Ino Casablanca Wants You to Dance With His Latest EP ‘EXTASIA’

Ino Casblanca’s new album ‘EXTASIA’ feels like stumbling into a Parisian block party. The city’s multicultural sounds seep through, from the raï-pop lineage of Khaled Hadj, trap in the veins of French-Senegalese rapper Booba, to salsa cafés tucked in the corners of the Latin Quarter.

The opening seconds of the ‘DIMA RAVE’ video – the lead single off the new record – lock in the album’s thesis. A man taps out the groove on his friend’s stomach as he stares deadpan at the camera – percussion as a visual gag and a metronome. Each slap hits the kick, shoulders start to bounce, and a dance circle forms. The title says it outright, ‘Dima’ (Moroccan slang for always) promises that this album is built for you to bounce, to always rave.

Born in Spain to Moroccan parents and raised in France, Ino Casablanca treats geography like a toolkit – Maghrebi, Latin, and Caribbean rhythms sit next to Parisian electronics, flamenco flecks, and hard rap cadences. He’s a singer, songwriter, composer, and a hands-on engineer who builds his tracks end to end. Ino might be known as a rapper, but the production of 'EXTASIA' is groove-first and genre-agnostic, pulling from his global upbringing and tying it to a clear, simple urge to dance.

From his debut album 'DEMNA' (2022) to 'EXTASIA' (2025), Ino has been sharpening his signature style. 'DEMNA' feels like the first sketch, a moody experiment within the long spine of French rap, testing how melodic cloud-trap and deep 808s might morph together. 

With 'TAMARA' he began to solidify his signature sound. Production opened up, melodies began to travel, and he planted a flag as a trans-Mediterranean artist with flamenco guitar and raï-tinged synth lines. This range shows up across the track list from 'F*CK LARR' flipping Amr Diab’s classic 'Nour El Ein' to 'Albufeira', built on a salsa-leaning groove.

'EXTASIA' keeps those global cues but pushes the tempo and the hooks, marking him as an artist drawing across borders, not just scenes.

Following the opener 'DIMA RAVE', 'BISSAP DU 20ème' eases the record into a raï-tinted lane, Paris street energy folding into Maghrebi lift. 'FLOUCAGE' flows from there on a bouncy bass line and wiry guitar, his verses bouncing across hand-clap percussion. 'MOULA SOLITUDE' leans into a West African sway tightened by a featured artist Draganov, the Oujda-raised rapper-producer, where raï was interwoven with Amazigh motifs, Latin swing, Gnawa textures, and modern drum machines. 'CLUB MASTER' keeps the momentum but shifts the focus, stacking leads and ad-libs, so his voice works like another drum in the grid. 'EXTAZ' then snaps into brightness, opening on dabke-style percussion and levant shaabi. With 'BLICKY', the sound pivots again, an Afrobeats pulse under a distorted electronic rattle, featuring french rapper LinLin. 'KITLÉ' smooths the landing in a West African sway: swinging guitars over a laid-back, looping bass line. 

Even as the songs move from laid-back grooves to rave-rap, Ino’s visual world stays consistent – and most importantly, playful. Long-time collaborator TOXINE has shaped most of it, directing the key videos and shooting the previous 'TAMARA' cover. The visuals are gripping, sharp and considered without feeling stiff, each shot serving the track’s energy and keeping the deconstructed-yet-clean aesthetic intact.

As the scale of his sound and visual world get bigger, the north star stays the same: feel it first. As part of the 'EXTASIA' rollout, a short teaser drops us in a car with Ino and a friend, riffing about the record. They bicker about the meaning of “everything and nothing”, poke at the title, ask if there’s any grand message, and Ino shuts it down with a grin. 'EXTASIA' isn’t homework; it’s a feeling, the reason most musicians start in the first place. Don’t dissect it to death. Just dance, and let the groove move you.

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