ONE OF THE THINGS all musicians get asked about whether they like it or not is the impact of artificial intelligence (AI) on art in these times. We ask Norwegian DJ-producer Alan Walker whether he's tired of fielding questions about AI and he's actually rather welcoming.
Speaking over a video call from Oslo ("It's a lot colder than it was in the U.S.," he says), Walker regards AI in music to be in a "very early developing stage." Describing it as "cool but a little bit scary," but also reminds us about the sea change that's taken place in modern music recording technology, which allows anyone to produce music from pretty much anywhere and with anyone in the world. He ultimately concludes and says, "I think for an artist, it's always important to adapt and see where it will take you. But with AI, it's really hard to say what the result and outcome will be." Walker has always engaged with bigger tech changes, like creating Walkerworld in the game Fortnite and more. Even his newest video for the introspective song "Who I Am" - which progresses like an EDM ballad, if there ever was one - brings in a bit of animation and features the artist looking back at different key moments in his life, with family, friends and peers, plus the biggest gigs.
In an interview with Rolling Stone India, Walker talks about the making of his latest song, how he plans to release one song each month and where India figures in his plans this year. Excerpts:
Rolling Stone India: What was it like making "Who I Am" and the music video, especially to dive into the process emotionally for all this footage we see from your past?
Bu hikaye RollingStone India dergisinin March 2024 sayısından alınmıştır.
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Bu hikaye RollingStone India dergisinin March 2024 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
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Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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