Boddhi Satva interview: Ancestral Soul's Global Appeal

Image: Boddhi Satva 

Forming your own genre to succeed in any musical landscape is no easy task, but for it to resonate across cultures is something else. That's essentially what has been achieved by Boddhi Satva with his own patented sound of ancestral soul. 

Born out of Boddhi's love for numerous genres spanning African styles to jazz and soulful house, paired with an unwillingness to be restrained by genre conformity, the Bangui born producer devised his own sonic motif that's travelling across continents with considerate velocity. 

After initially being spotted by Louie Vega, Boddhi's discography now reads largely familiar with the European dance circuit, boasting releases on Cadenza, Yellow Productions, Defected, Innervisions and many more.  

More recently, the Brussels based musician channeled his synthesis of sounds into a second album, Transistion, released in September. Embodying the eclecticism that ancestral soul feeds off, the album features numerous influential collaborators including Les Nubians and Teedra Moses.

We've been in admiration of the release since, stirring a keen sense of intrigue towards ancestral soul as a concept, so we caught up with the man himself to capture a true sense of a genre we're sure is all set to blow up in the UK. 

Could you tell us what ancestral soul is and what makes up the genre's musical genetics? 

From a technical point of view, ancestral soul mixes different genres. Rhythmically and melodically it’s influenced by all African music, but not only that. It is influenced by so many different styles like soul, hip-hop, disco, jazz, R&B, rock, and of course deep or soulful House amongst the vast and rich electronic music spectrum.

From a spiritual (not religious) point of view, ancestral soul is the soundtrack of universal rituals: birth, graduation, marriage, and ancestor-ship. It’s simultaneously a tense argument between passionate lovers, an intense freestyle session or a revolutionary political speech by live instruments: kora, piano, sax, flute, congas, cello, balafon and turntables.

It also takes over the night filling the air with positive energy, allowing the mysteries of the unseen to come out and conquer spirits, minds and bodies with love. 

What prompted this musical direction as opposed to pursuing already established avenues?

Simply because I didn't feel like I was able to truly express my love for all the genres stated above and more so by fitting into a particular style.

Who are the leading innovators of 'ancestral soul' at the moment and how is the genre developing? 

Well they may not call themselves 'ancestral soul innovators', but to me artists like, Rancido, Culoe de Song, Djeff Afrozilla, G’Sparks aka Spilulu, DJ Satelite, Renato Xtrova, DJ Silyvi, Punk Mbedzi, Blaq Soul etc… truly have some of those elements that makes the sound what it is.

The genre is definitely developing and getting stronger with more and more people using it as their musical flag, or even when they flip it and call their sounds ancestral house. I'm glad this has been a slow yet very steady growth. 

Music is often referred to as a universal language but it doesn't always manage to cross cultures, what do you think the appeal is of your music that makes it work internationally?   

I guess the fact that I don’t limit myself to one particular format and especially because I'm not limited to one particular demographic. I look at ancestral soul as a genre that bring together people and sounds from all corners of the globe.

However there’s a way to mix sounds together and not all the sounds fit with one another, and that requires a level of inspiration that will make the fusion work in a tasteful way, leading hopefully to a global appeal. 

Your second and newly released album Transition explores a diverse range of sounds, did you set out to channel a broad spectrum of African influences and genres? 

Yes definitely, but not only as you can hear some hip-hop and trap esque vibes with the songs 'Slow it Down' feat. Crissy and 'When The Lights' feat. Dudley Perkins and Georgia Anne Muldrow. 

I really wanted this album to be a continuation of the first one but at the same time bring new perspectives to the sounds and influences. 

The album features numerous collaborators, is there someone on the album you've been really keen to work and what's the story behind how you made that work? 

Well each and everyone on this album is very dear to me, but I’d say that Omar, Teedra Moses and Les Nubians were all a dream come true when they all accepted to collaborate on Transition.

I met Omar through a mutual friend, DJ Simbad, who very generously sent an email to Omar letting him know that I wanted to collaborate with him. To my great surprise Omar knew who I was and liked my music so he accepted. 

For Les Nubians it was through Twitter that we connected in the first place. I was astonished that they knew my music and finding out they where interested to collaborate was just one of those moments you can hardly describe. 

Teedra Moses, same thing, we met in 2012 at my first album's listening party in Miami during the WMC as my friend Miranda Nicole brought her to discover my music. We spoke after my set and we directly connected and decided we’d collaborate together. 

I could go on and on with all those amazing and organic connections. Both my first album and Transition are a fruit of amazing encounters. 

What's the most experimental track for you on the album that you wouldn't usually pursue? 

The cut with Crissy is definitely not something I would do a few years back. I guess I hadn’t figured out how I would incorporate my actual sound signature. Also I was caught in a 'I’m underground' type mindset.

Not that there is anything wrong with underground music cause I’m a huge fan and still contribute to it, but more in the sense feeling like I could be called a sell out or something of the kind. I separated totally from such visions for the track and opened my perspectives. 

They say music comes around in trends, What music should we be looking out for coming out of Africa? 

Seriously I never really been a fan of trends and I’ve never tried to follow them. However, it is a fact that Afro House is making more and more waves worldwide. Now some of it is wack, some of it is amazing but that’s like anything in life. But definitely look out for those infectious sounds coming from the continent.

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