Pascal Morais spoke to us about “3 Steps Ahead,” his brand new release out on Batakari Music and available on all streaming platforms. As a force in the Afro House music scene, Netherlands very own, Pascal Morais, skillfully explores ‘3Step’ a new sound that is currently captivating audiences worldwide. The sound blends Afro House with Amapiano and Afro Beat elements. As a DJ and producer, Pascal champions the Afro House genre through his radio shows on Deep FM in Holland and Drum’s Radio in London, and through electric live performances marking him as a valuable yet underrated figure of Afro House.
THE CONVERSATION
LISORO: Pascal, having been at the forefront of Afro House in Holland and witnessing its growth firsthand, how do you assess the evolution of this genre over the years? What significant changes have you seen in the Afro House scene from its inception to now?
PASCAL MORAIS: What I have experienced over the years is that the Afro house scene on an international level truly constituted a niche market, wherein the players knew each other intimately. Consequently, there was considerable personal interaction among us, which I found rather enjoyable. On the other hand, for us DJs, it was challenging to secure gigs because the music wasn’t widely known among the general public, and club owners weren’t exactly eager to host club nights where we could showcase our music. This resulted in us, as producers, having to throw our own parties with limited budgets and time (after all, we are producers), thus preventing it from really taking off in Europe. I believe that particularly after the time of the pandemic, the genre experienced a significant surge.
Many people discovered the music through, among other things, Black Coffee’s residencies at Hi in Ibiza and witnessed his success in what he does. What you see now is that many producers from other countries have also embraced the genre and put their own spin on it. You now often encounter 80s and 90s hits with an Afro house twist to make the sound appealing to mainstream audiences. Personally, I have mixed feelings about this. On the one hand, it provides opportunities for South African artists to tour worldwide and still make money from their art, which is fantastic. On the other hand, this has somewhat diluted the genre’s African authenticity.
LISORO: With your extensive experience in the music industry, particularly within the underground Afro Deep House scene, how do you perceive the current trajectory of the music industry? Are there any trends or changes that excite or concern you?
PASCAL MORAIS: As I mentioned earlier, the scene was very small, which meant that there were also few record labels capable of making serious investments in an artist. Now, you see more and more major labels also embracing the genre and elevating the music and the artists to a higher platform.
Consequently, you also see many of those 80s and 90s hits being reimagined in a new light. Given this fact i dare to softly suggest that Afro house is evolving in such a way that it will become the new EDM in a year or two. People are constantly seeking something new, and I believe that EDM has had its heyday, with more and more serious promoters willing to invest serious budgets into it. Despite Afro house having been around earlier, you also see Amapiano gaining immense popularity, especially among the younger generation in Europe and America.
Promoters in this genre often combine their events with Afro house, thereby familiarizing their audience with the sound. All in all, these are superb developments for the Afro house genre to become even larger because we are far from done yet.
LISORO: Your latest EP, ‘3 Steps Ahead,’ showcases a unique fusion of Amapiano drums with Afro Beat and Deep Afro House rhythms. Can you share what inspired this hybrid sound and what you aimed to express through this EP?
PASCAL MORAIS: As some may know, I make an annual pilgrimage to South Africa not only to perform but also to immerse myself in the currents of musical evolution. So it was towards the end of 2022 when I found myself there once more, and it was then that I first encountered 3step.
I believe it was Thakzin who was spinning at a UR concept event hosted by Shimza, and he predominantly played 3step. Intrigued as I always am by new sounds, I was immediately captivated by what he was playing. I delved deeper into the sound and thought to myself, let me take a little detour and explore a few of these tracks. I say detour because Afro house remains my main focus.
However, with this EP, I also aim to showcase my diversity as a producer. I have an affinity for deep, gritty sounds as well as synths and melodies. I fused these elements together, adding a sprinkle of Amapiano logdrums, and thus, this EP was born. I must credit ZooRoyi for his contribution to the creation of this EP, as during the pandemic, I found myself lacking motivation to make music.
