Finnish Abstractions

MAY 13

I had promised myself not to take nor post any photos during my writing residency – simply because the Finnish environment is way too familiar to me – but after three years in Paris I find myself wondering everything anew here. Trees become the benign aliens from the film Arrival, architecture has all the simplicity and functionality of the Arrakeen city (from Dune), and people…people are simply down to Earth. Or from some another green world.

I love the fact that when you walk five minutes in one direction, you are in the centre of a lively small town with people from all walks of life enjoying the spring sunshine; when you walk five minutes in another direction, you find yourself in the middle of a forest, with only the sound of birds, breeze in the branches and a gentle hum of trucks on a distant highway as your company.

And everything here works. Having just today met and talked to some others who have lived abroad, apparently we Finns have a reputation of being a bit “grumpy” – grumbling, critical, negative – when we are in foreign countries, and for a simple and decent reason: in terms of functionality, what is already bleedin’ obvious in Finland is still bleedin’ unobvious (read unnecessarily complicated) everywhere else. 😉 I obviously agree with the statement – I sign it, that’s me – but also with the necessity of having both worlds: the bleedin’ obvious and the bleedin’ unnecessarily complicated.

After the densely built and occupied environment of Paris, the emptiness and openness of this Finnish town invites one to imagine and build new spaces. Trees have just begun to bud and the environment to become green and fragrant. Tonight we had a jam session with local and global musicians (with me playing piano after a long time – I’d wanted to be the guy operating all the electronics but what can you do) at this book launch to accompany this writer, who read from his newly published poetry book about the moon, trains and metaphysics. We are all on our way to somewhere, somehow, all the time.

MAY 27

Exotic. “From another part of the world; foreign.” “Intriguingly unusual or different; excitingly strange.” “Having a strange or bizarre allure, beauty, or quality.” ”Not native; introduced from abroad; foreign.” “Strikingly unusual or strange in effect, appearance, or nature.”

One night in Paris I had a discussion with a dear friend of mine about the word ‘exotic’. While I wanted to revive the word and rescue it from its unfortunate colonial(istic) connotations, my friend felt the word had outlived its time and purpose.

And she was right, of course. But I just don’t know how else to describe in one word the “unusual, different, striking, strange, extraordinary, bizarre, fascinating, curious, mysterious, colourful, glamorous, peculiar, unfamiliar, outlandish” quality and feeling that I keep experiencing here.

It’s nothing dramatic, naturally, everything here remains more or less familiar if not mundane. But there’s a certain ‘exotic’ quality to many things when you observe and encounter them after a while. Philosopher Gilles Deleuze called this “the dawn of the world”, an atmospheric condition of the everyday presenting novel possibilities.

It’s the city festival of the arts – a Nuit Blanche or the Night of the Arts but for three days – and last night I went to see a gig at this legendary countercultural bar where I last set my foot in 25 years ago. Listening to this Ginsbergian slam poetry against Pan Sonic/Velvet Underground/Afrika Bambaataa -esque live music (afterwards I proposed a collaboration – they were so good), together with such a warm and down to earth crowd and the early summer/late evening sun setting behind large windows, I couldn’t help but feel that this Northern small town/cosmopolitan city experience appeared, for lack of a better word, rather exotic.

JUNE 4

A long walk in a light rain, following a lake after a lake after a lake. Exactly how many lakes are there in Finland? As if this was some kind of land of a thousand lakes!

JUNE 12

The Rainforest.

In the middle of this town there’s a nature conservation area, a wild forest with unique flora flourishing in a river valley the size of only three hectares. When you descend the steep stairs into the valley (or cove) at either end of the reserve, you could be forgiven for thinking that you have accidentally taken a wrong turn and arrived in the Amazon rainforest instead – except that there are no signs of illegal mining and logging operations going on here, not even legal ones.

The lush and dense vegetation; the vivid tapestry of bird songs; the invigorating air and scents; the murky and muddy waters of the river; the old wooden bridges shaped and broken by weather, erosion and time; and the near absence of any man-made sound, dampened on one side by the vegetation and deep slopes and on the other by water cascading through rapids…all conspire to create an impression that you are indeed deep in a jungle, alone in the wilderness, free and brave – despite the built environment always being just a few hundred metres away. Perhaps there are caimans in the water, too?

The reserve is much loved by the locals and visitors alike, yet it never gets crowded and you are left to roam this small plot of Eden on your own. Occasionally you might encounter an ornithologist or an ecologist, and they will excitedly tell you what constitutes the plant you are admiring or why a bird is singing in such an intricate or monotonous pattern. You emerge from the forest a lot calmer and more educated.

Next year I will be realising a forest-themed composition and sound installation, and for that this sanctuary has become an invaluable resource, “another green world” of study, contemplation and inspiration. As a curator friend of mine recently said, there’s no more perfect an installation than that of nature…

JUNE 22

Since arriving, I have discovered four rather surprising cities within this town (actually a city but the ‘town’ emphasises its cosy character).

