Jasmine Guffond
Alien Intelligence
Boomkat Product Review:
Berlin-based composer and sound artist Jasmine Guffond wakes the ghost in the machine on 'Alien Intelligence', modulating her beguiling hymnal synth patterns with partially programmed, artificial deviations. This one's a belter!
When Guffond was in residency at the GRM, she was getting to grips with the studio's in-house Serge modular system when she realized that the machine itself was influencing some of her compositional choices. She wondered if she could apply the logic to Max/MSP, so began writing an interface that would muddle the human-to-machine relationship even further. 'Alien Intelligence' isn't an AI album by any means, but a selection of variations that blurs the line between the composer and their gear. On the first piece, Guffond's warm analog and digital oscillations seem to trip over themselves, rising and falling somewhat gracefully until they come together in awkward, unwieldy harmony and twist into near chaos, bent into pitchy clusters of bleeps and balloon-deflating whines.
The third variation is more subdued, an alien buzz that flails across the stereo field like a posessed cable, interrupted by machine gargles that add color and animation to the Radiophonic atmosphere. But it's the side-long 'Serge & Maxine Variation Two' that demonstrates Guffond's process most spectacularly. Here, that human-synth interface sounds as if it's veering off on its own, spraying notes into disordered clusters of cosmic elegance. And although they sound random at first, they dissolve into glorious, slow-motion oscillations that come off like a dreamier, more up-to-date answer to Popol Vuh's iconic 'Affenstunde'.
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Boomkat Product Review:
Berlin-based composer and sound artist Jasmine Guffond wakes the ghost in the machine on 'Alien Intelligence', modulating her beguiling hymnal synth patterns with partially programmed, artificial deviations. This one's a belter!
When Guffond was in residency at the GRM, she was getting to grips with the studio's in-house Serge modular system when she realized that the machine itself was influencing some of her compositional choices. She wondered if she could apply the logic to Max/MSP, so began writing an interface that would muddle the human-to-machine relationship even further. 'Alien Intelligence' isn't an AI album by any means, but a selection of variations that blurs the line between the composer and their gear. On the first piece, Guffond's warm analog and digital oscillations seem to trip over themselves, rising and falling somewhat gracefully until they come together in awkward, unwieldy harmony and twist into near chaos, bent into pitchy clusters of bleeps and balloon-deflating whines.
The third variation is more subdued, an alien buzz that flails across the stereo field like a posessed cable, interrupted by machine gargles that add color and animation to the Radiophonic atmosphere. But it's the side-long 'Serge & Maxine Variation Two' that demonstrates Guffond's process most spectacularly. Here, that human-synth interface sounds as if it's veering off on its own, spraying notes into disordered clusters of cosmic elegance. And although they sound random at first, they dissolve into glorious, slow-motion oscillations that come off like a dreamier, more up-to-date answer to Popol Vuh's iconic 'Affenstunde'.
Boomkat Product Review:
Berlin-based composer and sound artist Jasmine Guffond wakes the ghost in the machine on 'Alien Intelligence', modulating her beguiling hymnal synth patterns with partially programmed, artificial deviations. This one's a belter!
When Guffond was in residency at the GRM, she was getting to grips with the studio's in-house Serge modular system when she realized that the machine itself was influencing some of her compositional choices. She wondered if she could apply the logic to Max/MSP, so began writing an interface that would muddle the human-to-machine relationship even further. 'Alien Intelligence' isn't an AI album by any means, but a selection of variations that blurs the line between the composer and their gear. On the first piece, Guffond's warm analog and digital oscillations seem to trip over themselves, rising and falling somewhat gracefully until they come together in awkward, unwieldy harmony and twist into near chaos, bent into pitchy clusters of bleeps and balloon-deflating whines.
The third variation is more subdued, an alien buzz that flails across the stereo field like a posessed cable, interrupted by machine gargles that add color and animation to the Radiophonic atmosphere. But it's the side-long 'Serge & Maxine Variation Two' that demonstrates Guffond's process most spectacularly. Here, that human-synth interface sounds as if it's veering off on its own, spraying notes into disordered clusters of cosmic elegance. And although they sound random at first, they dissolve into glorious, slow-motion oscillations that come off like a dreamier, more up-to-date answer to Popol Vuh's iconic 'Affenstunde'.
Boomkat Product Review:
Berlin-based composer and sound artist Jasmine Guffond wakes the ghost in the machine on 'Alien Intelligence', modulating her beguiling hymnal synth patterns with partially programmed, artificial deviations. This one's a belter!
When Guffond was in residency at the GRM, she was getting to grips with the studio's in-house Serge modular system when she realized that the machine itself was influencing some of her compositional choices. She wondered if she could apply the logic to Max/MSP, so began writing an interface that would muddle the human-to-machine relationship even further. 'Alien Intelligence' isn't an AI album by any means, but a selection of variations that blurs the line between the composer and their gear. On the first piece, Guffond's warm analog and digital oscillations seem to trip over themselves, rising and falling somewhat gracefully until they come together in awkward, unwieldy harmony and twist into near chaos, bent into pitchy clusters of bleeps and balloon-deflating whines.
The third variation is more subdued, an alien buzz that flails across the stereo field like a posessed cable, interrupted by machine gargles that add color and animation to the Radiophonic atmosphere. But it's the side-long 'Serge & Maxine Variation Two' that demonstrates Guffond's process most spectacularly. Here, that human-synth interface sounds as if it's veering off on its own, spraying notes into disordered clusters of cosmic elegance. And although they sound random at first, they dissolve into glorious, slow-motion oscillations that come off like a dreamier, more up-to-date answer to Popol Vuh's iconic 'Affenstunde'.
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Boomkat Product Review:
Berlin-based composer and sound artist Jasmine Guffond wakes the ghost in the machine on 'Alien Intelligence', modulating her beguiling hymnal synth patterns with partially programmed, artificial deviations. This one's a belter!
When Guffond was in residency at the GRM, she was getting to grips with the studio's in-house Serge modular system when she realized that the machine itself was influencing some of her compositional choices. She wondered if she could apply the logic to Max/MSP, so began writing an interface that would muddle the human-to-machine relationship even further. 'Alien Intelligence' isn't an AI album by any means, but a selection of variations that blurs the line between the composer and their gear. On the first piece, Guffond's warm analog and digital oscillations seem to trip over themselves, rising and falling somewhat gracefully until they come together in awkward, unwieldy harmony and twist into near chaos, bent into pitchy clusters of bleeps and balloon-deflating whines.
The third variation is more subdued, an alien buzz that flails across the stereo field like a posessed cable, interrupted by machine gargles that add color and animation to the Radiophonic atmosphere. But it's the side-long 'Serge & Maxine Variation Two' that demonstrates Guffond's process most spectacularly. Here, that human-synth interface sounds as if it's veering off on its own, spraying notes into disordered clusters of cosmic elegance. And although they sound random at first, they dissolve into glorious, slow-motion oscillations that come off like a dreamier, more up-to-date answer to Popol Vuh's iconic 'Affenstunde'.
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