An education in AI in music and art, and the rest of the world
The first track I heard from Holly Herndon’s forthcoming third album PROTO was a collaboration with Jlin called ‘Godmother’ and it scared the crap out of me, sonically and biologically, made as it was with an AI baby on lead vocals. The sound of ‘Godmother’ (a million insects beatboxing) is still a modern terror score, but I’ve been fascinated with Herdon’s album of machine learning since, so for this month’s cover feature (in stores Saturday 13 April) I went to Berlin to meet Holly to try and make sense of it all. When I told her that I’m not so scared by technology anymore as I left, she said: “Well, you should be.”
Also in Loud And Quiet 133: Dublin post-noise trio The Claque, Margate’s BABii welcomes us into her DIY world of Fire Eye Land, Leafcutter John has field recorded a coastal hike and made it into a modular synth album, south London post-punk bank Sistertalk, and the return of Georgia.
Plus, Amy Taylor of Amyl and the Sniffers in her own words, The Horrors remember the making of Primary Colours ahead of it turning 10 next month, Aldous Harding recalls being 16 and dropping chocolate bars into urinals, and Daniel Dylan Wray explores origin stories in music that are too good to not believe, even though they clearly are complete horse shit.
Our reviews section is there too, this month tackling upcoming releases from the likes of King Gizzard & the Lizard Wizard, Mac DeMarco and Vampire Weekend.
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