something constructive or with real talent.

MC Pirate – Raptor

Longtime supporters of hip-hop in Morocco have been festival L’Boulevard, this year in its 18th edition they bring to the stage debuting and established Moroccan artists, alongside guest international artists. L’Boulevard with Block 10 offers debuting rappers the chance to perform and compete, providing the winner the opportunity to record their tracks in a studio. Block 10, a collective initiated by rapper M-Doc also offers hip-hop master classes, where anyone interested can come for free and learn about the history of hip-hop, how to rap, write and spit, how to write with metaphors – basically covering all the elements of rap and hip-hop, along with a once a month open mic night. But along with almost everything else in this division, Block 10 comes purely from the collective’s own blood, sweat and tears, no sponsors, no budget – just a love of hip hop music.

 

Relatively newcomers to the scene are Mons and Negaphone, previously known as group 118, they are now both fixated on solo careers.

118 – Mozart

Mons, who at 26 years old has racked up millions of views on YouTube, is running his own production company Carnaval Prod, while mixing and producing for clients and friends as well as his own raps and tracks. Mons also feels that the biggest problem in Morocco is the lack of industry support. “There is no production house, no real recording studios for this kind of music in Morocco, and that’s the real issue. It was a big problem trying to find a studio to record my material; I don’t have the money for it. So we do it how you see here, in our own home studios without a lot of equipment. Little equipment but big results!”

Also contending with family and social expectations can be difficult for these artists, being told that rap music is haram, forbidden; as Mons points out, “of course my family wishes I didn’t do rap, its haram. The country says don’t do this, don’t do that, this is what’s best for the country – but it’s not what is best for me. I have a dream and I want to live those dreams.” But Mons frequently dismisses these problems with, ‘mais c’est pas grave’ – ‘it’s ok’. This optimistic attitude seems to have enabled him to accept that this is the way things are in his country and continues to work; Mons is part of a new generation of artists who are looking to push the boundaries of rap in Morocco.

 

Mons – Fratello

Negaphone as a solo artist has a fresh fit compared to the sounds of 118. Singer, guitarist, rapper and producer he seemingly effortlessly puts a lush, tropical twist into his sound. With xylophone melodies, and videos shot poolside, or on a football pitch adding his own kind of Caribbean, slash Moroccan style. Also 26, Negaphone remembers playing instruments and recording himself ever since he was a kid. He went on to study formal training in music at the Conservatory of Music School in Casablanca and was in various groups throughout his teenage years before forming 118 with Mons. He previously produced 118’s tracks or those of other members of the group and friends, but since going solo has expanded to work on major collaborations with other Moroccan artists. He remembers the apprehension of releasing it to the world that he was a solo artist now, “When we stopped 118 and you break up and start your own YouTube channel with your own tracks, dropping the first clip again it’s nerve racking, it’s like rolling the dice. Are you gonna get new hype on the solo channel or not?” So far, so good Negaphone is currently working on an EP that will be available later this year.


Negaphone feat. Lord Mehdi – Capitane

Other undeniable forces on the scene are Shayfeen and Madd. Shayfeen consists of members Shobee and Small X and solo artist Madd is Shobee’s younger brother. Shayfeen formed in 2006 and undoubtedly introduced trap music to Morocco around 2012. Although they were perhaps initially misunderstood at home, their most recent album release in 2016 gained huge popularity over the following two years and led to the popularization of trap music in Morocco. Potentially also in response to recent dissemination of American trap, Moroccans are now embracing the slow-rolling rhythms and cushy vocal delivery popularized by this Southern style of hip hop.

Shayfeen and Madd’s style definitely brings hope to the young generation, hailing from the town of Safi notably Shayfeen in spite of initial public misconceptions continued working in their own unique way and they too are not exempt from feeling the consequences the lack of industry brings –yet none of these things stopped them from becoming one of the most successful groups in Morocco and across the Maghreb, and along with Madd being able to perform outside of the country and collaborate with international artists. Shayfeen and Madd’s videos show them as dynamic creators full of energy, swag and progressive attitudes, proving that Moroccan rap will be present on the international stage.

 

Shayfeen – For The Love (feat. Madd, Jonas Benyoub, West & NOR)

MADD – 3310

The virtuoso behind many of these artists’ tracks is West, rapper, composer, engineer and producer. When I met West at his beach house / home studio, he was rocking a floral shirt and explained that moving closer to the beach outside of Casablanca was an important part to be able to concentrate on his work. West is one of the most talented and sought after producers in the region, but humble in his chair behind the computer he preferred to stay away from the camera and was busy mixing tracks, still cracking jokes almost every time he swung around to chat. West has worked with some significant names in the international industry including French-Algerian artists LaCrim and Rim’K, and U.S based-Moroccan artist, French Montana – along with all the Moroccans mentioned above, who generally describe him as the Timbaland of Morocco.

