“Listening To The World In a Musical Way.” Emeka Ogboh, edited by Bisi Silva, Kachifo Limited, 2021.
Essay on Emeka Ogboh’s Lagos Soundscapes (Lagos in Helsinki) installations in the Ars 11 exhibition at Kiasma Museum of Contemporary Art, Helsinki, Finland.
Emeka Oghob by Bisi Silva, Massa Lemu | Waterstones
Jauhiainen, I. (2019). Future Forest Space: the philosophy of becoming in site-specific generative sound installation (Master’s thesis). Aalto University, Espoo, Finland.
“Younes Baba-Ali & Ilpo Jauhiainen.” Politics of Sound, Issue #10. Afrikadaa, December 2015, pp. 232-237.
Conversation with visual and sound artist Younes Baba-Ali.
POLITICS OF SOUND by Afrikadaa – issuu
“Shred of Identity.” Moving Spirit: The Legacy of Dambudzo Marechera in the 21st Century, edited by Julie Cairnie and Dobrota Pucherová, LIT Verlag Berlin, 2012.
Spoken word and music composition for the accompanying CD.
Moving Spirit | Ethnologie / Anthropologie | Publikationen | LIT Verlag (lit-verlag.de)
“Chromatic Symphony.” Savvy: Art, Contemporary, Africa, Edition 1, May 2011, pp. 112–123.
Interview with artist Odili Donald Odita (together with Missla Libsekal).
Mentions in other publications:
Kee, J. (2023). The Geometries of Afro Asia: Art beyond Solidarity. University of California Press.
An analysis of my music for Tied and True, a film by Wu Tsang and Nana Oforiatta Ayim (USA/Ghana, 2012).
Ugochukwu-Smooth C., N. (Ed.). (2018). Emeka Ogboh: Lagos Soundscapes. Kerber Verlag.
Reviews and mentions online:
Aihio Outlands (2019)
“Outlands is a highly original album, in sound as well as in its background concept. Even in the ‘experimental’ electronic genre, many sounds and processes are alike. Aihio manages to step outside the box and create their own unique sound. Literally!” – Peter van Cooten, Ambientblog.net
Egwutronica (2015) – exhibition and installation music for the Seattle Art Museum, US (with Emeka Ogboh)
“Mesmerizing mix of synthesized music and sampled traditional music. It’s one of my favourite aspects of a show full of profound moments.” – Gayle Clemans, The Seattle Times (Full article)
“I was certainly captivated enough to linger, although the success of the ritual is owed in part to an entrancing segment of Emeka Ogboh’s Egwutronica soundtrack (2014–2015). Integrated throughout the exhibition, Egwutronica is a nonintrusive but immersive sound installation of synthesized beats and sampled African instruments that responds in part to the works on view. Shifting the silent sanctity of the museum to a different register, the soundscapes reinforce the notion of the masquerade as existing in a kind of paraspace, which is described on a text panel by Sondra Perry as a realm that exists parallel to or outside of ordinary life.” – Kenta Murakami, Hyperallergic (Full article)
Shimmer & Bloom (2011), Arrival City (2013) and various unreleased curiosities (2008-2013)
“In [Ilpo Jauhiainen’s] music one hears the influences of various locales arranged in a kinetic collage or as though overlaid in patches, into compositions organised according to a pattern that’s as much visual and even tactile as it is auditory: the particularly graphic character of schematic maps or globes seems to have lent a shape to Jauhiainen’s ventures into the acoustic domain, especially the more recent ones.
“If one bears in mind the varied provenance of the different sonic elements he deploys, one might even discern in these sequences the translation of the contiguities of his personal itinerary into the music’s overlapping sonic successions.” – Musicuratum (All articles)
Shimmer & Bloom (2011)
“Shimmer & Bloom is one of those albums that will continue to grow for weeks and months after the first listen. Its surface seems calm at first, but beneath the ethereally thin sound layers there is a lot going on that simply isn’t revealed immediately. The main thread of this ambitious debut album might at times get diverted but on the whole Shimmer & Bloom is rewarding and beautiful.” – Mika Roth, Desibeli.net, 4/5 (Full review in Finnish)