FAOUZIA
releases masterpiece
FUR ELISE
Photography Tyler Patrick Kenny
Creative Director Deborah Ferguson
Interview by Juan Marco Torres
From nostalgic Y2K vibes to pushing creative boundaries, Faouzia sits down with us to talk about how she balances nostalgia with contemporary production and the importance of stepping out of comfort zones. She offers a glimpse into her highly anticipated debut album, teasing potential dream collaborations on the horizon. The Moroccan recording-artist’s journey exemplifies the power of music to transcend cultural boundaries and connect on a profound level, showcasing her as a dynamic force in the contemporary pop landscape.
Dress and Boots: Versace s24, Earring: Veronique Leroy
Your latest single, Fur Elise, is named after Beethoven’s famous composition. What significance does this classical reference hold for you in the context of your contemporary pop music?
I grew up learning how to play classical piano music for over half of my life so this piece feels like an ode to my childhood – a childhood spent playing away at my out-of-tune keys for hours on end. Fur Elise by Beethoven was specifically a song I learned for one of my practical exams so I knew the piece inside-out. In a funny way, knowing the song so well, I felt like I could “break the rules” and reinvent it to bring this classical piece into the pop world.
Fur Elise seems like a departure from your previous releases in terms of style and theme. Can you walk us through the inspiration behind this track and how it fits into your evolving musical narrative?
Fur Elise to me, is the start of a new chapter in my life. I have taken the time to dig deep and find what it is I want my debut album to sound like. I have always loved creating stories with my music that can be interpreted in many ways and Fur Elise does this. This song also just feels right. When I listen to it, I feel fulfilled. I have created something and have stayed true to myself and it means even more knowing my supporters love it just as much.
Blouse, Skirt and Necklace: Veronique Leroy s24, Body Suit: Zara, Boots and gloves: Tata-LA
In the Doll Summer era, you’ve embraced a more uptempo sound. What motivated this shift, and how do you feel it contributes to your artistic progression?
This summer was all about experimenting with a more uptempo, fun, and almost “careless” sound. Because I am always spending hours crafting my music when it has a “darker” sound, I wanted to release something lighter and light-hearted before fully immersing myself in my usual dramatic world.
Your music is often described as having a multicultural influence. How do you weave elements from different cultural backgrounds into your songs while maintaining a cohesive sound?
I would say that it comes to me very naturally. Because I listen and study a wide range of genres and did so growing up, these genres eventually creep their way into my songwriting when the time is right.
Dress: UNROW, Body Suit: ZARA, Skirt: Tata -LA, Hat: Dead Lotus Couture, Boots: Larroude
Covering Eiffel 65’s Blue (Da Ba Dee) was a bold choice. What drew you to reinterpret this iconic song, and what challenges did you face in putting your own spin on it?
It’s honestly a pretty random story. The summer of 2019, my entire family and I were in Los Angeles. They were keeping me company while I spent time writing every day and my dad would drive me to all of my sessions. Every time he would turn on the car, my mom’s phone connected to the speaker and the one song she had randomly downloaded to her phone would play. This song was Eiffel 65’s Blue. By force of hearing it every time I would get in the car, I started to notice how heavy and tragic the lyrics actually were. I thought to myself why not try making a version where the music matches the lyrics? So, I wrote a second verse and created my own version of the song. I had no idea it would later end up on a TV show and find its way to many people. This just goes to show, you really never know what might happen.
Dress: UNROW, Body Suit: ZARA, Skirt: Tata -LA, Hat: Dead Lotus Couture, Boots: Larroude
Your singles like Don’t Call Me and Plastic Therapy exude empowering themes. How do you ensure that your music not only resonates sonically but also delivers a message that connects with your audience?
Having a message has always been my top priority. When I listen to music, the first thing I notice (oddly) are lyrics. Most people might hear the instrumentation or the melodies, but my ear directly goes to what is being said. This is why I try to make sure there is a story that is being told in my music.
Dress and Boots: Versace s24, Earring: Veronique Leroy
Blouse, Skirt and Necklace: Veronique Leroy s24, Body Suit: Zara, Boots and gloves: Tata-LA
IL0V3Y0U has a nostalgic Y2K vibe. What inspired you to delve into this aesthetic, and how do you balance nostalgia with contemporary production in your music?
I was born in the year 2000 so the Y2K vibe was the first aesthetic and “era” that I experienced. It was such a fun, colourful, and vibrant time and I wanted to create a song that felt just as bright. I also had so much fun creating this one because I had many different layers of harmonies and vocal ad libs that I recorded. Definitely one of my favourite songs I’ve vocal produced.
Suit, Blouse, and Heels: Dolce Gabbana S24, Earrings: Tata-LA, Ring: Sweaty Pigeon, Sun Glasses: Tata-LA by Keburia
As an artist, you’ve spoken about the importance of stepping out of your comfort zone for growth. Can you share an instance where pushing boundaries led to a significant breakthrough in your creative journey?
I think the greatest example of pushing boundaries that led to a significant breakthrough was when I released my song RIP, Love. This song was one that I was sitting on for a year because I was honestly pretty nervous about putting it out in the world. It was the first song I purposely included Middle-Eastern/North African melodies in and again, felt like a big part of me was in it. I think when you are creating something that you have such a big attachment to, it’s a lot scarier to put it out. I’m so grateful I did because the reaction to this song and the world that it created is still one of my favourites so far.
Your proficiency in multiple languages is evident in your music. How do you approach language as a tool for expression, and do you find that certain languages lend themselves better to specific emotions or themes?
I absolutely believe that different languages relay certain emotions a lot better. This is why I love listening to all kinds of music in different languages, even though I might not understand what they are saying. On the other hand, I believe music is a language in itself and even without understanding what someone is saying, you can still feel their emotion which is incredible.
Blouse, Skirt and Necklace: Veronique Leroy s24, Body Suit: Zara, Boots and gloves: Tata-LA
Looking ahead, fans are eagerly anticipating your debut album. Can you offer any insights into what we can expect from this project, and are there any dream collaborations you’re hoping to make a reality?
I am incredibly excited for everyone to see what I have been working on. There have been no compromises in my upcoming music. I have been focusing my attention on every detail, every melody, every word. There is not one fraction of this album that will be created without complete intention, love, and passion. I won’t say too much more, but they can expect that this is without a doubt my best work yet.