If I tell you to think of the most known Algerian songs in the world, you may think of “Aicha” by Cheb Khaled, “Vava Inouva” by Idir, or even “Ya Rayeh” by Dahmane El Harrachi, later covered by Rachid Taha.
Amine, Rahim, and Ramzy, all students at the time, were propelled into the music industry just after their love song was broadcasted on national radio,
, via Facebook. They officially released their song in 2012, without knowing that it would revolutionize the Algerian musical romanticism, and become the most played song in all North-African and Oriental weddings.
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Because it is the group's biggest hit. To this day, it is played daily on all music platforms and shared on social media.
Has been covered and reinterpreted in French by Chimène Bady and Julie Zenatti in 2017, by the French rapper La Fouine during the same year, and more recently by the Coca-Cola brand who used it for its new advertising campaign in the Arab world. In this campaign, each country has its own “representative” singer. Coca-Cola Morocco selected the singer Douzi, who performed Zina. The official campaign video clip was released on the 17th of November 2020.
Another French singer, Slimane, didn’t officially cover the song but performed it at one of his concerts. The same holds for Kendji Girac who performed it on stage at the Jounieh festival in Lebanon. Moreover, budding singers around the globe performed this song in TV programs such as
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Those who live in the Middle East tend not to understand the Algerian dialect, which is often mixed with French words. Furthermore, Algerian Darija is mainly known by Algerians. So how would you explain the universality of Zina’s lyrics, covered by people from France, the United States, Mexico, and Qatar?
Amine: A lot of other songs had the same effect, it is not only Zina. Many songs crossed language boundaries, including “Vava Inouva”, “Aicha” and “Ya Rayeh”. I think it is the harmony between the lyrics and the music. At a certain moment, the music takes over the lyrics. The melody itself can transmit things, feelings. I wouldn’t know how to explain, that is exactly the effect of music. Even without understanding the lyrics, you listen to the piece, you feel the song, the emotion, the sensuality. Songs that procure this effect are generally melancholic or sentimental songs.
Rahim: Zina’s echo started in North Africa and, as the North African diaspora is everywhere in the world, it quickly spread. A Mexican that knows the song generally knew it because of a Morrocan or Algerian friend. I think that it’s the diaspora that made
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Does not understand the lyrics but thanks to it being shared and the soul of the song, they can sing it. There is an expression that says: “What comes from the heart goes straight to the heart”, and Amine sang Zina with his heart and I played it on the guitar with all that I had. It is also this sincerity that allowed this universality. It is the same with a lot of international artists, we can feel when a performance has a soul and when the artist or the artists sing and play it with their heart. We can take the example of Queen’s Bohemian Rhapsody: The band recorded a part of the song, and whilst recording Brian May’s guitar solo, Freddy Mercury was not satisfied. He asked Brian May to play it again with his heart, his body, and his soul, and the song then became the moving icon that it is today.
Eight years after the song’s release, with a whole album, a TV show, and your careers in dentistry and computer engineering in between, are you tired of Zina? Tired of hearing about it? Tired of mainly being known through it?
Is that after such a big success, you no longer run the risk of disappearing overnight, artistically speaking. This kind of song makes you go down in history and gives you the ability to leave your mark on a whole generation.
Kifak Enta & Zina
However, is it true that in most of the TV sets and radios, the first question they ask or the first thing they say concerns
. It is logical due to the extent of its success. But I will never be tired of it because I know how much the song is worth, and I know that I will never be able to recreate a song like that.
Amine: Among the deceased artists, I would have loved to collaborate with Idir, Cheb Hasni, and Kamel Messaoudi. I have recently covered one of Kamel Messaoudi’s songs, featuring Hamza Namira.
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Among the living artists, I would love to work with [Cheb] Khaled, [Cheb] Mami. I also appreciate Soolking a lot. On an international level, I would like to work alongside Maître Gims, Kendji Girac. There are a lot of artists on my list.
Do you think that Zina can still carry you far or do you think that it will have done its time after a while?
Will never cease to exist, it never stops traveling. It was released eight years ago, and each year we sign contracts with advertising companies that want to use it, for example with Coca-Cola this year. It is the kind of song that never dies. It’s like the Italian singer Toto Cutugno’s song “L’Italiano”. Everyone knows this song and yet I bet that less than 50% of people know the singer. Despite this, L’Italiano is passed down from generation to generation. It is enormous. What happened to
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Is immortal and will be the 2010’s song that will continue to play decades later, in the same way that we still listen to “Aicha” that Khaled released in 1996, or “Hotel California” released in 1976.
The music scene is constantly evolving. Since the beginning of your career, have you felt a change in the music being produced, especially in Algeria, in terms of what the audience wants from the artists, as well as the functioning of the industry?
We started in 2013 and in Algeria, these were the last years of acoustic (piano, guitar, drums, etc). Starting from 2014 and 2015, there was a surge in electronic music in the Arab world. Electronic music was already widely used in Western music, but not on oriental musical arrangements.
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There is also a social parameter: Algeria crossed a difficult period for approximately ten years, in which many artists had to exile or were assassinated. During this decade, there was an artistic drought in Algeria. After that, the Algerian people reacquainted with music and rediscovered this art through a new generation of artists who tried to bring new sounds, new lyrics, and new trends. Over the years, music is constantly changing in Algeria, but this is just as true in the rest of the world.
Rahim: There has been a major change, not only in the Algerian scene but also in the international one. The change that Amine spoke of, can be seen in Moroccan music with Saad Lamjarred and his electronic tracks. Nowadays, productions are 90% made of software and ready-made samples (beat, guitar, and bass). This has influenced Algerian music. Listeners have also changed their expectations, the audience is now looking for something more consumable, with a trendy rhythm whereas, in the past, they sought lyrics crafted onto a more or less sweet melody. We can also notice this in French music, and even Egyptian music which is becoming more and more electronic. We’re not blaming anyone and acoustic music hasn't disappeared, it's just that the industry is changing. Artists follow the audiences and produce something consumable to satisfy them.
Soolking reached the peak of his career once he settled in France, Mok Saïb has continued to gain popularity in Algeria from England, Cheb Khaled has spent most of his career between France and the United States. Would your projects, musical or not, coincide with leaving the country, or are you among those who have hope in its development and want to stay?
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Amine: I don't really believe in music in Algeria. I know that it is a fleeting field and I know that pursuing a career in Algeria has never existed. No artist who stayed in Algeria has had a truly solid career, such as Khaled or Mami. In fact, Khaled and Mami have had a great trajectory and are known worldwide through living in Europe. More recently we also have the example of Soolking.
You can't build a career in Algeria simply because there is no music industry, nor artistic industry for that matter. So it is not possible.
And to finish, if you could meet the 23-year-old Amine and the 22-year-old Rahim who had just composed Zina, and suddenly found themselves at the forefront of the music scene, what would you tell them? What advice would you give them?
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In a language other than Arabic and to leave the country. At the moment, my fans are asking me to do a song like
And no one from my generation has been able to do anything like it or similar. Making music in Algeria doesn't lead to much and it's not
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