Gambling seems to be rather a different hobby, a common and well-regulated pastime in most corners of the world. In 2020, the global gambling market had an estimated size of $443 billion, that is about $50 billion more than Nigeria’s gross domestic product and is predicted to rise by $200 billion in the next seven years ‘Gambling Statistics in Nigeria’ The Nation Newspaper, December 29, 2020.
Young Nigerians aged between 18 – 35 years account for the highest proportion of Nigerians who engage in the practice. Nigeria youth, especially undergraduates, are engaging themselves in gambling as a means of surviving; this is an intricate issue of special concern as this behaviour may predispose them to pathological/compulsive gambling (Oyebisi, Alao & Popoola, 2012). In particular, winning money (chasing losses) and relieving tension, stress and emotional distress are implicated in promoting continued gambling (Clarke, Tse, Abbott, Townsend, Kingi, & Manaia, 2007; Platz & Millar, 2001).
Whether the stakes are low or high, the heart rate of the gambler increases by up to 29 beats a minute. The elevated levels of adrenaline remain high hours after the last spin of the roulette wheel, throw of the dice or turn of the card, and is often what is attributed to why gamblers hooked.
As humans, we find pleasure in taking risks, gambling being one, made exciting by the possible life-changing reward. However, it is not just winning that gives happiness, a rush of excitement and natural high is one thing consistent between every person who likes to gamble and that is the effect of adrenaline.
‘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.
On beast mode/ Ileya Ajumose, 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. This skill merges the musical elements and field recording is equally effective on Commoner’s 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.
While 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. Heart on the table, employs distorted sound of the roulette table and a slot machine to create a pulsing piece, while Outro pairs the heartbeat with electronic composition to create a calming track.
This sensory work that mixes culture and sound brings the energy and vibrancy of the streets of Lagos traveling the mind to an entirely different place.
You can listen to this continuous experimental project via this link on Sound cloud