Speaker 1
going to happen Mark my words that is given that I guess he's like, he's responsible for whatever like double digits of listeners on the. But yeah, but no, exactly. It's just a new, it's a new medium to explore and like you all are leaning very heavily into the kind of this abundance narrative or abundance chaos, the fine line between the two. And it makes, it makes a great deal of sense, you know, and on top of that, I also think, you know, it's, there are also some songs you could argue that are perfect, you know, that like, you know, there are some, there are some songs given their time and their context and whatever it might be that, you know, even if, even if you can, it's very, it's a really interesting experiment to think about restaging them and re voicing them and re whatever and, and ultimately all that experimentation is great. And it might only serve to value that that original one even more, you know, which is where I think a lot of the thinking also kind of comports with some of the NFT logic, right? It's like everyone should be absolutely free to make every version of it absolutely possible in combination with, with new tech tools, etc. And, you know, the, you know, there's a couple of songs that are perfect, you know, you couldn't, it would only be an homage to that one perfect decision that was made by a human at that one particular time. Right. And there's also this kind of meta level where like a song could have the perfect surprise to it. And there's certain genres like, you know, math core is one of those genres like a band like the only escape plan where like their compositions are, it's deception and surprise, like happening at the, like really fast. Fast timescale. But the problem is like, once you've listened to that record 100 times, you've memorized the whole thing, and you no longer have that surprise factor. And, you know, I kind of saw this as a bug that could be fixed in music. And that with like probabilistic generative music where it could always be different, you could like constantly have that sense of surprise. And it's almost like the true essence of the music is that is experiencing that surprise. And, you know, it's kind of tragic that it goes away the more that you love it. And like, you know, can we can we fix that? And that's what one of the initial inspirations that Zach and I even started out about. Yeah, I think it's true if even functional music where you're trying to make study music where you kind of want things that are familiar to your neural patterns, but not so familiar that you can predict them, or anything where you start to actively listen. And it's just kind of like going on in the background. I've tried to extend music for that purpose with machine learning. And it's interesting you brought up Dylinger Escape Plan CJ because that was the first example I thought of where we failed to create a better AI rendition. Right. One of our first bandcamp albums was calculated infinity based. And I thought that it became too random, like the band perfectly created that anticipation release of attention. The neural network purely made it random. And while that at the surface might seem like Maffy and progressive rock oriented patterns, it didn't quite get it for me. It had no meaning. It became kind of like a void of all meaning altogether. So I've seen it not work exactly like Matt Tierpoint. And I think that it is interesting to fail at a remix and realize that the band just really nailed it. That's actually kind of beautiful. Well, totally. And the two things can coexist. Because on that point, I mean, yeah, as a big, big Dylinger head. I'd also be very interested in hearing all the subsequent Dylinger albums with Dimitri Singing. So to go back to me being an early teenager, but yeah, they were definitely a big part of my late teens. But yeah, exactly. But the point being is that it's not that these things need not be like extractive or deleterious. Right. It's like absolutely, you know, the choice of a particular group of people in the case of Dylinger Escape Path at that particular group at that particular time. Also being like an insane live band. Let's be real, right? Like to actually execute the kind of music that they make in a live environment in real time is unbelievable. You know, like music has so much so much going for it that sometimes I think Holly said this one time and it's so good news. It's just like, sometimes we undervalue music by or we undervalue music by believing that, you know, that it is so vulnerable to to all this experimentation, you know, the, the actuality. It's not. It's just like, you know, these two things will coexist and both can augment each other. Yeah, humans in one place in time will always determine what we value in music. And so when there's a sphere that rush machines will take it from us. It seems a little silly to me because it's humans who are the listeners until we purely make music for machines to listen to. I don't think they're going to take music from us.
