Jasmine Guffond: The ‘Wednesday Alternative’ Mix


Through the means of electronic composition, live performance and recording, Berlin-based sound artist Jasmine Guffond explores sound as a method of investigation. Her main line of questioning being what does it mean, for us as human beings, to be traceable and reduced to streams of data. 

Her objective is to provide an "audible presence" for the listener, a sonic representation of circumstances far beyond human perception.

Although she only began releasing music as a solo artist in 2015, with these productions landing on Sonic Pieces, Beartown and Karl Records, her experiments with ambient electronics trace back to the 90s, as part of the collaborative projects Minit and Hiss.

Ahead of the release of her new album Microphone Permission on Editions Mego, Jasmine takes over the reins for this week's Wednesday Alternative Mix providing us with a mix of textural, abstract electronics…

Please introduce yourself… Who are you, where are you and what are you?

I’m Jasmine Guffond, an artist focused on electronic composition across music and art contexts. I release records, play live and exhibit sound installations. Through the sonification of data I’m interested in providing an audible presence for phenomena that lies beyond human perception. Via the sonification of facial recognition algorithms, global networks, or internet tracking cookies I’m concerned with what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data.

What does your music sound like? Can you draw what you think it sounds like for us (an image from the old internet is acceptable)?

I find it difficult to describe my own music, I’m so inside it that it’s difficult to have an objective overview. I also feel words don’t do music justice and we should just listen. But here is a quote from the press release for my new album, “a stark, brooding, disorientating journey into a paranoid musical field that sits somewhere between ambient club music and a dystopian soundtrack”

Unfortunately I can’t draw.

Where was the mix recorded?

At home.

What would be the ideal setting to listen to the mix?

Walking through the streets or along a coastline or travelling on a train.

What should we be wearing?

Clothes you found at a flea market.

What would be your dream setting to record a mix: Location/system/format?

My dream location to record an album would be Vox Ton studios in Berlin.

Which track in the mix is your current favourite?

No favs, love them all.

What’s your favourite recorded mix of all time?

I don’t know about of all time but a recent mix I listened to and liked a lot is Jessica Ekomane’s Guest mix for The Word Radio x Schiev.

If you could go back to back with any DJ from throughout history, who would it be and why?

I’m not a DJ so I don’t have any DJ fantasies.

What was your first DJ set up at home and what is it now?

I’ve never had a DJ set up at home, but if I were to imagine my ideal set up there would be 2 x technic turntables, a four channel DJ mixer with parametric eqs (I’ve never seen parametric eqs on a DJ mixer but this would be an awesome addition, it sucks only having three fixed frequencies to choose from to boost or cut), a laptop with midi controller.

What’s more important, the track you start on or the track you end on?

Equally important.

What were the first and last records you bought?

I can’t remember the first but the last one is Michele Mercure, ‘Beside Herself’.

If this mix was an edible thing, what would it taste like?

A Negroni.

If it was an animal what would it be?

Any native Australian animal to have survived the devastating bush fires.

One record in your collection that is impossible to mix into anything?

Nothing’s impossible…

Upcoming in the world of…

New album coming out on Editions Mego, March 6th

Anything else we need to discuss?


Follow Jasmine Guffond. Buy Microphone Permission.