Name: Mourad Sliti aka DJ Mourad
Nationality: Tunisian
Occupation: DJ, producer
Current release: DJ Mourad is one of the artists contributing to the new V/A - Place: Tunisia compilation curated by Azu Tiwaline and Shinigami San and to be released on Air Texture March 24th 2023.
Recommendations: I will suggest Wilhelm Reich, listen little man. My all-time favorite book and Urban Outcasts by Loic Wacquant

If you enjoyed this DJ Mourad interview and would like to know more, visit him on Instagram, Facebook, twitter, and Soundcloud.



When did you start writing/producing/playing music and what or who were your early passions and influences? What was it about music and/or sound that drew you to it?

In 1994, I began a musical partnership with my soul brother Christian Lappalainen and together, we released the Summer Night in Tunisia EP as CHRISMOUR PROJECT on the now defunct G-Force Rec.

My passion for music started at a young age and I was exposed to a variety of genres through my late father and radio. The Couleur Bleu Nuit program on RTCI (Tunisian national radio´s international channel), hosted by Haykel Bouzouita , whom I consider as our local “ELECTRIFIYING MOJO” (Radio DJ at WGPR, Detroit), influenced my musical taste and led me onto a path that helped me discover different genres such as soul, reggae, dub, hip-hop, and electronic music. However, my first and enduring love remains jazz.

Also, the sound of synthesizers drew me to specific artists and albums. The most impactful albums in my life were Roxy Music's Avalon and Detroit 313 on Infonet Rec. These albums had a profound effect on me and left a lasting impression.



When I listen to music, I see shapes, objects and colours. What happens in your body when you're listening and how does it influence your approach to creativity?

I don't experience visual sensations when listening to music. Instead, the music elicits emotions in me, either happiness or sadness. I feel the music in my body.

When I create music, I consider the intended atmosphere, whether it's meant to be for the dance floor or a more relaxed vibe. The creative process is also influenced by my mood in the moment.

I don't approach making music as a formulaic process, rather it's a personal and organic experience without the pressure of needing to produce music for financial reasons.

How would you describe your development as an artist in terms of interests and challenges, searching for a personal voice, as well as breakthroughs?

My development as an artist is a continuous journey, constantly evolving. While some might see me primarily as a Detroit techno / technosoul producer, others know me for my work in the House / Deep House genre.

Early on, I worked to avoid being confined to a single style and instead embraced both depending on my mood. Through time and experimentation, I have developed my own sound that, I hope, is recognizable regardless of the genre of the track.

The same is true for my DJing, where I blend both styles in my sets. When selecting music for my sets, I focus on the sound that will help me tell my story, rather than the style or trend.

Tell me a bit about your sense of identity and how it influences both your preferences as a listener and your creativity as an artist, please.

My sense of identity became clearer when I relocated to Sweden, where I gained a deeper understanding of my heritage and differences. While I didn't actively apply these aspects in my music-making or DJing, I believe they were subtly reflected in certain sounds and rhythms that I incorporated.

I prefer to separate myself from traditional Tunisian musical styles and don't feel the need to deliberately create exotic music. My identity as a Tunisian is inherently exotic.

What, would you say, are the key ideas behind your approach to music and art?

Some key ideas behind creating music and art could be: expression, storytelling, emotional, exploration of sounds and techniques, and pushing creative boundaries.

The approach to music and art is highly subjective and varies greatly between artists. But a focus on craftsmanship and honing one's unique voice and style is often important.

My approach is to create music that will hopefully survive the test of time and that I will still be proud of many years later.

How would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

Originality and innovation versus perfection and timelessness in music is a debate that has been around for a long time. Some believe that music should be groundbreaking and push boundaries to create new sounds and styles, while others believe that the pursuit of perfection and creating timeless music is more important.

As for the idea of a "music of the future" or "continuing a tradition", both have their place in the industry and are dependent on the artist's personal preferences and goals. Some artists strive to be pioneers and create unique and innovative music, while others aim to preserve and pay homage to classic styles and traditions. Ultimately, the value of music is subjective, and both approaches can produce great works.

The question is: Can originality still be achieved in music today? Is there still room for fresh ideas and new sounds? The last genre to emerge was Drum & Bass. Have there been any new genres since?

Over the course of your development, what have been your most important instruments and tools - and what are the most promising strategies for working with them?

I come from the hardware era of music production. That's when I started learning.

