Photos / Samuel Nogues
Story / Luna Bacce
Belgian-Moroccan artist, DJ, and producer Zaatar explores the intersection of rock and electronic music on “Bahnsteigkante,” a hypnotic, otherworldly track shaped by pulsating beats, retro synths, and a sound that pulls listeners into the unknown.
As if it came from another galaxy, “Bahnsteigkante” by Belgian-Moroccan artist, DJ, and producer Zaatar unfolds through ’80s-inspired synths, a rising sound, and layers that build as the track progresses.
The intensity briefly comes to a halt midway through the song, giving the listener a moment to catch their breath before its vibrant beat returns. It’s an invitation to close your eyes and dance as if nobody were watching, allowing emotions to surface and take shape according to your own circumstances. Like an abstract painting, the track seems to change meaning every time it is experienced.
Part of Breathing Records’ “INHALE Vol. 2” compilation, the single was born out of an experiment between rock and electronic music. The percussion delivers a sharp, forceful punch, while the vocoder introduces a processed voice that reinforces the feeling of stepping into unfamiliar territory.
Based in France, Zaatar brings together influences from EBM, new beat, and post-punk, particularly the sounds that emerged in the late ’80s and early ’90s. Her Belgian and Moroccan roots are also part of her artistic identity, subtly finding their way into each of her creations.
“Abiad Al Layali,” released by French label Ritmo Fatale, brought her early international recognition. It was followed by “Mortal Come Back,” “Zankat Mimosa,” and “Leaving For The Sky,” leading up to the 2025 EP “The Sound of Z.” Conceived for the dance floor, the EP became the project that best captured her artistic identity up to that point.
Zaatar’s sets blur the line between a live show and a club night, pairing the raw energy of concert performance with the freedom of the dance floor. Her international appearances have brought her to venues across Europe, from Brussels’ Fuse to Berlin’s Else and Renate, alongside festival bookings at Positive Education and Montreux Jazz Festival.
“Bahnsteigkante” has a soul and a magnetism that are difficult to put into words. It feels like an invisible force capable, in just 4 minutes and 20 seconds, of pulling anyone out of their seat, momentarily quieting their anguish, and immersing them in a journey they begin to miss almost as soon as the music fades and silence settles in.
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