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.