My first computer experience in the studio was while recording our first EP with Christian. We used an Atari computer with Cubase as the sequencer. However, we quickly encountered problems as the Atari could only sequence the first track and we had to record the remaining three tracks live from the mixing desk. This taught us to have contingency plans while using gear.

I eventually transitioned into using computer-based tools with Cubase VST (around 1998), but now I have a balance between both, using computer tools and hardware.

My production center is the MPC combined with synths and drum machines. In the digital realm, I use Ableton Live and Propellerhead's Reason, with a heightened emphasis on Reason since the racks became available as VST3 ( No more Rewiring). Reason offers a vast range of sounds and interesting effects.

Take us through a day in your life, from a possible morning routine through to your work, please.

My Monday to Friday routine is similar to the common mortals of this planet. Work, home, sleep, wake up, work. I live in that loop. The only exception is when I have my radio shows on Detroit's Deep Space Radio or on the UK based ARP Radio.

The weekends are for the music but that is not written in stone either. I can wake up on a Saturday morning at 6 am because I feel the urge to start the machines and make music. Some other weekends I totally disregard the studio and that can go on for weeks or months.

If I’m not inspired and pushed by the urge coming from deep within me to let my heart and soul speak, then there will be no music. Period.

Could you describe your creative process on the basis of a piece, live performance or album that's particularly dear to you, please?

My approach to starting a track is not fixed. Usually, I begin with the bassline and the drum track, then let the loop play while I consider the next sound.

My background as a DJ influences my approach, and I strive for tracks that are both funky and soulful. The outcome can vary depending on my mood, sometimes veering towards a harder or darker sound.

After completing a track, I take a step back and listen to it after a few days to determine if it needs further work or if it's ready to be scrapped.

Listening can be both a solitary and a communal activity. Likewise, creating music can be private or collaborative. Can you talk about your preferences in this regard and how these constellations influence creative results?

I prefer working alone as it gives me complete control over my creative process and the outcome is highly personal. I don't collaborate frequently as it requires a certain level of trust and a shared musical taste.

The issue with collaborations is that usually one person dominates the process, whether it's due to technical or artistic skills. My collaborations are rare and limited to close family members.

For example, with my blood brothers Nabil and Dali in the TUNIS DIASPORA 216 project, we each work on our own tracks and only come together for selecting tracks for releases. The only person I can truly collaborate with is Christian.

How do your work and your creativity relate to the world and what is the role of music in society?

My music creation is for my personal fulfillment, not for societal recognition or validation. I don't aim to impress anyone or cater to specific expectations. I focus on creating music that satisfies my soul, regardless of external opinions.

I reject the idea of intellectualizing music or making it pretentious in order to impress others. My focus is solely on creating music that brings happiness to me and anyone who might appreciate it.

Art can be a way of dealing with the big topics in life: Life, loss, death, love, pain, and many more. In which way and on which occasions has music – both your own or that of others - contributed to your understanding of these questions?

Music played a crucial role in helping me process my grief after losing my only son and father, months apart.

Initially, the thought of making or listening to music was too painful because the last time I saw my son was when he was remixing one of my tracks. My studio space held too many memories. For two years, I was numb and unable to find any joy or motivation in music. But one day, I felt an intense urge to make a mix and was overwhelmed with emotions as I cried throughout the process.

This was my first step back towards music and although it brought back painful memories, it also helped me anchor into my new reality. But I cannot say that it helped me come to terms with my loss. Not for the moment anyway.

How do you see the connection between music and science and what can these two fields reveal about each other?  

I see the connection between music and science as one of practicality.

The development of VSTs and other tools in music production has been astonishing and it continues to evolve. I am amazed at how certain individuals have used their scientific knowledge to create innovative tools that can enhance a musician's creativity. These tools allow musicians to push the boundaries of sound and make their creative process easier.

So, in a way, science supplies practical tools for musicians to explore and experiment with their art.

Creativity can reach many different corners of our lives. Do you feel as though writing or performing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't in more 'mundane' tasks?

Music is a form of self-expression that can tap into a deeper emotional level compared to other tasks. The creative process of making music requires not just technical skills, but also the ability to channel emotions and feelings into the art.

However, the pursuit of financial stability can sometimes cause the creative process to become more focused on quantity over quality, potentially compromising the integrity of the art.

Music is vibration in the air, captured by our ear drums. From your perspective as a creator and listener, do you have an explanation how it able to transmit such diverse and potentially deep messages?

I prefer not to know the explanation. If we were to understand the exact process and formula, the magic and impact of music on our emotions might be lost.