Even the May release to beta testers of MusicLM, a shockingly sophisticated, though still rickety, tool by Google, went largely unnoticed. Since then, the music industry’s AI conversation has been almost entirely focused on voice-cloning, overshadowing, for now, the considerable threat and promise of other forms of machine-made music. Watch Drake and Central Cee Team Up for 'On the Radar' Freestyle The song became a track on the first-ever AI-composed album, 2018’s Hello World (credited to Skygge), which received respectful press, but didn’t make it past the arty fringes of pop culture.
That sequence of notes became the core of a genuinely odd, novel, haunting song, “Ballad of the Shadow,” and Carré decided the Flow Machines AI had fused with him into a new artist - a composite he named Skygge. As it started generating new compositions based on that input, one short melody transfixed Carré, staying in his head for days. And that means that I need to lose control at some point.” Shortly after he finished work on “Daddy’s Car,” Carré sat in the lab one day and fed the sheet music for 470 different jazz standards into artificial-intelligence software called Flow Machines. “I’ve always searched for that kind of surprise in my work, too. “I’ve always been interested in music with unexpected chord changes, unexpected melodies,” Carré says. But Carré was looking for something deeper, something new. The duo’s first released project was the mostly AI-composed Beatles pastiche “Daddy’s Car,” which ended up making worldwide headlines in 2016 as a technological milestone. Paçhet was developing some of the world’s most advanced AI-music composition tools, and wanted to put them to use.
In 2015, Carré, a cerebral, bespectacled songwriter then in his mid-forties, became the artist-in-residence at Sony’s Paris-based Computer Science Laboratory, headed by his friend Francois Paçhet, a composer and leading artificial-intelligence researcher. For Benoit Carré, the future revealed itself in six notes.
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