‘Adashi’ is a Hausa word for daily contribution and ‘No Packing’ is the colloquial word for withdrawal from the contribution. Adashi, No Parking is an experimental musical album that investigate gambling a type of gaming and how it triggers adrenaline rush.The album attempts to narrow down Lagos switching from the general multilayered sounds going to focus on an  individual component that makes up the acoustic ability of the city.

Built upon the soundscape of Lagos drawing from field recordings, arrangement and ambient electronics.  The backdrop of the musical beats is captured human heart beat electronically paced from slow to fast beat rate (i.e. mimicking from normal to adrenaline induced) a blend of field recording layered and rendered together with an eclectic palette of percussive rhythm. The beat/tracks are rendered in the duration of 2 or 3mins referencing the time it take for adrenaline to be release into the blood. 

Outro pairs the  heartbeat with electronic composition to create a calming sensory work that travels the mind.

Outro

‘Adashi’ is a Hausa word for daily contribution and  ‘No Packing’ is the colloquial word for withdrawal from the contribution. Adashi, No Parking is an experimental musical album that investigate gambling a type of gaming and how it triggers adrenaline rush.The album attempts to narrow down Lagos switching from the general multilayered sounds going to focus on an  individual component that makes up the acoustic ability of the city.

Built upon the soundscape of Lagos drawing from field recordings, arrangement and ambient electronics.  The backdrop of the musical beats is captured human heart beat electronically paced from slow to fast beat rate (i.e mimicking from normal to adrenaline induced) a blend of field recording layered and rendered together with an eclectic palette of percussive rhythm. The beat/tracks are rendered in the duration of 2 or 3mins referencing the time it take for adrenaline to be release into the blood. 

Beast mode/ ileya Ajumọṣe is a contest of ram fight, an umpire announces the contest  and subtle echoes are layered onto the sound of horn smash and spectators voice, giving rise to a hubbub that steadily builds as contours of  the track unfolds.

Beast Mode / ileya Ajumọṣe

‘Adashi’ is a Hausa word for daily contribution and  ‘No Packing’ is the colloquial word for withdrawal from the contribution. Adashi, No Parking is an experimental musical album that investigate gambling a type of gaming and how it triggers adrenaline rush.The album attempts to narrow down Lagos switching from the general multilayered sounds going to focus on an  individual component that makes up the acoustic ability of the city.

Built upon the soundscape of Lagos drawing from field recordings, arrangement and ambient electronics.  The backdrop of the musical beats is captured human heart beat electronically paced from slow to fast beat rate (i.e mimicking from normal to adrenaline induced) a blend of field recording layered and rendered together with an eclectic palette of percussive rhythm. The beat/tracks are rendered in the duration of 2 or 3mins referencing the time it take for adrenaline to be release into the blood. 

Heart on the table is made by distorting sound of the roulette table and a slot machine to  create a pulsing piece.

Heart On The Table

‘Adashi’ is a Hausa word for daily contribution and  ‘No Packing’ is the colloquial word for withdrawal from the contribution. Adashi, No Parking is an experimental musical album that investigate gambling a type of gaming and how it triggers adrenaline rush.The album attempts to narrow down Lagos switching from the general multilayered sounds going to focus on an  individual component that makes up the acoustic ability of the city.

Built upon the soundscape of Lagos drawing from field recordings, arrangement and ambient electronics.  The backdrop of the musical beats is captured human heart beat electronically paced from slow to fast beat rate (i.e mimicking from normal to adrenaline induced) a blend of field recording layered and rendered together with an eclectic palette of percussive rhythm. The beat/tracks are rendered in the duration of 2 or 3mins referencing the time it take for adrenaline to be release into the blood. 

Fan passion transports listeners to the bustling football viewing centre in dissonance having a stadium sound effect there are moment when  the record is almost unexpectedly comforting.

Fan Passion

‘Adashi’ is a Hausa word for daily contribution and  ‘No Packing’ is the colloquial word for withdrawal from the contribution. Adashi, No Parking is an experimental musical album that investigate gambling a type of gaming and how it triggers adrenaline rush.The album attempts to narrow down Lagos switching from the general multilayered sounds going to focus on an  individual component that makes up the acoustic ability of the city.

Built upon the soundscape of Lagos drawing from field recordings, arrangement and ambient electronics.  The backdrop of the musical beats is captured human heart beat electronically paced from slow to fast beat rate (i.e. mimicking from normal to adrenaline induced) a blend of field recording layered and rendered together with an eclectic palette of percussive rhythm. The beat/tracks are rendered in the duration of 2 or 3mins referencing the time it take for adrenaline to be release into the blood. 

Common man stock exchange/ Baba Ijebu, a piece of music that incorporates chatter of players and premier lotto agent (baba Ijebu agent) as they stake games, punctuated in intervals by opening lament of a player.

