Imagination fixated upon whether a machine can have a soul. Enhance. The Maschinenmensch in Metropolis, Rachel in Bladerunner, Data in Star Trek, Caprica Six in Battlestar Galactica, Delores in Westworld, Agent K in Bladrunner, and Roland TR-808 in practically every cool electronic beat since 1980… Manufactured from components, programmed, sequenced, predictable, yet so creative and versatile, it’s hard to think of it as just a toaster. The 808, analog drum machine and rhythm composer, did not set out to sound like a real drum kit. It was originally intended to serve as a handy, artificial accompaniment for when the human drummer was indisposed. The sounds it produces are unmistakably fake from an array of hardware electronic sine-wave circuits, as opposed to digitally recorded samples. Seeing a recent documentary about 808 beats made me realize how the sounds completely pervade the spectrum of my musics. Rare, collectible and pricey, you can play with it here for free. The creators didn’t envision all that could be done with it, its sub-bass and crickety cymbal sounds are ubiquitous. Dare I suggest, it has a life of its own. For example:

Speaking of robot music, the current sequel TV series to Michael Crichton’s Westworld incorporates this idea heavily in the production. Many old-timey covers of edgy contemporary songs. The intro credits sequence shows the additive fabrication of lusty high-tech hosts, which have dazzling skills at piano playing. However, the concept is set on its head as the instrument is revealed as a relatively low-tech Player Piano actuating the keys from a roll of perforated paper. The robot reels back from the mechanical musical artifice and the tune rolls along, I think suggesting that the lower life-form humans consider themselves as the conductors of the more evolved automatons. I like Anthony Hopkins’ quote, “never place your trust in us. We’re only human. Inevitably, we’ll only disappoint you.”

I’d also like to mention how the new Twin Peaks season used music and sound design for a very heavy impact throughout the 18 episodes. Each hour drew deep into the eerie/absurd other-world of the Cooper doppelgangers. As the tone gets to a climactic depth each episode, the neon Bang Bang Bar glimmers in a rural Cascade Washington puddle. This scene flips a switch in me as a bittersweet tune ensues and “Starring Kyle MacLachlan” queues the credits. This venue is an amazing nexus of uncategorical but connected touring bands. So lucky to get Moby, The Nine Inch Nails, Eddie Vedder, Sharon Van Etten, Rebehak Del Rio, Chromatics, and Au Revoir Simone. That logistics software has a soul.