This is:

1) The capital of Finnish hip hop. Even the actual capital city and other bigger cities here look (up) to this town for its sound, wordplay and collaborative spirit. My first reaction was “where are the banlieues? The inner cities and the housing estates?”. But Finnish hip hop doesn’t need urban decay to rap about – a tranquil forest will do!

2) The Athens of Finland. This is “the cradle of the arts and sciences” in the country (the very Finnish words for ‘art’ and ‘science’ were invented here – a great place for inventing new words!); nowadays the epithet also alludes to the town’s role as a major educational and cultural centre. With this local author – who is about to leave for a writing residency in the original Athens – we thought of yet another resemblance: both cities are defined by a hill in the middle!

3) The capital of Alvar Aalto. The eminent Finnish architect spent his formative years, from his early school years to starting his family and career, here. This city of lakes and hills has the largest number of significant building complexes designed by Aalto in the whole world. Alvar Aalto is always in the house!

4) The City of Light – although for slightly different reasons than Paris: the town is a global pioneer in urban lighting, actively investing in energy efficiency, safety and aesthetics in its designs that are unique (site-sensitive) to each area, enhancing their architecture and built environment while minimising light pollution. I’m yet to see their “Light Vision”/“ValoVisio” plan properly in action though, as it’s summer and the sun barely sets. Who knows, with all this Bronx-Athens-Aalto-Paris lineage going on and with all these culture makers active in the city, Jyväskylä could very well become also a city of new enlightenment one day…

Have a beautiful summer!

Prince Claus Awards 2022

Greetings from Amsterdam! I’ve been back in my old hometown for the 2022 Prince Claus Awards for arts, culture and social progress, as I had the honour of being one of the advisors for the awards jury this year again.

It’s such a privilege to be able to encounter so much talent, creativity and passion from all over the world within such limited time and space. The awards ceremony with its surrounding networking events is one of those cultural incubators where new possible geographies and becomings are being formed: “the dawn of the world” (after Deleuze) created by people coming together, and through listening, curiosity and care, attempting to find a common ground, a novel space, between each other as well as between existing borders, territories and divisions. There’s a sense of new hopeful futurality in the air. Yet it’s not all plain-sailing toward some utopia, more like a chaotic and colourful navigation through the present.

The awards ceremony itself at the Royal Palace was gorgeous, with King Willem-Alexander and Queen Máxima as well as Princess Beatrix, Princess Laurentien and Prince Constantijn in the audience. Also witnessed a heartwarming vocal performance by South African singer Amarafleur (chills running down my spine), futuristically primitive/indigenously futuristic hip-hop by Senegalese duo DEFMAA MAADEF (Mamy Victory and Defa), and one of the most exhilarating dance performances ever by Nigerian dancer and choreographer Sunday Obiajulu Ozegbe and his dance group Ennovate Dance House: their insanely inventive and energising choreography, inspired by the city of Lagos, was accompanied by a soundtrack fusing Lagos soundscapes with electronic music, and I literally had to hold back my tears and idiotic smile as it took me back to Emeka Ogboh and my wide-eyed experiments (LOS-HEL: Possible Cities) all those years ago. Inspiring conversations and encounters at the reception, dinner and the afterparty afterwards (met also this lovely opera singer from Fiji, into Finnish classical music and married to the French ambassador to Italy – turns out we are neighbours in Paris! I told him that as a kid I wrote a fictional adventure story based entirely on my imagined idea of Fiji; he’s yet to ruin that image). A tender, colourful, wonderful evening.

You can read more about the recipients and the awards at www.princeclausfund.org.

A couple of notes from the event:

“Untranslatable.” French-Senegalese film director and screenwriter Alain Gomis, one of the recipients of this year’s Prince Claus Impact Awards, kept referring to the untranslatable qualities as those that make you ‘you’, and the reason why we need diversity of voices, narratives and perspectives to make that untranslatable somewhat understandable. When Gomis received the main prize for best film at the 23rd pan-African film festival (Fespaco) in Burkina Faso in 2013, I was in the audience listening to him but he spoke in French, with an overdubbed and shortened English translation echoing around the Stade du 4 Août stadium, and many things became untranslatable in that hot Ouagadougou night. I love the idea very much.

“A banker is originally a catalyst who enables ideas to come into being, and who ensures that wealth is distributed equally among the society.” Carlo Rizzo, the director of the Dubai Collection and an ex-banker, sitting next to me at the dinner table. He left his job as a banker, because he couldn’t help the society the way he’d imagined – imagine a world where the banks still served their original purpose?

Paris – a multiplicity

A long postcard from Paris. Time just whizzes by.