Everything was shut down, and I was skeptical about when things would reopen. Since I hadn’t released anything since 2022, I was content with the status quo. He encouraged me to get back into music production, which led to our collaboration. Both of us come from technical and IT backgrounds, which is why we jokingly coined the title “Talk Nerdie” for one of the tracks.
LISORO: Could you walk us through your creative process for developing ‘3 Steps Ahead’? How do you go from an initial idea to a finished track, and how did collaborations influence the final sound of the EP?
PASCAL MORAIS: Given that I also run an IT company alongside my musical pursuits, I find myself with limited time for music production. Furthermore, when I do carve out time, there are instances where inspiration eludes me, as creativity cannot be forced and must flow naturally. Consequently, it took quite some time for me to bring this EP to fruition.
The creative process typically begins with selecting the drum patterns for a track like “Talk Nerdie.” I start by crafting a 16-bar loop and let it play. As it unfolds, various sounds and melodies resonate in my mind, which I then translate onto the keyboard.
Once I’ve assembled a “full” 16-bar loop with all the synths and instruments I desire, I extend it into a loop lasting 6 to 7 minutes. Next, I arrange the composition and share it with ZooRoyi. He adds the chords you hear in the track. Initially delivered as piano keys, I felt they lacked the desired texture, so I transformed them into raw synths. We then discuss how to integrate these elements into the track, which leads to technical discussions and, ultimately, the birth of the track’s title, “Talk Nerdie.”
LISORO: Looking ahead, where do you see the future of Afro House music going, both globally and in the Netherlands? How do you plan to contribute to or shape this future through your work and collaborations?
PASCAL MORAIS: From day one, I have dedicated myself to elevating Afro house to loftier heights. I’ve orchestrated events both domestically and internationally (such as Hoja .red), hosted radio shows on platforms like Drums Radio and DeepFM, engage in production and DJing, established my own label, and for the past 11 years, spearheaded the programming of the Afro Stage at the renowned Latin Village festival, one of the largest festivals in the Netherlands.
In recent years, we’ve seen the inclusion of international luminaries in the lineup, including Djeff (PT), KaryendaSoul (SA), Satellite (PT) and Afro Warriors (PT) amongst others, and this year, we are graced by the performances of Thakzin (SA) and one of the pioneers of Afro house, Boddhi Satva (CAR). All these efforts are aimed at exposing the sound to a broader audience, albeit through incremental steps, witnessing its expansion with each passing day.
Moreover, in recent years, we’ve seen the emergence of several formidable events, including Zazu, Opalo, Afronation NL, Blends, Pianoland and Tribes NL. Their events are must-attend affairs for aficionados of Afro house, 3Step and Amapiano, boasting international guest DJs who contribute to the robust cultivation of the scene. On an international scale, we observe a growing number of countries embracing the genre, from South Africa to India, to Russia and Colombia to name a few.
As for my own contributions, I’ve always been one to foster connections among people, a trait I shall continue to embody. Whether it’s through producing tracks featuring international vocalists, curating stellar lineups, or perhaps even launching a new event myself, rest assured, my presence in the scene is far from fleeting.
IN CONCLUSION
Pascal Morais’s reflections reveal a complex landscape where the Afro House genre, while niche, has cultivated a tight-knit community of artists who have driven its evolution with passion and creativity. Despite challenges such as limited mainstream exposure and the logistical difficulties of organizing events, the genre has seen a resurgence, particularly post-pandemic, propelled by high-profile residencies like those of Black Coffee at Hï in Ibiza. This visibility has encouraged a new wave of artists from around the globe to experiment with and expand the genre, blending classic hits with Afro House beats to appeal to wider audiences. However, while these developments offer significant opportunities for artists, they also raise concerns about maintaining the authentic African roots of the genre. As Afro House gains international momentum, it faces the dual challenge of innovating to attract global listeners and preserving its rich cultural heritage.
LISORO MAGAZINE 