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Laura Perrudin

Musician, singer-songwriter and producer
October-November 2025

  • Music
  • Los Angeles

Each player’s unique path generates a unique musical composition, mirroring the improvisation I practice. This human-machine collaboration requires specific musical and computer skills, which I aim to study and integrate into my work.”

I am a harpist, singer, songwriter, and electronic music producer. Born in Rennes, Brittany, I wanted to learn the harp at an early age and received classical training at the Conservatory. However, it was outside these walls that I developed my approach to singing, composition, writing, and sound production through a more personal and self-taught practice of jazz and improvised music, hip-hop, electronic, and experimental music.

Seeking to expand the harmonic and sonic possibilities of the harp, I collaborated with the luthier Philippe Volant, who crafted a custom instrument for me: the electric chromatic harp. This instrument now allows me to combine my harmonic and electronic research on stage by creating electro-acoustic setups that enhance my harp and voice through various technologies. Science fiction and video games have always fueled my artistic imagination. In recent years, my research has focused on new technologies and their effects on our human and artistic lives. Human-machine relationships intrigue and challenge me, and have long been an integral part of my work.

 

Praised by Le Monde, Pitchfork, the BBC, FiP, and Les Inrocks, Laura Perrudin has released four albums while performing internationally. From independent pop (Transmusicales de Rennes, Eurosonic Noorderslag – Groningen, PopKultur Festival – Berlin, The Great Escape – Brighton) and jazz scenes (Théâtre Antique de Jazz à Vienne, Winterjazz Fest – NYC, EFG London Jazz Fest, Jazz à la Villette, Paris Jazz Festival…) to experimental research, she has received the Composition Award from the Concours National de la Défense, the 2nd prize at the Montreux Voice Competition, and the Talent Adami Award.

In addition to her solo career, she has collaborated with Austin Wintory, Becca Stevens, Philippe Katerine, Salami Rose Joe Louis, Ian Chang, Fabian Almazan, Anne Paceo, and Théo Ceccaldi, and has created her own group, DOKSHA.

I’ve long been fascinated by the relationship between music and gameplay in video games. As a musician and improviser, I see a video game avatar as a musical instrument. Advanced video games have narratives that adapt to player decisions, just like improvised music. Consequently, video game composers must think in multiverses, creating music that evolves in real-time while maintaining coherence. Each player’s unique path generates a unique musical composition, mirroring the improvisation I practice. This human-machine collaboration requires specific musical and computer skills, which I aim to study and integrate into my work. 

I also want to explore sound design in video games to enrich my music. My composition approach includes concrete and figurative sounds, noise, and acousmatic languages. However, the technical and narrative power of video game sound design particularly interests me.  

I plan to observe industry professionals—designers, composers, sound designers, scriptwriters, programmers—to understand how a game’s immersive experience intertwines with its music and influences game design. 

My future creations will incorporate these observations in both music and scenography. This might involve reactive lighting, video setups, and interactive augmented reality devices for audiences. 

I also would like to explore virtual reality gaming technologies and their links with musical gestures to design augmented reality live performance devices.  

Video games resonate with my music approach, characterized by evolving, improvised forms. I aim to create immersive live performances that bridge video game experiences, music production, and live performance.

In recent years, I have had the opportunity to collaborate with various figures in the video game industry. Among them is Austin Wintory, a Los Angeles-based composer known for his work on video game and film scores. He has composed music for particularly advanced and creative games in terms of the relationship between music and gameplay, such as Flow, Assassin’s Creed Syndicate, Abzû, and Journey (the latter made history as the first video game soundtrack to be nominated for a Grammy Award for Best Score Soundtrack for Visual Media). During this time, I researched his approach to composition, particularly the innovative and detailed methods he developed for the interaction between music and gameplay.

This sparked my desire to explore this ecosystem of creators and technicians in the video game industry in Los Angeles. I wish to study various professions, meet different types of video game creators and technicians, and observe how this industry influences the artistic life of the city. I am also interested in meeting musicians whose live practice incorporates this type of technology, as well as engineers who design digital musical interfaces and technologies for augmenting musical instruments, such as Sensory Percussion.

In partnership with

Autres Mesures

Chaque hiver depuis 2015, le festival Autres Mesures s’invite dans les principaux lieux d’exposition rennais pour faire entendre lors de concerts aux formats originaux, audacieux et libres d’accès, la musique d’aujourd’hui dans toute sa pluralité d’expressions.

Qu’elles soient de culture savantes ou underground, écrites ou improvisées, acoustiques ou électroniques, ces musiques s’offrent au public averti ou simplement curieux dans un soucis de décloisonnement des esthétiques, et dans un contexte stimulant pour l’imagination : une proximité chaleureuse avec des artistes de renommée internationale, dont le répertoire fait sensiblement écho aux espaces investis et à leurs œuvres présentées.

Ville de Cessin-Sévigné

https://www.ville-cesson-sevigne.fr/

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