• 3 months ago
مدي 1 تي في : مع فيصل عزيزي - 16/09/2024

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00:00Salaam alaikum and welcome to a new episode of TMI News.
00:17Welcome to a new season of your daily and artistic show, Patchwork.
00:22We are happy to be with you every day to present to you some news,
00:25news about the work and renewal of the artistic field.
00:28So, I ask you to put your heads down and let's start.
00:35Welcome again, I suggest you to follow me and discover who is our guest of today's episode.
00:55Salaam alaikum.
01:25Salaam alaikum.
01:55Welcome again, I suggest you to follow me and discover who is our guest of today's episode.
02:18Our guest today is Faisal Al Azizi.
02:20Salaam alaikum and welcome.
02:21Salaam alaikum.
02:22How are you?
02:23Hello Faisal, what was your first idea, the idea of the song or the idea of the album?
02:32To be honest, I started with the idea of the album because a lot of fans asked me why I didn't do something related to Torah.
02:42Because I started my solo career with this song.
02:46After that, I sang a lot of songs from the Torah in the album.
02:50They asked me to do a project where I could gather all of this.
02:57So, the idea came from this discussion.
03:00Ok, tell me more about the process of writing the book.
03:05It was a total coincidence.
03:08I didn't expect it to be like this.
03:11The song came from a proposal of a young producer called Broski.
03:18He works a lot with rappers, etc.
03:21I gave him the instrumental.
03:23It was like this.
03:25When I heard the instrumental, I said to myself,
03:27Oh my God, this is a great idea.
03:29I recorded it at that time.
03:32I gave it to him and we finished the project.
03:36Why did you write the words?
03:38They told me it's a song from the Torah.
03:40Did you add anything to it?
03:41Yes, I added it to the second part of the song.
03:44I think the end of the song is the same as the Torah.
03:47You added a touch of Faisal Azizi.
03:51Yes, there is such a thing.
03:53Neither in the melody nor in the words.
03:55It's difficult to add to something that is Torah and old.
04:00What are the considerations you take before you adapt and personalize?
04:06It's like the character of the boy who came from the past.
04:11But now he lives in a different time.
04:14Like you said, he lives in 2024.
04:16Yes, in 2024. He came from 1500 years ago.
04:19So, he has to adapt to this time.
04:22He has to learn the codes of the present.
04:24He sings his song again, but in the style of the present.
04:28So that people understand it.
04:29What happens is that you can't add a lot to the words.
04:34You can't make it a remix.
04:36It's like you imagine that the person who wrote or sang this song
04:40will add to it or change it.
04:43But it stays in that area.
04:45It doesn't come out a lot.
04:46It remains respectful of the load and the idea that is in it.
04:50Is there an authorization to see when you sing the Torah?
04:53No, in fact, there isn't.
04:55On the contrary, there is a big motivation to renew the Torah
04:58and show that there is a lot that can be changed.
05:01The problem I have is that a lot of people consider me to be specialized in the Torah.
05:06Honestly, for example, what I sing in the album...
05:09You mean the album of the Torah?
05:11Why are you saying that you are specialized in the Torah?
05:13No, but honestly, God.
05:14If it wasn't for what's in the album,
05:16I wouldn't know.
05:17If it wasn't for the memorization, I would have memorized it.
05:20But the original compositions, as they are called, exist.
05:24They exist.
05:25I mean, they are part of the project.
05:27The album is 100% original.
05:29It's possible.
05:30It's possible, of course.
05:32And as I told you, the archives exist.
05:34We have to look for them.
05:36They are in places.
05:37For example, I, for whatever reason,
05:39in the album, discovered them in the Tetouan Museum.
05:42You wear a helmet,
05:44and you press a button,
05:46and you listen to Tetouan music.
05:48I listened to a version of Zohra Abteu.
05:53Her voice is very similar to Edith Piaf's,
05:56and she sings in Andalusian.
05:58I listened to that song like I was listening to Drabnido.
06:01I even found a version on the internet,
06:04and it's been 7 years since I listened to it,
06:06until I released this version.
06:08Bravo, because you write something, you work hard,
06:10and you don't just write what's on the internet.
06:13You don't just write what's on the cassettes.
06:16Sometimes we have to go back to the books and the vinyl,
06:19to discover rare things,
06:21and we can go back to them in 2024.
06:23Bravo for what you do.
06:25In the words of Faisal Azizi,
06:27you say, you don't create, you create.
06:29You have a nickname,
06:31regarding the video clip.
