The Munich musician Enik has set up his studio as an experimental laboratory and playroom for nerds. Here he dreams of songs like the ones he has now recorded with the “Paranormal String Quartet”.
Boris grins and is silent. He looks at the screens on the studio table through his sunglasses. Enik sits there and asks whether you can cope well with the volume. And click on a completely new track that turns electronic noise, recorded with a special microphone, into a beat-pumping sound. Then a track that pushes the electric throbbing to the edge of what is acoustically tangible with the sound of a small flute orchestra. And – now for something completely different – a number from the new piano album project. An artificial intelligence tries to convert Enik’s piano track into the voice of a singer, which it half succeeds in. And that’s the beauty of it: the glitch, the error in the digital system, the helplessness of the machine.