Afrorithm in the house. I’m currently preparing for this special concert with a good friend of mine (and very talented musician) Petteri Mäkiniemi, at the Helsinki Music Centre next February. The concert will be a tribute to the pioneering Finnish electronic music duo Pan Sonic, and it’ll form part of the Musica Nova Helsinki contemporary music festival 2019.

Our idea is to create a new kind of music in which the aesthetics of Arvo Pärt and Olivier Messiaen meet those of West African musics, through the minimalist and sometimes brutalist aesthetics of Pan Sonic (we are also inspired by Jon Hassell’s musical concept known as Fourth World). Petteri plays his self-built instrument Ginette, which is based on the ondes martenot and which appears on my album Pulses / Radiance, while I play my generative system called Afrorithm (Afrobeat + algorithmic composition). We’ll be joined on stage by a cellist and a bass clarinettist from the Helsinki Philharmonic Orchestra. 

So far we’ve had two rehearsals. These began as innocent jam sessions for the concert only, but we soon realized that we’d created an album’s worth of beautiful, new kind of music; less polished and produced, more spontaneous, candid and human. Pastoral, orchestral, African, futuristic (the word ‘evergreen’ keeps also coming to mind). Our plan now is to bring this serendipitous album out into the daylight early next year, possibly around the time of the concert…

The film composer Hans Zimmer said that music is at its best when it’s about people playing together in a room. I agree with him. As a music producer you release your long crafted labour of love mostly as digital downloads and streams, the work then existing and drifting in isolation in an obscure world of internet clouds and distant servers. It’s all fine as a distribution model (barring the energy consumption of those servers) but you rarely get to hear and feel what the listeners hear and feel when they listen to your music; the function and purpose of your music, if any, remains a mystery. But when it’s just even two people playing together in the same room, immersed in the moment and moved by each other’s sound and playing…you remember why you have always loved music, and why it has given you a tool to understand this world in the ways that other fields didn’t.

Flash of the Spirit – new album out now

My new album Flash of the Spirit is out now. This is my sixth album, and it builds on the direction begun on my previous albums Arrival City, Sahara and LOS-HEL: Possible Cities.

The album is inspired by my travels and experiences in West Africa. It’s a reflection on a kind of liminal global space, imaginary and real, that exists in between and beyond cultures, nations, borders, ecosystems, beliefs, social constructs, identities and differences. This space is always in the state of becoming: changing, emerging and suggesting new possibilities.

Similarly, the music defies any clear categorization and well-established aesthetics, existing and moving between Minimalism, Afrobeat, Electronica, Krautrock, Gospel, Ambient and West African traditional musics – as if heard and treated through a slightly futuristic perspective. My idea has been to make an approachable yet artistically uncompromising, melodic, rhythmic, emotive record, one that can grow on repeated listening over time. I always imagine the music that I’m making belonging to a possible future world (“music holds the promise of a different world”).

The title refers to the book of the same name by Robert Farris Thompson, which I’d read during my residency in Benin. It’s also a nod to the album of the same name by Jon Hassell & Farafina. It’s also a reference to those great “flashes of the spirit” that I kept coming across on my travels.

The album is available now on my Bandcamp site, and on all the other digital music stores and streaming services from 2 November onwards.

Flash of the Spirit

My new album Flash of the Spirit is finally reaching completion, ready to be mastered and released soon. Only one piece is still on the cusp of becoming either funky pop electro disco (LCD Soundsystem) or funky avantgarde disco experiment (Kraftwerk), always a tough choice. The album is based on my experiences in West Africa and on the adventures and conversations with my dear friends scattered around the globe, and it incorporates my field recordings from West Africa into the music. I’m immensely happy about this album and its emotional landscape I often ponder why I spend months in the studio joyously perfecting something that has absolutely no practical function in the world (I wish it had but it doesn’t). Am I wasting my passion, skills and dedication? Currently I think that I am since my music has no broader cultural resonance. But I can’t help it: when making music I feel like I’m participating in the whole scientific, social and cultural conversations in levels that go beyond ideologies, mindsets, borders, identities, beliefs…I feel free, inhabiting a culturally diverse, playful, socially and economically equal green world. Art becomes a tool to imagine and pull oneself towards a preferable future.

Yet this possible future keeps remaining just a ‘hope’ for most people on this planet, for totally unnecessary, outdated societal and financial designs. Why? On the planet where there are more resources – food, water, shelter, money – to cater for everybody than what’s needed, then why come there’s scarcity of everything: food, water, shelter, money?

I’m currently working also on new pieces by Emeka Ogboh for his exhibition in Paris, revisiting Lagos soundscapes and our LOS-HEL: Possible Cities, but this time from a whole different angle. It’s a refreshing departure from my album work, and Lagos has never sounded more contemporary and futuristic, thanks to Emeka’s musical vision. More info on this soon too.

Please redesign the world. All the problems in the world are utterly ridiculous, childish.

My new single Terra is out now

Terra, my new single, is out now.

Terra is taken from my forthcoming sixth album Flash of the spirit. The single includes the B-side Fela’s Car.

The music combines my dearest musical influences from Afrobeat (Fela Kuti), Electro, Krautrock (Kraftwerk), Malian Blues, Minimalism, Soul, even Gospel. The tracks are based on my travels and field recordings in West Africa. The idea has been, as always, to create a new kind of music: timeless and geographically global, less concerned with styles or genres, experimental yet accessible and uplifting. Or as Brian Eno put it: “The idea is to produce things that are as strange and mysterious to you as the first music you ever heard.”.