06:33Your nickname is the sequence plan.
06:35I have a nickname for the sequence plan of my career, honestly.
06:37A life record?
06:39There is a life record,
06:41and there is not only one.
06:43It's true.
06:45What is the relationship between the sequence plan?
06:47The sequence plan is one of the scenes,
06:49you can say,
06:51that are filmed without editing,
06:53without editing.
06:55It's one scene.
06:57And this is your video clip.
06:59Why?
07:01I think,
07:03I don't even need to ask this question.
07:05He's a psychoanalyst.
07:07He says, I think,
07:09that in the past,
07:11I think it came from the theater.
07:13Why?
07:15Because the theater,
07:17it's a sequence plan,
07:19if we think of it in a cinematic way.
07:21When you enter,
07:23you do what you have to do,
07:25it can be 5 or 10 minutes.
07:27It's a sequence plan.
07:29When you enter,
07:31you leave.
07:33This feeling in the theater,
07:35we want to take into account
07:37in the work we do.
07:39In my life record,
07:41this was the idea of the director of the series.
07:43But in the video clip,
07:45we enter and film like a piece of art.
07:47Technically and aesthetically,
07:49it gives a beauty to the song,
07:51to the film, to the series.
07:53And it's difficult.
07:55It's very difficult.
07:57You have to repeat it.
07:59It's difficult for the singer,
08:01for the actor,
08:03and for the whole technical team.
08:05Because one thing,
08:07you can't believe it,
08:09it's a moving camera,
08:11you have to get used to everything.
08:13It's a storyboard.
08:15I wasn't the first one
08:17to do a sequence plan.
08:19I said yes.
08:21It was the idea of the director,
08:23Sarah Rakha.
08:25She is the director
08:27of the Marrakech Cinema School.
08:29The idea of the painting,
08:31is the same as the make-up.
08:35But it's a real sequence plan.
08:37It's 100% real.
08:39Everything is rehearsed,
08:41it's not a cut,
08:43it's not a light editing.
08:45Yes, that's right.
08:47Even the make-up,
08:49the special effects,
08:51it makes you think
08:53that it's real.
08:55There are a lot of rehearsals.
08:57The make-up is incredible.
08:59There are a lot of people.
09:01What about the interest
09:03in your art?
09:05I like it even more.
09:07Honestly.
09:09It's true that
09:11Izadak's education
09:13is very important
09:15for those who don't know Izadak.
09:17When they read the history
09:19of the art,
09:21I was one of the subjects
09:23they liked a lot.
09:25I had a new passion,
09:27I didn't know plastic art.
09:29Of course, the integration
09:31in the clip was important.
09:33There are references,
09:35like the Son of Man,
09:37it's an inspiration.
09:39Did you like the painting?
09:41Yes.
09:43The only time
09:45I did a reproduction
09:47was for Magritte.
09:49Not this painting,
09:51but another one.
09:53Magritte is one of the painters
09:55I like a lot.
09:57The fact that I was inspired
09:59by his work
10:01makes me happy.
10:03It's a clueless thing.
10:05We say that
10:07there is an apple in the nest,
10:09but normally
10:11it's the clown's nest.
10:13Is there anything
10:15similar to it?
10:17Relatively, yes.
10:19At the same time,
10:21it's Mr. Everybody.
10:23Mr. Everybody,
10:25the normal, standard person
10:27at the bottom of the painting.
10:29That's the explanation
10:31of this painting.
10:33We tried to represent it in the clip.
10:35There is another reference,
10:37Blue Jasmine,
10:39by Woody Allen,
10:41to cover your face.
10:43This painting
10:45is another painting.
10:47I don't know
10:49if they did the same thing
10:51in Woody Allen's film.
10:53This is the upper scene of Woody Allen's film.
10:55No, this is another painting
10:57by Dark Plastic,
10:59which inspired us.
11:01I think it's clear.
11:03It's people's desire.
11:05Is it possible or not?
11:07It's symbolic.
11:09You say
11:11that the painting
11:13brings people together.
11:15How?
11:17Is it true?
11:19Is it a miracle?
11:21I don't think it's a miracle alone.
11:23Everyone in the world
11:25brings people together.
11:27They drink coffee,
11:29to bring people together.
11:31No,
11:33this sentence
11:35is in the original.
11:37I've never heard
11:39this expression,
11:41but it's in the original.
11:43At the same time,
11:45it's an indirect way
11:47to answer each other.
11:49That's what happened in the past.
11:51Criticism.
