Kenyan sound artist Joseph Kamaru, otherwise known as KMRU, and Aho Ssan, the French producer and composer born Désiré Niamké, are two of of contemporary electronic music’s most fascinating and vital figures. While the former artist’s prolific experiments with field recording have seen him develop an approach to ambient composition that emerges from and through the listener’s relationship with the sounds of their physical environment, the latter artist uses the infamously byzantine programming language Max/MSP to delve deep into the infinite possibilities of synthetic sound. Across his catalogue, on records such as Peel, Jar and Imperceptible Perceptible, KMRU emphasises the importance of listening to what you might usually miss, using patchworks of field recordings, foley and processing to bring small details into sharp focus. In contrast, Aho Ssan operates in more speculative and expressionist space, on the one hand contorting synthesis in unexpected directions while with the other simulating sounds previously unheard. On his 2020 album, Simulacrum, Niamké created Max/MSP patches to simulate The Mensah Imaginary Band, a synthesised ensemble inspired by his grandfather Mensah Anthony, a trumpet player who in the ’50s led a Ghanaian band across the Ivory Coast and acted as a conductor at the country’s famed Abissa Festival. Having never met his grandfather, as well as never having heard any recordings of his music, the artist created The Mensah Imaginary Band as a means of connecting with the music of his heritage, making sounds lost to memory material. Though perhaps counterintuitive, KMRU and Aho Ssan find immense, crackling potential energy in the contrast between their approaches, embracing chaos and cacophony and for their astounding collaborative work, which has seen both artists eschewing the minimalism of previous solo projects in favour of an intoxicating hybrid form of ferocious digital maximalism.

“I never made something so extreme,” Niamké says of his first recording with KMRU, a brooding composition made up of dense swarms of noise, groaning low-end and heart-wrenching synth improvisations, proof incarnate that, in the right hands, ambient, far from floating off in the background, has the all-consuming power to engulf entire rooms, volcanic eruptions of sound channeled into a deeply resonant collaborative expression. Commissioned by Berlin Atonal for their Metabolic Rift event, that first recording would grow and develop to eventually bloom into Limen, the duo’s 2020 album for Subtext. Here, driven by the internal and external pressure of the pandemic, the collaborators explored the dichotomy of their partnership further, taking cyclical processes of destruction and creation as a leaping off point to record an album structured around duality in sound, concept and execution. The result, in the words of Subtext founder James Ginzburg, unfolds as a soundtrack for “deconstructing history as it detonates around us.” It’s amongst the rubble of this detonation that we find ourselves for KMRU and Aho Ssan’s latest project, an audiovisual mix created alongside visual artist Sevi Iko Dømochevsky, who plunges us through the smog of a post-apocalypse, gliding through ruined environments and ecosystems like a reality warping ghost haunting a dead planet. “The approach of the mix was quite seamless,” explains Kamaru. “It’s evident how both of our works juxtapose onto each other and the mix feels like an antiphony between our sonic worlds. I began the mix with subtle tones and tracks currently unreleased and Désiré did the same with a more abrasive ending, an alternating response to the first half of the mix, which imbues an attunement to the reality through stillness, chaos and regeneration in a dialog between both of us.”

KMRU – ‘Till Hurricane Bisect’
KMRU – ‘Slowed Cities’
The Orielles – ‘Beam/s (Space Africa Remix)
KMRU – ‘Dissolution Grip’
KMRU – ‘Motley’
Aho Ssan & Josèfa Ntjam – ‘Dislocations’ (Extract, 2022)
Ego Death – ‘Ego Death (Excerpt)’, Live @ Unsound 2022

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