MOUSE ON MARS
AAI
Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
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Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
Limited Edition Colour Vinyl 2LP.
Out of Stock
Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
Black vinyl.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Reliably unpredictable innovators Mouse on Mars are back with an album of bizarre AI-led club/Kraut deconstructions.
Jan St. Werner and Andi Toma's haphazard electronic experiments have been a refreshing constant over the last 25 years. Always different and often essential, the duo's productions inevitably reflect the era's shifting contemporary forms but inject them with a mischievous DIY spirit and innovative, exploratory sense of wonder. "AAI" is no different, and finds MoM exploring concepts of artificial intelligence without resorting to clapped posturing or empty-headed theorizing.
The title stands for "Anarchic Artificial Intelligence" and to assemble the record, Toma and Werner got together an intriguing team of collaborators: writer and scholar Louis Chude-Sokei, DJ and producer Yağmur Uçkunkaya, percussionist and longtime MoM collaborator Dodo NKishi, AI tech collective Birds on Mars and former Soundcloud programmers Ranny Keddo and Derrek Kindle. The team worked together to create a piece of software that could model speech, feeding it text and voice from Chude-Sokei and Uçkunkaya and allowing the software to learn from that. The resulting voice sounds that guide "AAI" are completely computer generated, despite sounding like narration or samples. Mouse on Mars were able to use the voices like an instrument and play the software like a synthesizer, using the artificial intelligence elements less like an app to write its own music, but like a tool they could manipulate to inspire their musical methodology.
"Machines can open up new concepts of life, and expand our definitions of being human," says Werner. Certainly the line between human and computer is seriously blurred here, with voices melting into percussion and drums rattling and fluffing between words and syllables like bees in honeycomb. "AAI" is a deeply unusual album, utilizing familiar elements - rhythmic flutters from footwork or emerging club forms are brought together in harmony with pulsing motorik sounds - and corrupting or disrupting them with sci-fi-tinged philosophical elements. It's not a record that you can acceptably play in the background, by any means, it takes attention and concentration, and it deserves it.
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