Part 2

From very deep/high/loud/quiet sounds to very long/short/simple/complex compositions - are there extremes in music you feel drawn to and what response do they elicit?

When it comes to compositions, I embrace an all-inclusive approach, often incorporating many elements into the music. My primary inspiration stems from the field recordings I work with, which serve as a canvas for my musical expressions. These recordings dictate the mood and direction of the composition, allowing me to channel the raw emotions and ambiance they capture.

While I may want to experiment with subtler, quieter sounds, the nature of my field recordings, especially those from bustling cities like Lagos, often leans towards the vibrant and dynamic. The cacophony and energy of such environments naturally steer my compositions away from the serene.

It's less about adhering to a specific extreme and more about staying true to the essence of the recordings and the emotions they evoke in me.

Could you describe your creative process on the basis of one of your pieces, live performances or albums that's particularly dear to you, please?

The process of making music, especially my compositions with field recording always starts with going through my audio archives, listening to soundscapes I recorded and then choosing excerpts from lengthy recordings.

Out of a 2–3-hour recording, I could choose a 25-minute excerpt that I find interesting, or which speaks to what I’m trying to do and embodies the whole feeling of that space I recorded. Then I’ll put it on loop, listening on noise cancellation headphones and just focus on that excerpt without having any external sounds interrupting.

I would do this conscious listening repeatedly, over time and at some point, I’ll start feeling the music coming out. I might even get my phone, put on the voice recorder, and start trying to hum the music back while the field recording is playing in my ear.

From there, it’s time to take things to the DAW. Developing the basic beats from scratch, and then finding samples or loops, which I can then throw in and let the music start taking shape.

Do you conduct “experiments” or make use of scientific insights when you're making music?

Experimentation is key to my music-making process.

I have a particular affinity for fusing field recordings with electronic beats, creating a sonic fusion that bridges the organic with the synthesized. My approach is often driven by a sense of curiosity, exploring how everyday sounds from our environment can be transformed into musical elements.

For example, the cacophony of honking horns at Lagos bus stations. Many of these danfo buses are equipped with distinct and captivating horns designed to grab attention. To my ears, these horns possess a melodic quality that's ripe for musical exploration. I've often integrated chopped-up versions of these horns into my compositions, treating them as instruments.

The process involves dissecting these recordings, isolating intriguing segments, throwing in some effects, and experimenting with them as loops to see how they can fit into a broader musical context.

How does the way you make music reflect the way you live your life? Can we learn lessons about life by understanding music on a deeper level?

I think my approach to making music is connected with my perspective on life. Just as I draw from the ambient sounds of the world around me to create music, I believe in absorbing experiences, memories, and emotions from my surroundings to shape my life's journey.

The field recordings I use in my compositions are a testament to my appreciation for the raw, unfiltered essence of the world, and this in some ways mirrors my approach to life – embracing authenticity, finding beauty in the mundane, and seeking harmony in chaos.

Music, in many ways reflects life's complexities, highs, and lows. By understanding music on a deeper level, we can get insights about life. Just as a song has its crescendos and decrescendos, life has its peaks and valleys. The harmonies and dissonances in music can teach us about balance, and the importance of embracing both joy and sorrow.

So yes, the intricacies of music could offer profound lessons about navigating the complexities of life.

Do you feel as though writing or performing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't in more 'mundane' tasks?

Creating or performing a piece of music and making a great cup of coffee are both art forms expressed in different mediums. At their core, both involve a deep understanding of their respective crafts, precision, and personal touches.

Music, as a form of expression, allows artists to convey emotions, stories, and experiences on a deep level. It has the power to resonate with listeners, evoke feelings, and transport them to different realms. On the other hand, making a great cup of coffee is a sensory experience. It's about understanding coffee beans, the grind size, the water temperature, and the brewing method.

However, while music offers a broader perspective for emotional and thematic expression, coffee-making is more about perfecting a sensory experience within a specific framework. In 'mundane' tasks like making coffee, the expression is subtler, often limited to the pursuit of perfection and the joy of crafting something delightful.

Music, in contrast, provides an expansive platform to communicate a vast range of emotions, ideas, and experiences.

Every time I listen to "Albedo 0.39" by Vangelis, I choke up. But the lyrics are made up of nothing but numbers and values. Do you, too, have a song or piece of music that affects you in a way that you can't explain?

"Maggot Brain" by Funkadelic is one such piece that strangely stirs deep emotions within me. Every time I listen to it, I'm overwhelmed with goosebumps and a whirlwind of feelings.



The story behind its creation adds another layer of depth to its impact. It's said that George Clinton, while under the influence of LSD, instructed guitarist Eddie Hazel to channel the raw emotions he might feel if he were told his mother had passed away. Hazel's resulting performance, recorded in a single take, is a testament to the power of music to capture and convey the deepest human emotions.

The track stands as a reminder of how music can transcend words and touch the very core of our being.

If you could make a wish for the future – what are developments in music, you would like to see and hear?

In thinking about the future of music, my wish would lean towards advancements in music playback equipment, particularly loudspeakers.

I dream of a world where we can be completely immersed in music, feeling it envelop us from every direction, without the constraints of traditional playback devices. Imagine a space where music seems to emanate from thin air, surrounding and captivating the listener, with no visible source or medium.

Such a development would not only revolutionize the way we experience music but also blur the lines between the tangible and the intangible, offering a truly ethereal musical experience.