MAKOSSIRI

Listening to Makossiri's Hardcore Techno sets, I was immediately drawn to the fantastic intense levels they sustain. High energy without going over the edge, poised perfectly between a multitude of genres with unique polyrhythms and time signatures - their way of layering music is no ordinary sound.

With great production work, and excellent craftsmanship on the decks, Makossiri's music unifies and echoes my love of harder sounds, and combines this with interesting and freakin' fast electronic dance music, hardcore, dark techno, noise, and the industrial genres all melding seamlessly together in a symphony of polyrhythmic sound.

In this interview, I aim to cultivate a sense of curiosity about Makossiri, and for readers to learn about their journey through life, culture, and music.

What is your name, and/or DJ Handle, and how did you come to choose it?

M: My name is Makossiri, which is a Luo word from the tribe I come from in Kenya. It means 'one who comes from the Ossiri family. I chose this name to connect with and honor my heritage and also as a reminder for me to keep myself rooted in my identity as an African.

You live in Berlin now, but where did you grow up? And if more than one place, where were your formative musical appreciation years?

I spent most of my childhood in Nakuru, Kenya. During my teenage years, my family moved between places like Nairobi and Homa Bay. These places exposed me to diverse musical styles and cultures but my most formative musical years were undoubtedly in Nakuru, where I sang in the kids' church choir which was where my love for music began to take shape.

One of my fondest childhood memories from that time is my brother and I cutting out sections of my dad's Sunday newspaper that featured lyrics from the week's top charts. These were mainly pop songs from Kenya, South Africa and the States. We'd stick these cutouts into notebooks to create our own songbooks and then we would both compete with each to see who could sing or rap the songs better. It was pure joy and creativity, a kind of music education in its own right.

As a DJ what type of vibe do you like to imagine creating for people on the dancefloor?

M: I like to tap into the vibe of an event before I step behind the decks, feeling out the crowd and the energy in the room. Once I have that, the first track is everything. It sets the tone and creates a path for the whole set. From there, it's just about letting the music flow and finding the right moments to shift the energy.

~MAKOSSIRI

You spoke in an interview where you mentioned that you hold personally, and creatively use, the process of envisioning a better life, and future for people. Afrofuturetech & Life: How does music help people envision, and also create, a better future?

M: Music has a unique power to help people envision and create a better future. For me, Afrofuturetech embodies the idea that we are already living in the future that was once imagined by previous generations of Afrofuturists. Through DJing, I witness firsthand how music can reshape how we perceive the world and our place within it. It has the ability to alter neural pathways, which can help people engage with the present moment while also creating space for imagining new possibilities.

Each person's vision of the future is different and music allows them to connect with that vision in profound ways. I see Afrofuturetech not just as a sound but as a continuous evolution of a cultural movement that builds on the work of those who came before us, filling in gaps and creating the structures that are needed for progress.

"I learnt a long time ago that my art is my soul's remedy first before it serves the masses. I'm currently in the phase of experimenting, learning, growing and unifying all the different aspects of me that I have developed all through the years,evolving into the musician I was always meant to be. I believe that I can be whoever I want to be in this world and that's the greatest gift I can give to both myself and the world around me."

In my work, I also focus on empowering others to establish themselves, whether it's through their own creative endeavors or by supporting them in their growth. Music plays a huge role in this process because it's unpredictable and fluid. People might discover a song today or it could resonate with them years down the line. The beauty of music is that it has the potential to shape the future in ways we can't always foresee but can always be a part of.

How does your relationship to your subconscious inform your creative process and journey?

M: My subconscious plays a key role in my creative process because I'm very in tune with my emotions and the energies around me. Being highly sensitive means that I naturally pick up on subtle shifts in my environment and this influences how and what I create. For example, when I first moved to Europe, it was challenging to stay connected to myself and my creativity but I learned that stepping outside of my comfort zone is often essential for growth. This relationship with my subconscious drives me to keep experimenting, even when the process feels chaotic.

In music creation, I often start with an intuitive idea, most of the time a drum pattern or just a sound or a feeling and then allow it to evolve through continuous experimentation. This open-ended approach means I rely heavily on my instincts, which are shaped by my subconscious awareness.

When I'm building DJ sets, I focus on expressing my individuality and inspiring others. I believe that being in touch with your subconscious helps you fight for personal freedom, creatively and personally. It's that connection to my inner self that guides not only my music but also my broader creative journey.

Now, I read that you are also the designer of the Nyadungu, (a unique instrument that uses a microtonal and non-traditional tuning system). Can you tell us more about this instrument and maybe a bit about how you developed it?

M. Yes, I would love to talk about the Nyadungu in the context of building something for future generations. The idea for this instrument started when I was in university in Kenya, studying drama and theater with a minor in music. Part of my coursework involved learning the Nyatiti, an eight-stringed traditional instrument from my tribe, the Luo of Kenya. At that point in my life, I hadn't been exposed to electronic or experimental music. But as I practiced with the Nyatiti, I began to feel limited by its tonal range and flexibility. I had ideas for more experimental music, but I didn't know how to translate those ideas into something practical at the time.

