Aho Ssan interrogates synthesis and simulation with Intro

Inspired in part by Jean Baudrillard’s 1981 classic
Simulacra and Simulation.

Aho Ssan, the musical moniker
for Paris-based artist Désiré Niamké, plunges us into a
hyperreal onslaught of cacophonous noise, cinematic montage and 3D
animation with Intro, the seismic opening to his debut album,
Simulacrum.

The album draws inspiration from French cultural theorist Jean
Baudrillard, its’ title referring to his 1981 classic Simulacra
and Simulation. Over the course of the record Aho Ssan applies
Baudrillard’s ideas about the structures of signs, symbols,
copies and references that make up our understanding of reality to
his own lived experience growing up Black in Paris’s suburbs.

Specifically, Simulacrum interrogates societal facades of
inclusivity and equality, emphasising how much they diverge from
Niamké’s experiences growing up amidst racism and discrimination
in France.

He also blends notions of synthesis and simulation in the
inclusion of The Mensah Imaginary Band, which Niamké created using
Max/MSP. The synthesised ensemble takes its name from Niamké’s
grandfather, Mensah Anthony, a trumpet who in the 1950 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 and not having any access to
recordings of his music, nor any more information about his musical
career, Niamké imagines the music of his heritage. In an act of
artistic speculation, he simulates the sounds of his ancestors,
weaving them in to his compositions in a synthetic act of
collaboration.

Simulacrum is out now on Subtext Recordings.
For more information about Aho Ssan, you can follow him on
Twitter.

Watch next:
Ben Frost and MFO draw inspiration from the depths of the ocean for
The Centre Cannot Hold

The post Aho Ssan
interrogates synthesis and simulation with Intro
appeared first
on FACT Magazine.

Inspired in part by Jean Baudrillard’s 1981 classic
Simulacra and Simulation.
Aho Ssan, the musical moniker
for Paris-based artist Désiré Niamké, plunges us into a
hyperreal onslaught of cacophonous noise, cinematic montage and 3D
animation with Intro, the seismic opening to his debut album,
Simulacrum.
The album draws inspiration from French cultural theorist Jean
Baudrillard, its’ title referring to his 1981 classic Simulacra
and Simulation. Over the course of the record Aho Ssan applies
Baudrillard’s ideas about the structures of signs, symbols,
copies and references that make up our understanding of reality to
his own lived experience growing up Black in Paris’s suburbs.
Specifically, Simulacrum interrogates societal facades of
inclusivity and equality, emphasising how much they diverge from
Niamké’s experiences growing up amidst racism and discrimination
in France.
He also blends notions of synthesis and simulation in the
inclusion of The Mensah Imaginary Band, which Niamké created using
Max/MSP. The synthesised ensemble takes its name from Niamké’s
grandfather, Mensah Anthony, a trumpet who in the 1950 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 and not having any access to
recordings of his music, nor any more information about his musical
career, Niamké imagines the music of his heritage. In an act of
artistic speculation, he simulates the sounds of his ancestors,
weaving them in to his compositions in a synthetic act of
collaboration.
Simulacrum is out now on Subtext Recordings.
For more information about Aho Ssan, you can follow him on
Twitter.
Watch next:
Ben Frost and MFO draw inspiration from the depths of the ocean for
The Centre Cannot Hold
The post Aho Ssan
interrogates synthesis and simulation with Intro appeared first
on FACT Magazine.

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