West admits that people come looking for him to mix their music, “I mix whatever comes to make music as a job, but I rap as well because I love it. With my own songs I use the last options that no one else wants to use, I put all the experimental shit on my own music. Then the rappers come back and say ‘ooooh what’s that, I want to do that!’”

West was born in Agadir and grew up attending French school and speaking French at home. “I don’t rap in Arabic, I can’t. Here in Morocco if you speak French people think you act like you’re above them, but if rap is about keeping it real I don’t know how to do it in Arabic, it’s gonna be some fake shit, so I do what I know.” He has been doing what he knows since he was a kid and remembers at 17 years old he bought a microphone and a sound card, charging $5 to record a song, just to make some money to go out and have a good time.

But West still feels the struggle of pulling it all out of your own pocket just like everyone else, “I hope the industry grows and we get more support. Because now we are using our own money to make the videos and the productions, when you got a little bit of money you spend it on that. And in Morocco we help each other out if we can”.

However, he seems optimistic things will get better, “In Morocco everybody has a chance, sometimes I see people coming from somewhere small, some small town, doing their thing, making their way up. And me, I don’t want to win tomorrow, I want to keep going, keep working. I love the journey. Money doesn’t make me happy, fame won’t make me happy. It’s the worst shit.”

 

West – Vrai

Shayfeen – OMG feat. West, Tagne, Madd, XCEP

West was at home at that time working on tracks with Moroccan / American rapper Profit. Born and raised until he was 11 years old in Morocco, Profit spent the rest of his life growing up in the hills of Los Angeles and has only recently returned to Morocco. His conversation could switch just as quickly and smoothly between Arabic and English as his raps could, heavily tattooed and with a thick West Coast accent he’s a difficult figure to place. “People talk to me in French or English and if I answer them in Arabic they are surprised. They don’t think I’m Moroccan.” Originally coming from a conservative Moroccan family, Profit has come back to his roots hoping to change the game, “I am the only one out of 7 who hasn’t graduated from college but I choose not to, I choose to do this. This is what I was born to do. I want to change the rap scene in Morocco, slowly but surely. I still respect the OG’s here, the people that are in power, the gatekeepers and all that but I think it’s time we move forward now.”

Profit just released a track, which he collaborated with Moroccan-French artist, Moro regarding Morocco’s recent ministerial council decision to approve a draft law reinstating compulsory military service for men and women under 25, the first time since 2006. His new album produced by West and featuring collaborations with Negaphone and others will also be out later this year.

 

Innovation is key for these Moroccan artists, which is one thing they all seem to agree on. Although they are inspired by American and French hip-hop they are really absorbed in making music that mixes these elements with the life they live and their Moroccan culture. Another aspect that makes their sound so unique is the language. Darija although considered an Arabic dialect, it is a mix of Arabic, French, Berber, and some Spanish, making it distinctive to Middle Eastern Arabic dialects and is commonly unintelligible to people further east than Tunisia.

Darija to me is a completely alien language with no similarities to anything I know.

It’s highly emphatic and generally high pitched, which makes it very easy to misconstrue overheard conversations, and I often find myself here anticipating a fight to break out just to see the opposite occur a second later. The conversation can snap into laughter and the parties’ involved start slapping each other’s backs, giving high fives or hugging.

But it’s this aggression in the language that fits raps so well, naturally lyrical yet made up of harsh tones, glottal stops, throat rolling, breath pushing and spitting sounds, all of which offer a lot of fervor and sentiment to rapping. Even if you don’t understand the lyrics you can like the topline and the melody, appreciate the sounds, and the speed they rap in, you can comprehend where these artists are coming from; a constantly changing scene in a country that has been living under the control of a dynasty for generations, the popularization of rap and trap is a by-product of the social and political changes that are a long time coming.

Photos and text, Erin Lee

www.erinleephotography.com


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About the Author

Editor-in-Chief of The Hype Magazine, Media and SEO Consultant, Journalist, Ph.D. and retired combat vet. 2023 recipient of The President's Lifetime Achievement Award. Partner at THM Media Group. Member of the U.S. Department of Arts and Culture, the United States Press Agency and ForbesBLK.


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