“No Doubt,” No Borders: Ampermut Blends African Roots with Berlin’s Studio Soul

For Ampermut, music isn’t just rhythm and melody — it’s memory, travel, imagination, and emotion, all channeled through a deeply personal lens. From childhood afternoons in the woods to drumming circles on the Volta River, his sound draws on lived experience as much as it does studio precision. That blend comes to life on No Doubt, his debut EP for Sounds Of Sirin — a two-track journey that merges organic house and downtempo influences with echoes of West African tradition, blues, and ambient storytelling.

In this interview, Ampermut reflects on the stories behind the EP, the role of emotion in his work, and why sometimes the best way forward is to put the laptop away and listen for something else entirely.

“No Doubt” is your first release on Sounds Of Sirin. What inspired this EP and what story were you hoping to tell with these two tracks?
The EP marks a little transition in my musical journey towards a more guitar-heavy and blues-driven sound. Both songs keep a strong vocal in the center — in the tradition of some great downtempo artists like Darkside, Monolink, and many more.

Your travels across Africa clearly had a strong influence on your sound. Can you recall a specific moment or encounter that deeply shaped your approach to music?
In 2019, I had the chance to go to Ghana for a movie project. While crossing the Volta River by boat, my local friends showed me how to play the djembe properly. The sun was setting all red on the river, life was good — great memories!

“Owlwulf” is a striking track, both raw and refined. How did it come together and what’s behind the name?
That's great to hear, thanks! While producing the song, I remembered how, when we were children, we often played in the woods behind our house. “Owlwulf” could be that creature which haunts your imagination when you are a kid all alone in the “dark” forest.

Sounds Of Sirin often leans into spiritual and organic aesthetics. How do you see your music fitting into that sonic family?
What I personally like about the “organic genres” is the freedom in creativity — diving into various acoustic instruments, cultures, and influences from all around the world — bringing it back to the dancefloor, where folks can simply move to it as a “sonic family.”

Drumming circles and Saharan melodies are deeply communal. How do you translate that kind of energy into solo studio work?
Like books or movies, music has the ability to bring you into all kinds of different worlds and spheres. Sometimes we share this journey, but it is also wonderful to travel all by yourself in a little studio setup.

Do you consider your music a form of storytelling? If so, what kinds of stories are you trying to share?
Good question. I might consider music as a bit more of a transient and spiritual experience than a story with a defined starting and endpoint. Personally, I am happy when people catch some sort of feeling while listening to my music, which I might not have intended at all.

What’s your process like when starting a new track? Do you begin with field recordings, percussion, melody or something more abstract?
I try to avoid my laptop as long as possible. I love playing the guitar into my voice notes until something catches my curiosity or jamming on the old Fender Rhodes I was able to get myself two years ago.

There’s a strong emotional pull in your music, even in instrumental form. What role does emotion play in your production choices?
I guess for everyone playing instruments or enjoying making music, it all starts with the reflection of your own emotions during the process. On some days they turn out light and bright, and on some others they might turn out a bit darker.

As someone drawing from different cultural sources, how do you navigate authenticity, respect and creative reinterpretation?
While walking on Earth we all become products of our surroundings. I hope we can all learn from each other, embrace similarities but also differences in order to keep this collective creative journey going into even greater dimensions.

Were there any sounds, instruments or voices you heard during your travels that you’re still trying to recreate or work into future releases?
As I’m always trying to record all instruments myself, the range of new sounds is a bit limited due to my lack of skill. But I'm sure there are countless possibilities to create new flavors even with my bit limited setup.

Do you see your music as part of a larger conversation between continents, genres or generations?
I believe that music or art in general can be a great bridge between all kinds of dimensions. My father grew up with 70s blues rock music, while I was hooked on 90s rap as a youngster. Both genres might have the same roots. When my music finds its own voice in that never-ending conversation, I'd be honored.

What’s been the most surprising reaction you have received to your music so far?
Last time somebody said he was listening to my music in the car for 3 hours — I was kind of surprised that I have already made so many songs. Still feels like just the beginning to me.

Looking ahead, are there new territories, geographically or sonically, that you feel drawn to explore?
Sure, book me for a world tour, I’m in!