The release is available on all the major download and streaming services worldwide, including:

Spotify https://spoti.fi/2JLi9fS
Bandcamp https://bit.ly/2uWYB2P
Amazon https://amzn.to/2LpBBDV

The tracks have had a long evolution. Fela’s Car was originally made in the early 2000 when I was studying sound art in London and passionate about combining my ideas and impressions of everything African, a continent where I’d never been to, with my electronic music at the time. But because of my inexperience I didn’t know how to finish the track back then. In the following years it went through several permutations, but never seemed to find the right home…until now, as a B-side (in the future I hope to make a proper song version of it). Terra was born in 2010 when I was collaborating with an African-American painter, Odili Donald Odita, on our track for Another Africa. Inspired by his rhythmic and vivid, abstract geometric paintings, I made several variations of the initial piece, and Terra became one of them. Years later I reworked it for my album Sahara – recharged by my travels and musical experiences in West Africa by then – but it just never fit the final sequence, and I forgot it completely. In the subsequent years the stereomix of the track kept surviving my frequently breaking harddrives, and when I stumbled upon the mix last winter, I was astonished: it wasn’t just another failure of mine, it was a failure that had failed better than most, ending up somewhere truly different.

The last night in the studio

Finalnight

A wistful yet inspired last night in the studio before it closes for good. This studio has been my dedicated workspace for the past 3,5 years (apart from the 1,5 years I spent in Germany), and I know its sound and acoustics so well – hence the wistfulness of leaving. The space we operate in shapes greatly our being-ness / becoming-ness, and I’m curious to see how the next space will influence my output. I’ve worked on three albums here: Sahara, Pulses / Radiance, and the forthcoming Flash of the Spirit – or actually four, if one counts Egwutronica I + II, the 1-hour long composition I made for Emeka Ogboh’s installation in the Seattle Art Museum (those six months were one of the greatest adventures I’ve had in this space). Tonight finished a forthcoming single from the new album, currently titled Fela Mechanic. More info soon. X

Palestinian Genocide (by Israel)

One of the most horrendous atrocities of our time is the continuing occupation of Gaza and the inhuman treatment of its citizens by Israel.

Israel is operating not as a democracy or a civilized nation but as a criminal, apartheid terror regime, and its government should be prosecuted for its genocide of Palestinians.

These are not any extreme words and views, but a common human sense; sensible reaction to Israel’s actions.

For there really is no sensible nor factual arguments for Israel’s actions, only those of subjective extremist beliefs based on an ideology.

To justify the occupation and illegal settlements, the imprisoning and killing of innocent civilians including children and women, and so forth and so forth, by Palestinians having shot rockets, exploded bombs, throwing stones and demonstrating peacefully…well how on earth do you expect people under oppression, illegal imprisonment, slow genocide, and with their land stolen etc. etc. react? Should they just politely and silently accept their unnecessary situation, without resistance? How would YOU react if your land was stolen from you and you were separated from your family and friends, and sent into a concentration camp with no freedom nor future? Wouldn’t you object?

To claim an ownership to a “homeland” is one of most ridiculous and juvenile things one can ever hear. [oh dear humanity, will you please grow up] There is no such a thing as ‘homeland’ or ‘ownership’ – these are all just man-made inventions, forms of ideological extremism. Life is an accidental emergence in this particular universe, and we are all made of specks of dust scattered around this universe, living on another, slightly larger speck of dust we call Earth. We are all made of the same matter, and we happen to inhabit the same solid rock in this particular solar system. Earth is our home, our shared home. There are no homelands or sacred lands or nations or borders – just a rock planet with billions of species. What matters is how we share this space, not who owns what.

We have the potential – skills, willpower, consciousness – to live as an enlightened, cooperative, sustainable species on this tiny orb filled with the wonder of life. But for some reason we continue to let the juvenile, imbecile, unimportant and totally unnecessary whimsies of some ephemeral ideologies dictate our survival and future potential on this unimaginably gorgeous planet.

 

 

 

 

 

 

 

A Radio-Bridge Across The Zambezi

Recently I contributed a track to the Radio Continental Drift compilation A Radio-Bridge across the Zambezi. The compilation consists of remixes by artists and radio-makers from around the world, in response to audio/radio pieces from both sides of the Zambezi river. The BaTonga people of the area lost their land when the Zambezi Valley was flooded to construct the Kariba dam and lake in a colonial, World Bank financed project at the end of the 1950s. The Tonga people had to undergo the traumatic experience of forceful removal and resettlement, while the benefits of Kariba bypass most of the rural communities to this day. “After 60 years of struggle, the Valley Tonga people have a story to tell about cultural survival, creative resilience and determination for self-help and self-organisation.”

All proceeds from the online sales will benefit the radio-makers in training in Sinazongwe (Zambia) and Binga (Zimbabwe). For more information and adventurous music and sonic art, please see the link below:

A Radio​-​Bridge across the Zambezi on Bandcamp

My piece, Absent River, features a story and voice by Lucia Munenge. I was drawn to her story about the challenges for women to provide fresh water in Binga, to the importance of her message globally, and to the cadence of her voice musically. I wanted to create a minimal, water-like musical accompaniment around her story and treat her voice as a musical instrument on its own, a crucial part of the emerging soundscape.

Ilpo - Sahara - Ilpo - Sahara - 04