11:53Yes, a lot of criticism.
11:55Especially when
11:57it comes from the media.
11:59Not all the media.
12:01There are some good media
12:03like here.
12:05But,
12:07Faisal Azizi,
12:09you contribute
12:11in
12:13promoting
12:15these criticisms.
12:17You're a technician
12:19and a social media player.
12:21Maybe.
12:23I'm happy
12:25to be here.
12:27Welcome.
12:29On the contrary,
12:31I'm one of those people
12:33who don't understand.
12:35You choose your words,
12:37your captions, your photos.
12:39Yes,
12:41but it's not
12:43a strategy
12:45that influencers can use
12:47to become rich.
12:49I was surprised
12:51by the number of rich people
12:53but I didn't know
12:55what to do with it.
12:57It's not a strategy.
12:59I didn't learn
13:01how to be more strategic.
13:03Honestly.
13:07Can we see
13:09a DJ version of this album?
13:11A mix?
13:13Or an acoustic version?
13:15Live?
13:17Acoustic, of course.
13:19That's what I like.
13:21I like playing live.
13:23I like playing live
13:25without effects.
13:27I want to sing naturally.
13:29But if I collaborate
13:31with someone who makes electronic music
13:33or a good DJ
13:35who respects the environment
13:37and doesn't change a lot,
13:39I can trust him.
13:41Especially since
13:43you're in the M.A.O.
13:45which is Music Assisted by Computer.
13:47Can we see more developments
13:49with electronic collaborations?
13:51I'd love to.
13:53I don't know what I want.
13:55I want to do everything.
13:57I know a lot about electronic music.
13:59I'd like to perform
14:01as a singer
14:03with musicians.
14:05I'd like to have a profile
14:07that I can share this adventure with.
14:09What's the example
14:11of Aita Monamour?
14:13I love her.
14:15She's a professional
14:17in the field of electronic music.
14:19She's now with us in Patchwork.
14:21Maybe she'll be an example
14:23for future collaborations.
14:25They have a group called Nerdistan.
14:27I love this concept.
14:29I think when I did it
14:31at Visa for Music
14:33a few years ago,
14:35we did it this way.
14:37But then we came back
14:39to the method of
14:41thinking of a word group.
14:43There are no words.
14:45We gave the word to her
14:47and she gave it back to us.
14:49And we were able to speak.
14:51We were able to sing.
14:53We were able to speak,
14:55but we couldn't speak.
14:57We considered this group
14:59to no longer belong to me
15:01or to Sakinaz.
15:03We don't have the right
15:05to say why it doesn't belong anymore.
15:07It can come back at any moment.
15:09Because a group
15:11is not controlled by one person
15:13but by a group of people.
15:15So one day,
15:17everything will be predisposed
15:19to go back to music.
15:21I have a feeling
15:23that in the future
15:25a group will come back every day.
15:27Or once a year.
15:29Once a year, I don't know.
15:31But it will come back.
15:33Lukan's song,
15:35was it a video clip?
15:37It was a generic
15:39of a series
15:41and I didn't know
15:43the exact date of the series.
15:45So I released the song
15:47before it was released on the album.
15:49So I thought,
15:51let's do it on the album
15:53so people will find it.
15:55It was a generic
15:57and a lot of people
15:59said it was a video clip.
16:01Can we do a collage of the series
16:03that you did?
16:05You don't know the date of the series.
16:07Look,
16:09I'm ready to deal with you.
16:13For what reason
16:15is it called Andalusian Electro?
16:17It's not electro.
16:19It's more like Andalusian
16:21and soul.
16:23Soul R&B.
16:25It's more like
16:27the old 80s soul.
16:29As I said,
16:31when I heard it,
16:33I thought it was instrumental.
16:35I tried to sing it
16:37but it was different.
16:39So I thought it was instrumental.
16:41But this is the rhythm
16:43that comes with the song.
16:45There is a potential
16:47and the soul
16:49gives this style.
16:51Is there a difference
16:53in the melody
16:55of one of the songs on the album?
16:57There is no difference.
16:59It's just...
17:01A misunderstanding?
17:03I don't think
17:05it's a misunderstanding.
17:07It's just that
17:09when I put the song
17:11on the digital label,
17:13I was told
17:15that it was a sample
17:17of a famous song.
17:19I didn't know that.
17:21I asked around
17:23and they didn't confirm it.
17:25It's a misunderstanding.
17:27It's 100% a misunderstanding.
17:29How often do you verify it?