The summer has finally turned into an autumn – the first time I felt my fingers freezing while cycling home late at night. Where did all that heat and endless blue sky go? Into working haphazardly on everything, meeting new people, cycling around Paris, going out, experiencing the city, settling down, pondering, searching for the meaning and motivation to continue making music: releasing albums digitally to muted response just won’t do anymore, I’m honestly done if that’s all there is for the function of music-making!

The end of the summer has fortunately coincided with the start of new conversations and collaborations. Paris, like any location, is an assemblage of different multiplicities, each multiplicity presenting a universe of ideas, encounters, possibilities. As the autumn leaves are preparing to fall, I’ve found myself on a plane connecting one such multiplicity to few others, entering exciting new becomings – meaningful and refreshing expressions of life, creativity and culture, if you will.

One such becoming is with this Swiss choreographer, dancer and director. Finally a long-term project that allows me to collaborate with other talents across the arts and other areas of the society for the next few years (why doesn’t this happen more often, especially since I’ve been more than ready for the past 20 years?). The details of our project may be discreet for now; the reason I bring this up is because it is our long conversations and shared experiences of Parisian culture that finally brought to an end my months-long impasse of trying to find the purpose for music-making. We don’t exist in isolation nor is the digital any answer: we need each other, real feedback and different talents to make the projects and worlds we care about happen. Behind every success story there are dozens of people with different skills working toward the same goal. My work has existed more or less in isolation (and digital ambiguity) up until now – not because I’ve wanted but because I haven’t encountered any like-minded scenes (and sceniuses) so far. I don’t really care about the popularity of my music per se: as long as I feel thrilled and passionate about what I’ve created, that’s all that matters; it’s the greater cultural and societal function of my creativity and dedication that bothers/matters to me.

And with this Swiss artist my long-term musical and societal interests have aligned with hers. Creating and imagining music for her project feels like serving a greater societal and cultural purpose than releasing albums into some digital amnesia that the internet represents.

Alongside this, Paris has presented some of the most fascinating live concerts I’ve experienced so far: between cultures, in a fourth world, between experimentation and tradition, like possible musics of the future (for one, check out the Palestinian composer Kamilya Jubran and her Terra Incognita project – and if you can’t find it, book her trio for your next festival/event 🙂 ). And I’m excited to say that I’ll be collaborating with some of these artists for my forthcoming albums Sharawadji and Earth Variations. I’ve been working joyously with a kind of “idiot glee” (as the painter Peter Schmidt put it) in my studio for the past week and have to concede once again: there’s so much potential and beauty in everything – so much incredible material – yet only less than 0.1% of that ever gets released. I guess the life wouldn’t have it otherwise.

Below some random snapshots from this transitional period. Paris is love, a home in this galaxy of ours.

Prince Claus Awards 2019 / New Geographies

Cover picture: Frank van Beek

Greetings from Amsterdam! My old hometown, where I haven’t been to for 22 years. I’m in town for the 2019 Prince Claus Awards for culture and development, as I had the honour of being one of the advisors for the jury this year. You can read more about the awards and the laureates here: https://princeclausfund.org/awards-laureates

As this decade is coming to an end, I became reflective on this rather transformative 10-year period I experienced – and put together a short Spotify playlist containing three pieces from each of the seven albums I made this decade. New Geographies 2010-2019

For this has truly been a decade of coming into being, journeying, discovering and developing new geographies, becoming: from escaping the noise of Berlin to the solitude of Helsinki in 2010, in order to focus on my debut album (which I’d been only dreaming of making in the previous decade while experimenting with wildly different sounds and lifestyles in London); through my subsequent travels and residencies in West and North Africa, Western and Southern Europe; through my further academic studies; through my public sound installations in Belgium, Germany, Finland, Italy and the US; through my subsequent six albums, which all explored the question of “what if…” (“what if this kind of cultural landscape existed”, “what if this was the most popular form of music, what kind of society would that suggest?” and so on); to this gathering of creative talents and minds in A’dam, where new possible geographies and becomings are being formed for the coming decade.

I’d like to extend my deepest gratitude to all of you who have supported me during these 10 years, and all of you who have been listening. It really has meant the world to me. The next decade will start off with a brand new album and new journeys and discoveries after that. WARMTH X

ps. few random and blurry pictures from the last night.

Becoming World

An update on my forthcoming album, followed by a longer reflection on the present and the future.

Since I’ve been busy writing and finishing my thesis lately, it seems I have to postpone the release of my new “electro/Tokyo-meets-Dakar-meets-Arctic-meets-Sahel” album until early next year. The album would be ready for release in early December, but I always feel that the end of the year isn’t the most ideal time to put out new music, especially the kind that has more spring/summer vibe to it; and soon the release will be a thing of the last year and decade (at least in the eyes of the media), even though the music won’t become mainstream until perhaps 2040. 😉 And since some of the tracks were already started nearly 20 years ago but still manage to sound new, I think the record will sound fresh next year also. Or, I might be put out the (higher quality) Bandcamp version before Christmas, but the Spotify et al. release will have to wait till next year due to the delivery times.

