This interview was initially recorded in French, translated by the author.

Having moved to Montreal from Morocco three years ago to pursue her passion for electronic music, Ines Mouline – better known as Molyness – brings a fusion of Gnawa, Sub-Saharan, Berlinesque, and orchestral influences into the scene, and her art.

I first met Mouline last summer at a techno afternoon party in the Mile-End. My friend introduced me to her, and I got to see her mix a set for the first time at the Newhaus, a club downtown where she has often played. It was back in Winter, we took a taxi down to the club lit with blue lights, behind a hidden door in the Dirty Dogs on de Maisonneuve. From there on I got to see Mouline frequently play, either at house parties, outdoor raves or larger venues.

Nestled in the back room of Le Café Depanneur, Mouline and I discussed her upbringing, her influences, the beginnings of her musical path, and her positionality in the electronic scene of Montreal.

The style of her music is rooted in her attachment to her native Moroccan culture. She describes her style as “melodic-techno.” Mouline was born in Casablanca, but spent most of her childhood and teen years in the capital, Rabat. It was here that Mouline began her musical career. She grew up seeped in music, her mother pushing her to play piano, and gave her rock & roll influences – particularly, Pink Floyd, whose long intros and sound design have inspired Mouline in her musical production.

At a young age, her mother, a musician, had her playing piano, guitar, and later the bass. “My mother is one of the people who enriches me the most,” she said, “in what I do, in the sense that she encouraged me from the beginning. She let me leave so I could pursue something that I love and that impassions me.”

She began playing electronic music in highschool, as it became “la tendance,” the trend. New electronic music gear was hard to come by in Morocco – when she visited Medina with her mom, Mouline bought her first used production material, and eventually her dad would bring her back a Pioneer from France. Finally, her first year in Montreal, she purchased her first controller and her Traktor S4 which she continues to use for her live sets.

Mouline arrived in Montreal three years ago first to complete a certificate at Musictechnic, and after discovering electronic music as an immutable passion during this time, she took the next year off from school to build networks and perform around the city. Last year she began a Bachelors degree at Concordia in electronic music.

Most of Mouline’s evolution as an artist has come from each of her live performances – learning to gauge the public and space is something which demands an interaction with the energy given to her from her audience. “When I compare my first live sets, my first playlists, even people’s reactions, I’m told more and more that in my live sets people are able to better recognize my signature [as an artist]… More and more I let myself go, I let myself experiment a lot more.”

“Each time I perform a live set, it’s an experience, and I learn so much from each one.”

The first set she played was in Morocco, at a hotel party with a beautiful view her friend from school invited her to perform at back-to-back. “It was the best way for me to throw myself in front of an audience,” she explained. “It gave me a sense of confidence and that’s what we want.”

Her professional performances in Montreal kick-started when she met Abdel – stage name DJ Adverb – who plugged her for gigs across the city. He connected with her through his cousin who knew Mouline back in Morocco, and invited her to play an opening set for a party he was organizing at the downtown Montreal club the Newhaus: “He told me ‘You’re going to play at the Newhaus, it’s now that I need you.’ He had never heard a set of mine, nothing. He just trusted me.”

Mouline did the opening set for the night, and she recalled the experience as being “totally sick, it was just do dope.” From there on, Abdel became a kind of manager for her, booking her frequent shows at the Newhaus and the Velvet club in Old Port. She’s also played underground parties, in hidden indoor spots with more industrial techno. “I like the underground side, I like the intense side of it, but I think I’m someone who always prefers playing in nature.” In general, Mouline isn’t one to go out a lot in clubs or in raves that she might play in. “I don’t really go out in those places, I’ve never been the clubbing type…It’s an intense lifestyle to go out all the time.”

I asked Mouline about her biggest influences. “The first, the biggest, is David August.” David August’s Boiler Room set from 2014 was the first set she ever watched. “Honestly, there were no mistakes. His live set was perfect.”

“His album from beginning to end… that’s the kind of thing I want to do. The essence is very different from what I do, but in everything relating to [his] sound design, the way he interacts with the sound, how precise it is.” Him and Nicolas Jaar were the first DJs she followed.

“In music a bit more Arab there’s Shame who’s really good, and Monsieur ID. They play around a lot with Gnawian music.”

Mouline also described to me with passion one of her all-time favorite collaborative albums, “Marhab” by Maalem Mahmoud Guinia, Floating Points, and James Holden. A friend in Morocco showed her the album before she arrived in Canada. The album was done in a town near Marrakech, in Guinia’s home. They spent two-weeks in his home recording the album. “It was just recorded jamming…[I love] that alchemy, and that mixture.”

“[The album] is a good reference to what I want to create,” but with her own, less intense style.

As a full-time student whose courses went online, Mouline lost most of her routine structure when the pandemic began raging in Montreal. That said, she was able to be productive, in part in her musical production, and in part in the places she was able to play at. It was the first summer she spent away from Morocco.

“Honestly, it had a more positive than negative impact for me. I recognize we were really lucky to be in Montreal, we weren’t completely restrained, there was trust in the population... There are always phases, moments that are easier than others, moments of putting yourself in question, but I took time for myself.”

“What I loved was that it gave space for newer artists.” Mouline had a chance to play in and organize smaller events at a more local level, rather than going through large, established organizations and collectives.

With the pandemic raging on and limited access to large events, Mouline believes more local artists will be brought forth. For the Montreal scene, Mouline said she’d “encourage…the push for outdoor parties.”

There are some, including Piknic Electronik and Igloofest. “But the prices keep going up…. I’d want to keep the spirit of Montreal…Everyone must feel good. We gotta stop increasing festival prices every year, [and] play more with the local scene. There’s tons of choices here for local talent, and diversity. No need to go far.”

Right as our interview was finishing up and Mouline was getting ready to leave, I wanted to ask her one last question that, as a techno-lover but not a techno-player, I wanted to know: how do you choose your songs?

“This is what I really learned through live performance… Between my first lives and the ones I do now there’s a huge difference. I now realize that the pieces I listen to alone, those that really get me vibing, aren’t necessarily the best for performing. It’s a different approach… I couldn’t give you the exact words to describe which songs I perform live.”

“It’s about the rhythms, and how you bring [the different songs] in. I play around, it takes time, it’s frustrating, you have to listen to a lot of bullshit… it always takes several steps. Some days I go check stuff on Beatport, Bandcamp, a bit of anything, and I transfer them onto my YouTube playlists.”

Molyness

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 Soline Van de Moortele is a Philosophy student at Concordia/insatiable feminist, raver, and writer.