VIPA One Band One Sound: Unity as Method, Sound as Structure
By Tunez Magazine ·
VIPA One Band One Sound marks a new phase for Kais Kekli, known as VIPA. From the outset, the project brings sound, writing, and performance together under one musical direction. In doing so, it establishes a clear framework for the album. Moreover, this approach places the relationship between the different musical elements at the centre of the project.
The album features 10 tracks with a total runtime of 36 minutes and five seconds. Rather than treating each track as a separate idea, the production creates continuity across the record. As a result, the album unfolds as a connected body of work, combining concise writing with carefully arranged instrumentation. Throughout the record, this approach maintains a consistent musical direction. At the same time, the arrangements allow individual elements to contribute to the overall sound. Consequently, the album develops a sense of cohesion without relying on a single musical texture.
As a founding member of the DEBO collective, VIPA has developed a practice rooted in collaboration. Building on that experience, his second solo album continues this approach while placing greater emphasis on the relationship between rap and a live ensemble. In particular, the project gives the interaction between vocals and instrumentation a central role. Furthermore, the collective format allows the musical arrangements to extend beyond the conventions of a solo rap performance. Ultimately, One Band One Sound continues VIPA’s collaborative work through a more focused relationship between hip-hop and live performance.
OBOS: one band one sound as a collective system
The concept of OBOS, or One Band One Sound, shapes the entire project. At its centre are two complementary artistic approaches: those of VIPA and Jihed Khmiri, also known as Pan-J. Together, they establish a shared musical direction that guides both the composition and the performance. In this context, the title reflects not only the project’s musical identity but also its collaborative method.
Instead of following the conventional structure of a rap album, the artists bring together a broader range of sounds. Their music combines hip-hop with marching-band influences, brass arrangements, organic percussion, rock textures, Afro rhythms, and electronic layers. Through this combination, the production balances different musical traditions. As a result, the arrangements create a dense yet controlled sound. Furthermore, the contrast between these influences gives the record its distinctive character, while the interplay between acoustic instruments and electronic elements adds further depth.
Beyond the instrumental choices, the collective approach also informs the writing and arrangements. Some melodies are designed to be performed in unison, drawing on the sound of street brass bands and choirs. In this way, individual parts contribute to a larger musical structure. Rather than placing every element in isolation, the arrangements bring the performers together around shared musical phrases. Consequently, the emphasis shifts from individual expression towards shared energy, movement, and presence.
Within the context of Tunisian hip-hop, this level of orchestration offers a distinct direction. While the album draws on local identity, it does not limit itself to folklore. Instead, its arrangements remain open to international influences, allowing different musical references to coexist. At the same time, the presence of a live ensemble gives these influences a collective dimension. In turn, the relationship between rap, brass, percussion, and electronic production becomes central to the project’s identity.
VIPA and Pan-J: two artists, one musical direction
Taken together, these elements define OBOS as more than a combination of different genres. Rather, the project brings musicians, compositions, and performance techniques into a shared framework. Ultimately, One Band One Sound presents a collective approach in which individual contributions serve a wider musical direction, connecting hip-hop, live instrumentation, and group performance.
The artists behind the project
Kais Kekli and the evolution of Tunisian hip-hop
Born in 1990, Kais Kekli, known as VIPA, is an established figure in Tunisian hip-hop. He co-founded El Banda, Erkez HipHop, and the DEBO collective, contributing to a generation of rap connected to the country’s social and political realities. Through these projects, he helped develop a musical practice rooted in collaboration and contemporary Tunisian experiences.
Among his notable works, the track “Egleb Mandhrek,” released in 2012, became associated with the period of the Tunisian Revolution. During this time, his music engaged with local experiences and public life. In turn, this approach helped shape his artistic identity within the Tunisian hip-hop scene.
Five years later, in 2017, he released his solo album Adheka Eli Bik. Alongside his subsequent projects, the record reflects his interest in combining Tunisian musical influences with contemporary hip-hop. Meanwhile, performances in Tunisia and abroad have extended his work beyond the local scene, connecting his music with wider audiences.