This might be my last album (at least for a while) in terms of “traditional” electronic music with beats, basslines, chords, melodies, song structures…I feel I’ve been there and done that – unless some great collaborative project e.g. with some truly interesting singer emerges, which would bring a whole new purpose and dimension to producing music. But as far as my solo work with instrumental electronic “pop” goes, I’m done (and I couldn’t be happier to be exiting with this new album, because I think it’s the best I’ve done). Instead, I want to start going deeper into and continue exploring further the new musical landscapes and possibilities like those suggested by my another album-in-progress, Earth Variations, which moves somewhere between (the ever-blurring categories of) world music, possible music, contemporary composition and sonic art. It’ll be more experimental and, unfortunately, even less popular than my current output, despite (or perhaps because of) it retaining the human and emotive warmth, soul, at its core. Some of that exploration will probably find its natural platform also in Aihio, my duo with Petteri Mäkiniemi.

Besides the natural curiosity, another catalyst for this wanting to go musically and sonically somewhere new and exciting has been the process of writing my thesis, which explores generative music, site-specific sound and interdisciplinary art through the philosophy of becoming: to my surprise, the last six months of writing it became the most exhilarating mental journey I’ve ever taken! Especially the reading and pondering of the philosophy (Deleuze), and having the opportunity to apply it creatively to the ideas about music and sound, took me to places that I probably would have never reached otherwise; it also reconnected me with my passion for writing (I’ve been trying to get back to it for decades but music has always won – until now). After finishing the process, music-making suddenly seemed…ordinary, routine, creatively and conceptually rather one-dimensional.   

The composer John Cage said that making music is a form of philosophy, a way to think about, understand and be in this world. I have always felt that way too. For example, songs like Prince’s When Doves Cry, Donna Summer’s State of Independence, David Bowie’s Heroes, Talking Heads’ Born Under Punches, Velvet Underground’s Run Run Run, Kate Bush’s Running Up That Hill, Fela Kuti’s Alu Jon Jonki Jon, Björk’s Jóga, Brian Eno’s By This River, and so on, are not just great pieces of pop music/art, they are (to me) entire cosmologies, studies of the fundamental aspects of existence – not in any lyrical but more dynamic, spatial and sonic sense, in the relations and spaces between the sounds they contain. And I’ve approached my own music-making similarly, it has always been more concerned with the world than the capitalist demand for fresh product.

And this has led to my growing discontent with having to operate within the music industry in general. Whereas my favourite field, architecture, considers the whole world – politics, economy, society and culture – and operates simultaneously as a creative, intellectual, practical and academic practice, the field of music is mostly concerned with hype, ego, instagrammability, showmanship, the amount of social media “likes” and Spotify listeners – all so very unimportant, uninteresting and ephemeral things, in my view. There’s no room or need for discussions, ideas, thinking. Perhaps in the 1970s and 80s it was more common that an artist’s album release was accompanied by a broader cultural and philosophical discussion among the press and audiences about the work’s function and ideas (or maybe I’ve read too many interviews of Brian Eno from that time), but now it seems like music is treated as a mere supplementary and forgettable decoration, a by-product of a larger entertainment manufacturing, an indifferent stream of background data which you skim for few seconds before skipping to the next stream. The dichotomy between the (inner) world that surrounds and goes into the making of a piece of music and the (outer) world that receives it is often enormous – it’s almost like someone solved the theory of everything which would then be used to advertise a can of baked beans at the local supermarket only.

Well, I don’t actually blame audiences for wanting to use music as an escapist entertainment only, in the current world of global problems and political balderdash – and there’s simply too much music out there for any of it to receive proper attention – although I’ve always maintained that instead of escape, music actually takes us even more towards and within the reality, closer to the dynamic nature of existence and its inexhaustible potential (that philosophical function of music again). Perhaps music and art are moments of reality amid our ideological aberrations of political power games and free market religiosity?

Having had my senses arisen by the philosophical adventure and yet made even more unquiet by the dichotomy between my interests and the overall function of music, I’ll continue exploring this new musical (’possible musical’?) direction with great curiosity. I’ve always found myself occupying the spaces between things – be they research fields, art forms, cultures, continents, accepted musical genres – and it’s time I fully embrace this liminal condition and start cultivating its seemingly less crowded and less saturated terrain.    

Thank you for reading, I really appreciate that!

Warmth X


Cover image: “Between architecture, music and environment – composing Future Forest Space in Neerpelt, Belgium, 2017”. Photo by Rachel Mrosek

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.