There are songs that entertain, and then there are songs that transport. Ya Saki, the mesmerizing new single from Siwane, belongs to the latter. Released on October 10, 2025, it feels less like a performance and more like an experience—an intoxicating encounter between centuries of musical heritage and the vibrant pulse of modern jazz.
At the heart of Siwane is vocalist Mounia Siwane, whose voice moves with effortless grace between tenderness and strength. Her tone feels as if it were born to bridge worlds—warm, fluid, and steeped in the expressive tradition of Arabic poetry. With Ya Saki, she invites listeners into a realm where time dissolves, and melodies that once echoed through the palaces of Al-Andalus find new life in the rhythm of the present.
The project itself is the brainchild of guitarist and composer Stani Jardel, who draws inspiration from the popular melodies of Al-Andalus, the legendary cultural crossroads that flourished between the 8th and 15th centuries in what is now Spain and Portugal. This was a world where Arabic, Jewish, and Christian traditions intertwined, creating an artistic and musical legacy that shaped centuries of creativity to follow. Jardel’s vision, however, is not one of replication or nostalgia—it is one of renewal. He doesn’t simply borrow from the past; he reimagines it through the lens of contemporary jazz, transforming ancient motifs into living, breathing sound.
Joining Mounia and Stani are three remarkable musicians from the Lyon music scene. Bassist Vincent Domergue anchors the sound with subtle precision, weaving melodic threads that echo both jazz and traditional modal scales. Drummer Wendlavim Zabsonré brings an earthy, kinetic energy, his rhythms breathing warmth into every phrase. Percussionist Mohamed M’Sahel, who appears on two of the album’s tracks, adds a layer of organic texture that evokes the pulse of ritual and celebration. Together, they create a soundscape that feels timeless—at once rooted in history and alive with modern spirit.
Ya Saki stands out as the second single from Siwane’s forthcoming debut album Amann, set to arrive on November 21, 2025. The song’s title translates to “Oh, wine pourer,” a phrase drawn from classical Arabic poetry that speaks to themes of longing, pleasure, and fleeting beauty. It’s a phrase that carries centuries of metaphor, symbolizing not only the act of indulgence but also the divine intoxication of love and art.
The lyrics of Ya Saki, written in a poetic form of Arabic, paint an intimate portrait of two lovers sharing a night of passion. The setting feels almost cinematic—an Andalusian evening lit by lanterns, filled with laughter, wine, and whispered promises. The imagery is lush, evoking the red hue of wine, the touch of soft skin, and the slow rhythm of dance under the stars. The repeated call of “Ya Saki” becomes both a plea and an invitation, a rhythmic heartbeat that ties the piece together. It’s not a song of sorrow or loss but of presence—an ode to moments that shimmer with sensuality and life.
Musically, the piece unfolds with a hypnotic elegance. Jardel’s guitar lines ripple like water, guiding the melody through intricate shifts in rhythm and tone. The bass flows gently beneath, giving the song both weight and movement. Drums and percussion pulse with restrained energy, creating a groove that feels almost meditative. And then there is Mounia’s voice—clear, supple, and emotionally charged—gliding above it all like smoke drifting through candlelight.
What makes Ya Saki remarkable is its refusal to choose between tradition and innovation. Instead, it inhabits both. The melodies carry the weight of history, but the arrangements pulse with the vitality of today’s jazz. This is not fusion in the superficial sense—it’s something deeper, more organic. Each note feels earned, each silence deliberate. You can hear the musicians listening to one another, responding in real time, creating a dialogue across centuries.
The recording itself, completed at Studio Polycarpe in Lyon, captures that live intimacy perfectly. Engineered by Jêrome Donzel and mixed by Ian Goddard, the production preserves the warmth of the instruments and the clarity of the vocals without losing the organic depth of the performance. The album’s overall production, helmed by Joan Arnau Pàmies, ensures that every sound—from the soft brush of strings to the breath between verses—feels intentional and alive.
If Ya Saki is any indication of what to expect from Amann, listeners are in for something extraordinary. Siwane has managed to carve out a space where the spirit of Al-Andalus meets the improvisational daring of modern jazz. The result is music that feels both ancient and brand new, scholarly and sensual, cerebral and emotional.
Mounia Siwane’s performance is especially striking. Her interpretation of the lyrics is not just vocal but physical—you can almost feel the gestures, the movements of the story unfolding. She doesn’t merely sing; she embodies the poetry, turning words into sensations. It’s rare to encounter a vocalist who can hold both reverence for tradition and the confidence to reshape it.
Ya Saki is the kind of song that lingers long after it ends. It leaves you in that in-between space where time seems to pause, where the boundary between history and imagination fades. It’s music for dreamers and thinkers alike, for those who believe that art can still bridge distances—between cultures, between centuries, between hearts.
In Ya Saki, Siwane reminds us that music, like love, is eternal. It may change its form, but its essence remains untouched—a glass raised to beauty, to passion, to life itself.