Commoner's Stock Exchange / Baba ijebu

Scarcity is a global phenomenon applicable to all individuals, institutions, and the economy as a whole. To illustrate this phenomenon, I’ve used the case study of the scarcity of Premium Motor Spirit (PMS) also known as fuel, which happens when fuel marketers decide to go on strike in response to an increase in pump prices, non-availability or shortage of the product alongside other issues. It is characterized by 25litre gallon yellow filing gas stations alongside longs vehicular queue which sometimes persist for months crippling economic activities

Black Market is the unofficial name for the peddling of fuel during scarcity in Lagos, Nigeria. It is an experimental sound and video piece built upon the soundscape drawn from field recordings in gas/fuel station, radio interview, banking hall, Automated Teller Machine (ATM), archival sound woven together with arrangement and ambient electronics. This project explores how scarcity is experienced and manifested in everyday life and examines the various ways in which people deal with scarcity. It seeks to examine how scarcity influences and shapes our understanding of the world, from economic, political, and social perspectives.

Black Market

Lagos is a city in constant negotiation with water. The Atlantic presses against its shores, while inland, lagoons weave through its urban fabric. Yet, in this restless dialogue between land and water, power is unevenly distributed. The ongoing land reclamation efforts in Bar Beach, Makoko, Iyana Oworo and Oko Baba epitomize a paradox: the pursuit of progress through the erasure of communities that have long thrived with and on water.

Water No Get Enemy is an immersive sound piece that examines the ongoing land reclamation in waterfront communities in Lagos where water is both a home and a battleground. Borrowing its title from Fela Kuti’s song, the work highlights the paradox of water as an essential force—one that gives life, shapes culture, and sustains livelihoods, yet is being forcefully subdued by urban expansion.

As dredgers pour sand into the lagoon to create new land, entire ways of life are threatened with erasure. The sound piece captures this unfolding transformation through a sonic dialogue between the organic and the mechanical, the rhythmic life of the water and the disruptive force of reclamation. Through layered soundscapes, manipulated field recordings, spoken word from excerpt of One Night at Victoria Beach Poem by Gabriel Okara and word play, this piece creates an auditory map that travels back in time and of a city caught between the forces of capitalism and ecology, between engineered land and an ocean that does not forget.


Water No Get Enemy I

Water No Get Enemy II

Computer Village is a sound piece that explores the afterlife of technology and its sonic residues created by computer and electronic remains. The piece listens closely to the silent collapse and reanimation of machines that defined our digital age. By centering e-waste not just as environmental debris but as a sonic archive of global consumption. Computer Village borrows its title from one of Africa’s largest technology markets and an unofficial processing center for global electronic waste. It transforms discarded electronics into a ghostly chorus of industrial ruin.

Field recordings from e-waste dumpsite Olusosun in Lagos form the background of the composition capturing the sounds of burning plastics, shattered screens, wire stripping, fragmented chatter of pickers, workers, electronic vendor and soundscape from Computer village Ikeja. These are merged with processed electromagnetic recordings from malfunctioning or dead devices echoing the ghost frequencies and electromagnetic hums that still emanate from their bodies.

This piece engages with the sites soundscapes as an archive of consumption, decay, and repair foregrounding the sonic experiences of a space where global e-waste is repurposed and reimagined. It also draws attention to the environmental and sonic pollution that intertwines with human resilience and the informal economy sustaining this technological graveyard


Computer Village

Resonant Distance emerges from this tension between two acoustic worlds. It is a dialogue between Lagos and Solitude, between noise and quiet, between memory and presence. The piece asks: What happens to a city’s sound when the body that once lived inside it is displaced into silence? How do distant places resonate through us, even when we are no longer physically there? 

This work becomes a sonic exploration of the ways places continue to echo within us, how the memory of Lagos pulses gently beneath the silence of Schloss Solitude, how personal history reverberates inside new environments, and how sound becomes a bridge across distance. It is about listening to what remains, what transforms, and what returns to the body in unexpected ways. Through this piece, Lagos become both a memory and a presence, and Solitude becomes both a shelter and an amplifier of what has been carried across distance.


Resonant Distance

The Ground Has Ears is a sound art research project that listens to land as a living archive. The project’s point of departure is a quarry site comprising both active and abandoned sections in northern Nigeria using it as a microcosm for understanding extraction and post-extractive landscapes. This project draws from field recordings gathered from the quarry site and engage with it as an entrance into the wider environmental and sonic history of resource extraction around the world.

Extraction leaves deep marks on the land. Blasted rock faces, abandoned pits, collapsed shafts, worker chatter and the hum of machinery form a shared geological and acoustic language. Its carved walls, echo chambers, and stagnant turquoise pools carry the same residues found in extraction zones. The land itself holds memory in the form of scars, reverberations, and shifting of silence.


The Ground Has Ears

https://peterokotor.art/
Peterebahiokotor@gmail.com

Peter Okotor

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