Part 2

With more and more musicians creating than ever and more and more of these creations being released, what does this mean for you as an artist in terms of originality? What are some of the areas where you currently see the greatest potential for originality and who are some of the artists and communities that you find inspiring in this regard?

There are tons of new artists, labels and sounds happening. I think it doesn't distract my originality one bit. I am who I am and my music is what it is I have a sound - this I know. I look to the new things to discover those things I am not capable of. This is the expansion I desire. I love Adrian Yonge, especially his new electronique project, Borrowed Identity kicks ass, Hiatus Kaiyote is my favorite band. I mean, there are so many, too many to mention.

How strictly do you separate improvising and composing?

I am not an improvisational person. Composing only. I improvise when live only

How do you see the relationship between sound, space and composition and what are some of your strategies and approaches of working with them?

It's one of the most important aspects of music I adore. How things relate. I am a sound freak. How things sound sonically is more exciting than the music itself at times for me. I have only one strategy, I mix in headphones. I've become accustomed to it for years now. This is instrumental in my production as the space for me is close. And I have a gift for balancing the sound that way.

What's your perspective on the relationship between music and other forms of art – painting, video art and cinema, for example – and for you and your work, how does music relate to other senses than hearing alone?

I've released several projects. All Yoruba releases since 2014 are all music, art related releases. Growing up and buying records at an early age, the cover was just as important and sometimes even more important as I bought more albums on the art without knowing the music. The soul eats from the eyes, nothing better than the sensation of sight and sound. However sounds can be appreciated a great deal with no sight. I do think visuals add another dimension to music.

What's your view on the role and function of music as well as the (e.g. political/social/creative) tasks of artists today - and how do you try to meet these goals in your work?

I think the creative, social activist, scientists, teachers etc are the key to change. I don't see many artists today doing much outside of validating their own self worth. It's most important for me to speak about what's happening in the world and my life. It's a huge responsibility!

Listening is also an active, rather than just a passive process. How do you see the role of the listener in the musical communication process?

They are the main focus. To connect is the creator's motive I believe. So the listener has a reaction to the music. It's the give and take. When I witness people on the dance floor, it's that silent communication we share that takes us on the journey together. Action & reaction

Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What's your perspective on the promo system? In which way do music journalism and PR companies change the way music is perceived by the public?

I've never used either. My lessons gave me a sense of fuck it from the past. I do this for music's sake solely. I've always kept true to that in myself. I feel the music is why I am here and supported. Its voice is greater than someone selling it. In my eyes today's world is total hype. It's amazing how little talent have people who have large pay checks and huge names for simply being popular. Not my bag..

Do you have a musical vision that you haven't been able to realise for technical or financial reasons – or an idea of what music itself could be beyond its current form?

I did until last year. I wanted to record with an orchestra. On  one of the two albums I'm working on, that was realized. One off the bucket list. Nothing more has shown itself in desire.

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