In the midst of Kenya’s hopeful yet intricate post-colonial era, Joseph Kamaru hailed as a legend in the Bengan music scene. Communicating through powerful metaphors and Kikuyu proverbs, the youthful eccentric sang about the complexities of sexual harassment, morality, love, and—most notably—entangled in the web of politics. Throughout the ensuing four decades, Kamaru directed lofty criticism and praise towards the ruling leaders of the country, a penchant that wove a variety of alliances and hostilities with various Kenyan presidents; Kamaru stood as both a formidable confederate and a foe to be regarded with caution. Passing away in 2018 at age 79 the veteran artists death sparked an outpouring of grief from politicians and music industry stakeholders. “It was a blessing for us as a country to have had such a talented artist who played a big role in promoting the Kenyan brand of music,” Kenyan President Uhuru Kenyatta said.
Now in 2023 his grandson of whom he shares the same name is following in his footsteps. Kamaru (KMRU) stands at the forefront of the contemporary electronic music scene along with peers such as “Actress”. Pioneering the way forward and blurring the boundaries between experimental, electronic and ambient music, KMRU starts his creative process with field recordings. He takes sensitive audible snapshots of his current surroundings (usually where he is living at the time) whether they be natural or man made and brings them back to his home studio where he evolves these sounds into something often indistinguishable from the original recording. The act of going outside and recording is almost an act of meditation for Kamaru.
From the book “Listening After Nature” Wright shares an intimate description of what the field recording workflow and experience is like. “Walking step by step through an environment is an indelible part of field recording whether captured in the audible signal or not. Heels press down, toes unfurl, contact is made, energy is produced. Sound expel between the heel, air, and earth. Vibration, medium pressure mingle in the thin silver of these relations.” (WRIGHT et al., 2023).
A closer examination of KMRU’s sonic palette reveals a meticulous but approach to synthesis and sampling, with a particular emphasis on specific instruments and techniques that contribute to the unique and evocative nature of his music. On of these techniques in KMRUs sonic toolkit is Granular synthesis. A technique that relies on breaking down samples into tiny grains and manipulating them often in real-time. Creating a sense of constant movement and transformation within the stereo field. This granular approach adds a dynamic and organic quality to his music which further compliment the completely unprocessed field recordings he often plays in parallel.
One of the central pieces in his arsenal is the Elektron Digitakt, a versatile sampler that allows him to manipulate and sculpt audio with precision. The Digitakt’s ability to seamlessly integrate with other gear makes it a cornerstone of KMRU’s setup, facilitating the incorporation of field recordings and organic sounds into his electronic landscapes. Additionally, KMRU frequently employs the Mutable Instruments Plaits, a macro-oscillator module that offers a rich palette of sound generation possibilities. Plaits enables KMRU to generate a diverse range of timbres, from lush pads to intricate percussive elements, contributing to the intricate layering within his compositions. The modular nature of Plaits aligns with KMRU’s penchant for experimentation, providing him with the flexibility to explore unconventional sonic territories.
WRIGHT, M.P. (2023) ‘Following the Flow’, in Listening after nature: Field recording, ecology, Critical Practice. S.l.: BLOOMSBURY, p. 115.