17:31It's very difficult
17:33because sometimes
17:35you can make a 100% mistake
17:37and they strike you.
17:39Then you have to explain
17:41that it's not like that.
17:43Then things go back to normal.
17:45Why don't we see you
17:47a lot at festivals?
17:49Music festivals?
17:51Yes, of course.
17:53I don't know.
17:55Do you participate?
17:57Yes, we do.
17:59I don't have an answer.
18:01I don't think
18:03it's a bad intention.
18:05It's not like that.
18:07At the same time,
18:09I organize private events
18:11where I inform people.
18:15I don't know
18:17about festivals.
18:19I don't have an answer.
18:21Do you prefer
18:23intimate concerts
18:25or 300-person venues?
18:27I prefer
18:29300-person venues.
18:31I don't know
18:33if it's possible
18:35but you have to prepare
18:37but I prefer
18:39small spaces
18:41for concerts.
18:43Do you have any projects?
18:45Yes, we filmed something
18:47but we don't know
18:49when it will be released.
18:53The last thing
18:55I filmed
18:57was Camping Paradis
18:59a French series.
19:01It's still here.
19:03I filmed a Moroccan film
19:05and a series.
19:07When it's released,
19:09I'll come to you.
19:11Hello.
19:13We want to see you
19:15in Moroccan and foreign projects
19:17because you're involved
19:19in cinema
19:21and your projects.
19:25You're involved
19:27in Moroccan and foreign projects.
19:29I don't want to interrupt you.
19:33You're involved
19:35in people's behavior.
19:37What do you think
19:39about this?
19:41Do you think
19:43there's an ambiance
19:45of the danger
19:47after Corona?
19:49Do people get angry?
19:51Do they feel
19:53anxiety?
19:55Do they feel individualism?
19:57You're right.
19:59It's an on-point question
20:01because I think
20:03Corona wasn't the only reason.
20:05It was the moment
20:07that made people
20:09lock themselves up
20:11because people
20:13don't have the reflex
20:15to lock themselves up
20:17and say,
20:19why did I make this decision?
20:21Because I was very scared.
20:23Corona
20:25made people sit on the floor
20:27and complain about
20:29what happened.
20:31Especially adults
20:33aged 18 and above.
20:35Since then,
20:37people have been living
20:39with the same feelings
20:41that they felt
20:43after Corona.
20:45So,
20:47people who have the information
20:49don't have a coach
20:51or meditation.
20:53They just feel
20:55like they're changing
20:57because of Corona.
20:59So,
21:01Corona is a shift
21:03in people's lives.
21:05At the age of 4 and a half,
21:07we became more and more
21:09aware of mental health
21:11and mental health.
21:13We became
21:15more aware of
21:17the pressure
21:19and psychological
21:21and emotional
21:23pressure.
21:25But at the same time,
21:27it's a mess.
21:29Since people
21:31are buying a lot,
21:33we have a lot of people
21:35who don't have a coach.
21:37Who doesn't have a coach?
21:39No,
21:41everything is without a coach.
21:43Since
21:45we started this platform,
21:47we warn people
21:49not to listen to anything
21:51on the internet
21:53with a white shirt
21:55or a voice like this.
21:57We tell people
21:59who are specialized
22:01to study for years
22:03and don't have absolute confidence.
22:05It's a case-by-case process.
22:07Most of the specialists
22:09who have real skills
22:11don't have a coach
22:13and they lose a lot.
22:15They don't lose a lot,
22:17really.
22:19They always tell you
22:21they will solve it for you
22:23before you ask them.
22:25Experts will show you
22:27and of course,
22:29read books and follow
22:31well-known people in the field.
22:33Mental and psychological health
22:35is very important.
22:37Thank you very much, Faisal.
22:39Do you want to tell me
22:41something else?
22:43No, it's not strange.
22:45It's a personal development.
22:47We never know.
22:49Faisal, thank you very much.
22:51I hope you succeed
22:53in your career.
22:55Thank you
22:57and thank you for the warm welcome.
22:59The album Ghoulam
23:01is available on all platforms.
23:03Qilouni's songs are available
23:05on YouTube and other platforms.
23:07Watch them, stream them
23:09to encourage your artists
23:11and especially the artists of our generation.
23:13We have a problem with streaming
23:15because our generation doesn't have
23:17a lot of technology.
23:19Stream them and thank you.
23:21Thank you, Faisal.
23:23Thank you for coming.
23:25This is the end of today's episode.
23:27Thank you to the technical team
23:29and the artists.
23:31Thank you very much.