When I dropped out of school, I stopped playing the Nyatiti, but the idea of doing something more with it never really left me. It stayed in the back of my mind, as if waiting for the right moment to resurface. That moment came years later, after I moved to Uganda. One day, while sitting on a balcony at an event space, I saw a musician playing an instrument called the Adungu, a harp-like instrument from the Acholi and Alur people of Uganda, who are part of the larger Luo-speaking community in East Africa. The way he played it was unlike anything I had seen before, he managed to use it across different genres, making it incredibly versatile. This inspired me deeply and I thought, "What if I could do something similar with the Nyatiti?" That was when the idea of blending the two instruments began to take shape.

I realized that by adding extra strings and modifying the design of the Nyatiti, I could expand its tonal range and create something that allowed for more experimentation. However, it was still just an idea at that point I didn't have the technical skills to build it myself.

Fast forward a few years later, when I attended a festival where I met a musician and instrument maker named Olith Ratego. He was not only skilled in traditional instrument design but also had experience with electronic music. I shared my concept with him, and he immediately understood what I wanted to achieve. Together, we worked on designing the instrument, and that's how the Nyadungu was born-a hybrid of the Nyatiti and the Adungu, incorporating elements of both traditional and modern music.

One of the most unique aspects of the Nyadungu is that it uses a microtonal and non-traditional tuning system. This means it doesn't conform to the standard tuning of Western instruments, allowing it to produce more complex and nuanced soundscapes. With its expanded range of strings and non-traditional tuning, it opens up possibilities for exploring everything from folk to experimental genres, including electronic and noise music, in entirely new ways. For me, creating the Nyadungu wasn't about making a new instrument,it was about blending tradition with innovation, preserving something ancient while reimagining it for future generations. It's a way of keeping our cultural heritage alive while pushing the boundaries of what music can be. I hope it inspires other artists and musicians to think beyond what's familiar and experiment with new ideas, just as I did.

Do you have any track you have produced available on the internet that we can listen to, and hear Nyandugu?

M: https://soundcloud.com/makossiri/makossiri-x-monrhea-nyadungu-trip-ft-raia

And in addition to being a DJ, and instrument designer, you "call the music i make afrofuture tech". What brought you to deciding to push the creative envelope, and go into music production?

I started producing music around 2016 then dropped it and picked it up more seriously in 2020 after I started DJing. What drew me to music production was the freedom it offered to create something entirely my own, and then to be able to share that with others.

Would you tell us what hardware and equipment that you enjoy using in your production work?

M: I like Ableton for arrangement and composition. Akai MK-3, with Ableton Push.

Would you have any current projects or music releases that you would like to direct our readers to?

M: Yes, here is a link to my second ep https://makossiri.bandcamp.com/album/pepea-afro-futuretech-vol-1

In your academic writing, you have given voice to honoring Detroit's creative role in creating, and defining, Techno from its inception. And how the influence of Detroit in Techno extends far earlier, and far beyond, the Detroit Techno sound. Can you speak on this, and expand what you are doing regarding it, for our readers?

M: Detroit's creative role in the birth and evolution of Techno is profound. It's not just about the iconic "Detroit Techno sound" but about the city's influence on the global music culture that continues to resonate today. In my academic writing, I've focused on honoring Detroit's contributions by exploring how its socio-political environment, industrial legacy and creative resilience shaped a genre that was far ahead of its time. Detroit Techno emerged as a response to the city's unique struggles, but its impact extended well beyond its origins, influencing electronic music scenes across the globe including Berlin's. This is a history that is usually ignored or not spoken about enough.

Currently, I'm working on amplifying these narratives, especially as discussions around Techno's cultural heritage gain attention, such as Berlin's UNESCO recognition efforts. While Berlin is often seen as the heart of Techno today, it's crucial to acknowledge that its scene wouldn't exist without Detroit's foundation. My goal is to ensure that Detroit's story remains central to any conversation about the genre's global significance.

Through my writing and creative work, I aim to highlight the continuity of this influence and celebrate the artists and communities that built this movement. It's about preserving history while encouraging new generations to understand and respect the roots of what they're creating and experiencing today.

Thank you so much for the interview here at Azarakh today, it was fun getting to know a bit about you, and your work.

~ Aryana Farsai

Makossiri Links:

Soundcloud: https://soundcloud.com/makossiri

Booking & Contact: bookingmakossiri@gmail.com

2nd EP - https://makossiri.bandcamp.com/album/pepea-afro-futuretech-vol-1

MADE BY A HUMAN - set by Makossiri on Soundcloud: https://soundcloud.com/makossiri/made-by-a-human

Nyadungu music: https://soundcloud.com/makossiri/makossiri-x-monrhea-nyadungu-trip-ft-raia

Sententia 87 on Soundcloud: https://soundcloud.com/sententiaelectronica/sententia-87-makossiri

Here is the linked academic article Makossiri wrote for the BIMM: https://blog.bimm.co.uk/berlin-techno-unesco-recognition

And another article about the Black origins of Techno: https://www.newyorker.com/culture/cultural-comment/the-battle-over-technos-origins

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