Dr. Ambs Aremuorin

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I’ve done some music reviews, and I’ve found something powerful in the feedback. People often point to the engineering — but for me, my sound is born from more than just technical craft. It’s shaped by silence, by unexpected pauses, by absence seizures — not as weaknesses, but as layers of my creative identity.

Aside the odd deliberate nefarious industry sabotage or chaotic unrehearsed jam sessions where everyone fights for visibility, what many outsiders don’t often understand is my rubato singing as a “writer”. Think like scalping in trading. Same instrument but different outcomes. Different entries, and exists; for profit overall, unlike a shared signal that everyone one traded on.

The way I stretch or suspend a phrase isn’t random. Sometimes, I modulate, shifting keys where people don’t expect it — not because I’m off, but because that’s what I’m hearing in the moment. If you follow the modulation, it makes sense. To some, it may sound irregular. To me, it’s freedom. I paint this disability as art, using the colors of words and melodies to capture every lived moment — good or bad. Each seizure, each modulation, each pause becomes a brushstroke in my music, turning struggle into expression.

I don’t like locking pitch rigidly, because that erases the individuality of the sound. When rehearsed and studied, my approach to modulation is not just valid — it’s powerful, expressive, and cool. I deliberately avoid some notes because they stress my brain, instead searching for the next neighboring note or scale for inflection — creating phrasing that feels natural to me rather than following traditional patterns.

Live performances, especially at open mics, bring another challenge. When I turn up, other musicians often expect traditional arrangements — the exact opposite of where I’m going vocally and artistically. For a long time, I just went along with it, adapting to expectations. I never really fought for my own lane… until now. “The amount of times I’ve had seizures in the middle of a song, and had to pretend I was fine or drag myself through to the end, making it look intentional… I’ve lost count. Even in these raw, unpredictable spaces, I’ve learned to claim the stage for my sound — the modulations, the rubato, the shifts in key — because this is where my voice truly lives.

Living with seizures changes how I hear. I sense things others might miss — atmospheres, textures, space. Sometimes narcolepsy pulls me away, but the pull of sound, the pull of music, always pulls me back. The right engineering may be a challenge — balancing, mixing, shaping — but that process becomes part of the art.

I could give up. I could let the challenges win. But why would I, when music brings so much joy — to me, and to everyone who listens? So I’ll keep going, shaping each note, one sound, one pulse — one note at a time.

This is why my music is cathartic. This is why my music helps autistic children sleep. This is why I win awards. And the best part — I don’t have to sing my songs myself; I can give them to others to sing, and it’s still a win-win. I share this story to inspire someone: no matter the adversity, you can turn it into positivity.

God Bless The Child – Aremuorin

Aremuorin is a multi-award-winning artist, writer, and humanitarian, known for his unique fusion of music, writing, and advocacy. With a focus on empowerment and social justice, his work aims to inspire, educate, and uplift communities worldwide.

Aremuorin has been honored with numerous accolades, including awards in the UK, USA, and Africa, and holds two honorary doctorate degrees for his contributions to both the arts and humanitarian work. His artistry goes beyond entertainment, as he uses his platform to bring attention to issues of mental health, social change, and cultural pride.

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