Artificial Intelligence is for long journeys, quiet nights and club drowsy dawns. Listen with an open mind." Back in 1992 when Warp released the Artificial Intelligence compilation it almost instantly changed both the course of Warp as a label and arguably what many would consider "club" music as an entity to be. Artificial Intelligence came housed inside a prog rock styled gatefold sleeve depicting a cover image of a robot blowing smoke rings whilst reclining on an armchair. Its extra long rolling papers and tin of tobacco just out of reach, whilst a high-end stereo plays out the sounds of Kraftwerk's Autobahn and Pink Floyd's Dark Side Of The Moon, their LP sleeves lay strewn across the floor. This image along with the above text that as printed on the sleeve acted as a guide for the listener on how to best experience this new mode of techno music, one that was designed for those nights when your body stays in but your mind steps out. Having been in operation for three years by the time they compiled and released the Artificial Intelligence compilation, Warp had already proved itself as a worthy force within the world of quickfire 12" singles of acid house and the emerging hardcore scene.

For the past 10 years or so, if you lived in a big city and fancied hearing an orchestra play something from Metal Gear Solid or Sonic the Hedgehog instead of the Romantic period, there has been no shortage of options. Touring orchestras have played music from games such as Pokémon, Final Fantasy and Assassin's Creed for appreciative audiences all over the world. The largest such series, Video Games Live, has been running since 2005 and has played over 400 shows in Los Angeles, Beijing, Sydney and elsewhere. But this summer, for the first time, video game music will be part of the BBC Proms season at the Royal Albert Hall in London. A concert on 1 August will feature orchestral selections and adaptations from soundtracks spanning gaming history, including The Legend of Zelda, Shadow of the Colossus and Battlefield 2042.

In the early nineteen-eighties, Beverly Glenn-Copeland was living in a quiet part of Ontario famous for its scenic hills and lakes. He heard about the advent of the personal computer and, owing to a fascination with "Star Trek" and science-fiction futurism, became instantly intrigued. He bought one, even though he had no idea how to use it. Initially, he just walked around with his computer cradled in his arms, hoping that its secrets would reveal themselves. For the next few years, Glenn-Copeland's free time was spent shovelling snow, feeding his family, and teaching himself how to use his computer to make music.

When he plays a techno show, Moritz Simon Geist doesn't reach for a laptop. Instead, he calls on his army of sonic robots--a collection of small, motorized creations that click, clank, and whirr in an intricate mechanical symphony. Geist composes robotic electronic music, a burgeoning genre of electro jams that relies on hardware, not software, to engineer electronic sounds and beats. His forthcoming EP, The Material Turn, debuts in October with four tracks made entirely from self-fashioned instruments--futuristic robo-kalimbas, a droning guitar, and salvaged hard drives turned into percussive beat machines. Watching Geist play music is a little like watching a mad scientist in a lab.

Do Androids Dream Of Electronic Beats? After months of teases, trailers and short films, Blade Runner 2049 is now in theaters. FACT takes a look at the original film's impact on music, including comments from electronic music legend Gary Numan on how he was influenced. There's also a 12-minute documentary to accompany the written portion, and it's well worth your time. Amazon's Big Content Shift Includes More Kids' Shows About Science -- and Science Fiction Pilot Viruet, The Verge It's no secret that Amazon wants to step up its game when it comes to original TV, and a new focus on STEM and sci-fi for kids is a big part of the that push.

In the days of ever-changing playlists and unlimited Soundcloud mixes it might seem strange that something as simple as a compilation album could change the course of music. And yet that was what happened 25 years ago this month, in July 1992, with the release of Warp Records' first Artificial Intelligence compilation. It was a record that helped to launch the careers of Autechre, Aphex Twin and Richie Hawtin, birthed the genre that would later become known as intelligent dance music (or IDM), and changed the idea of electronic music as merely a tool for dancing. Artificial Intelligence wore its heart on its sleeve: the front cover features an android slumped in an armchair in front of a stereo, with albums from Kraftwerk and Pink Floyd scattered around. Below this, the tagline "electronic listening music from Warp" spelled out the compilation's modus operandi: this was electronic music for the home, not the rave – a notion that was largely foreign 25 years ago.

This is a two-part series about using machine learning to hack my taste in music. In this first piece, I applied unsupervised learning techniques and tools on Pandora data to analyze songs that I like. The second part, which will be published soon, is about using supervised on Spotify data to predict whether or not I will like a song. If you take a look at my top tracks on Last.FM, you'll notice a smorgasbord of tracks from artists like LCD Soundsytem, Jimi Hendrix, and Kanye West. When I make a playlist, it's not uncommon for me to include some 80's post-disco, 2000s indie rock, and Nigerian or Turkish funk.

You may not know it yet, but our music is already highly reliant on artificial intelligence. AI is already being deployed to develop music scores for advertisements and movies. Artificial Intelligence is also finding itself developing mood based music for games and smartphone apps. While they don't produce music themselves, Siri and Cortana are at our disposal if we need music suggestions. The same goes for streaming services such as Spotify, which rely on AI to deliver new music to our tastes.