Jihed Khmiri and the Pan-J project
Born in Tunis in 1988, Jihed Khmiri works as a musician, composer, and producer. His experience spans recorded music, film scores, stage productions, and live performance. As a result, he brings a broad range of musical and production perspectives to his projects.
Initially, Khmiri developed his skills as a self-taught multi-instrumentalist. He subsequently studied at the Higher Institute of Music of Tunis, further developing his musical knowledge and technical expertise. This combination of independent exploration and formal training informs his approach to composition and production.
Building on this background, he launched Pan-J in 2019, an electronic music project exploring trip-hop, ambient textures, and elements drawn from Arabic musical traditions. Since then, releases, performances, and collaborations have allowed him to develop this distinctive combination of influences. At the same time, his work has continued to explore the relationship between electronic production and diverse musical traditions.
This experience, in turn, informs his contribution to VIPA One Band One Sound. While VIPA provides the vocals and lyrics, Khmiri handles composition and production. Together, they connect rap with a broader instrumental arrangement shaped by orchestration and electronic experimentation. Ultimately, each artist retains an individual approach while contributing to the album’s shared musical direction.
Full album credits and musicians
The album’s arrangements rely on a full ensemble, bringing together rhythm, brass, and choir. Together, these musicians shape the sound of the record, with each section contributing to its overall arrangement.
Artists and production
- Kais Kekli (VIPA): vocals and lyrics
- Jihed Khmiri (Pan-J): composition and production
Rhythm section
- Youssef Soltana: drums
- Marwen Soltana: bass
- Hedi Fahem: guitars
- Don Pac: percussion
Saxophone
- Matthieu Fabre
- Alexandre Moreira
- Chiheb Baazaoui
Trumpet
- Antoine Jacquet
- Aurelio Bernardes
- Adel Mmzali
Trombone
- Omar Bouzgarou
- Julien Guilloux
- Micael Ferreira
Choir
- Meriem Bettouhami
- Oumaima Ben Amar
- Wajih Bjeoui
Recording, mixing, and mastering
The album was recorded at Umbreon Studio. For the final production stages, Dawan, also known as Hamza Nasraoui, handled the mixing, while Masterdisk in Paris completed the mastering.
“Ken Ritni 9ollli”: the visual concept
The visual dimension of VIPA One Band One Sound takes shape in the music video for “Ken Ritni 9ollli,” directed by Synda Jebali. Rather than simply illustrating the track, the video develops its own theatrical setting.
A dinner scene provides the central setting. Through choreography, movement, and the performers’ interactions, the sequence draws on elements of theatre and staged performance. Meanwhile, the voice moves between participants, reinforcing the track’s collective character.
The cast includes Meriem Sayeh, Oumaima Bahri, Sirine Aouididi, Mariem Bettouhami, Oumaima Ben Amar, Ali Ben Said, Mohamed Souissi, Skander Hentati, Feteh Khiari (Zixtonic), and Wael Ajengu.
Visually, the video combines stylisation with moments of strangeness and sensuality. As the scene progresses, the atmosphere shifts from controlled interaction towards tension, extending the album’s approach into its visual presentation.
Video credits
- Executive production: Digital Iris Productions
- Art direction and director: Synda Jebali
- Producers: VIPA and Bedis Chaouachi
- Cinematography: Zied Ben Chaabane
- Costume design: Salah Barka
- Makeup: Steevy
- Production design: Mohamed Attia and Maryam Bjeoui
- Post-production supervisor: Mohamed Mathlouthi
- Music production: Pan-J (Jihed Khmiri)
- Mixing: Dawan (Hamza Nasraoui)
One band one sound as a statement
VIPA One Band One Sound is built around a shared musical direction rather than the accumulation of individual contributions. From the vocal performances to the brass sections and electronic production, each element serves the wider arrangement.
Within this structure, VIPA leads the project without separating himself from its collective character. At the same time, Khmiri’s production and the ensemble’s performances support this approach throughout the album.
Ultimately, the record presents One Band One Sound as both a musical principle and a working method. By connecting rap, orchestration, and visual performance, VIPA and his collaborators create a project shaped by the relationship between individual expression and collective work.