…and the Doppler D – Effect

Sound Talks With…Joshua Idehen

It is said that a picture is worth a thousand words! This might be true only if the person from whom those words are being spilled has a standard speech, though. When we saw Joshua Idehen performing on stage we felt that, oposite to the standard believe, each spoken word actually represented a thousand pictures. Pictures of goodness, hope and even some level of anger towards an omnipresent system that unfairly but effectively silences us all. Joshua’s performance was an avalanche of meaningful messages that would make even the toughest souls smile of joy and the weakest minds stand firm in front of every calamity regardless of its size and shape. It is an honor for us to have had the chance to get to know more deeply what’s in the mind of a modern multidisciplinary artist like Joshua Idehen. We really hope you enjoy it!

Do you remember the first time when you made something different in terms of music creation and sound design? Was it a conscious decision or it came naturally?

I think because I work as a spoken word artist with music, there always has to be a conscious effort in the creation of the music because you are essentially walking in a field where there are not a lot of people who do that. It’s not the most conventional field and I guess, in a way, every spoken word artist is quite idiosyncratic in their approach, they try to find their own kind of pattern around verse, around the beat and the timing, and also with the kind of music that they use, the style and performance. I think I’ve always had approached music as if it is a blank page. I kind of dump what I’ve done before and essentially start from the beginning even when I’m working with my own stuff. For example, I was working with this new producer with whom we were making music we hadn’t made before and there had to be a conscious thought towards: “ok, how do I work on this?” We always approach every track with a mindset of like “we have to really consider how best to get the flow on it“.

When and why did poetry become a thing in your life?

It was from eight level at the university. I have to thank teachers and university modules for that. The first time I actually wrote a poem because I felt I wanted to (I suppose I owe my teachers to make me kind of do it) was after listening to Dizzee Rascal, the “I luv you” video, I only got the last chorus an then the end and it just completely hypnotized me , and I think I wrote a poem a few days after that.

What’s your favorite poet (if any)? Why?

Ah! It changes here and there, I think one of the ones I steel recall is called Shane Koyczan, he is from Canada, he is an amazing poet,  just a brilliant writer with a wonderful, wonderful work. And then Alex Green, yeah, Alex Green is just god dammed man, he’s metaphors are just incredible, and I guess, you know, some of my favorite poets are musicians… he is just phenomenal

Where do you think ideas for experimental arts come from, from inside (the mind and the soul) or from the outside (the world surrounding us)?

That’s an interesting question. I think all ideas comes from a combination of inside and outside, emotional inside and outside intense experiences. You have an emotional need and you’re looking for a vehicle to channel that, you look at the environment, you look at the conventions of art and music and stuff that people can relate to and you push your emotions thru a recreation of that. That’s a bit more complex and uncomfortable of what I expected for an answer, but, that’s what came out! Yeah.

Where do you feel more comfortable: Recording in the studio or performing live? Why?

Studio Always! It is because the studio can be controlled, I mean live is great in a moment, and you know, once it’s gone, is gone, but  in the studio is like once you get confortable, is like everything can be tweaked and I’m a bit of a perfectionist and that’s kind of fun.

What types of sounds do you prefer: organic, electronic or both?

Oh! both, obviously both, like uhhh, eager beaver, it depends…

What’s the craziest track you have ever listened to?

Anna Meredith‘s Nautilus!! Nautilus is…is all right up there! I think that’s one of the craziest tracks I’ve heard.

What are your plans for the future in terms of production and creation??

I started this new project with Ludvig (Parment) and that’s what we are going to be doing, that literary is, making spoken word and house dance…causable, stuff, yeah

What do you think is the future of music in terms of tools and instruments and how will it affect the creators, performers and the audience?

I think there are going to be different technological advances and we’re going to adapt to it and find new means of expression thru that. I think there is an upward trajectory and that there is going to be a lot more. In the elite of mid north it feels like technology has allowed to sort of decentralize and find their own niche with Myspace and SoundCloud and, in a way, you can kind of just create your own audience and that still holds thru, to an extend now. I think there’s going to be another wave of innovation and that’s going to lead to another moment of, I guess, breakaway of decentralization where artists are going to find their own corners and people will find different means to kind of sustain themselves and their art. Whether that means people just making music for free or people do stuff legally, I don’t know but, I think that’s where the future is, I think things are quite circular in that way, that just come around.

Considering the trend of music being massively sold as a product and the impact it has on musical quality, what would the role of experimental and meaningful music (and musicians) be in the development of the human race and the creation of a better world?

Music is art and we need art, that’s like a standard practice. We are never going to be able to exist in a world without some art and the more mundane and kind of commercialized the world gets, I think the more the search for meaningful and quality art will be. Of course art is subjective and one man’s “meaningful” is another man’s “trash”. I try not to pay too much attention to stuff like that because is like constantly trying to think about yourself and the grand scheme, it kind of leads to a moment of “potential-less” and “unlistenable” trash. I think is more important to think in what you like and what works for you and if it satisfies yourself first, then you’re all good.

If through science or any other method we manage to prove the existence of a creator, god or great designer of the universe and you were chosen to play the background sounds for the first encounter with it, which song (yours or any other artist’s work) would you use for such an event?

Hmm.. I think I would play Ray Parker’s “Ghostbusters”. Now, because I’m an atheist I would constantly find songs that challenge the very notions of god, and I think Ghostbusters would be my first one, just to kind of like throw cats among the pigeons. You know? this is kind of funny, God exists and he is right there and he is like: “serenade me with your music“,  and I’m like pompom pororompompooom hahahaha. I probably play just a chord… OH! I would definitely play “I Hate you right now” by Kelis because If god does exist and he’s let all of the stuff that’s going on on this world go on for so long and now he is kind of expecting us to kind of like give him a bit of some…now allow that I play “I hate you so much right now” and let me be some fucking Jimmy Hendrix, yeah have some guitars on that. OK cheers!

Here some of our favorite songs featuring/performed by Joshua Idehen:

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