DespAIr: A.I. vs Our Wellbeing as Artists

I'm writing to you on this frosty November morning to put some thoughts and emotions into order. I feel this is for my benefit as much as yours, so forgive me if these words are ineloquent or partially-formed.

Truth is; I walked into my studio the other day; a purple-lit space of cool-looking synthesizers, old computers and assorted musical paraphernalia and thought to myself - "You really thought all of this could make you a star? People prompt their way to success these days, and you? You're stuck here owning all of this junk! Human music is dead, this equipment is a dead end, you look like a fool."

The negative self-talk felt fairly extreme, so recognizing this emotion and stopping to take a breath wasn't too difficult. Yet, it did make me reflect on what AI (even in it's current, kinda janky form) has taken from me; how much more difficult life (and motivating myself) feels. What's interesting is that, by most accounts, I'm fairly successful - a regular podcast spot, a group of wonderful, kind followers, a cool gig lined up next year at Vintage Computer Festival GB, writing and video work...so why am I so crestfallen? Why am I currently messing with Win XP music software and tearfully remembering "the before times"? Well, let's look at some of the "thinking traps" I, and perhaps you, are falling into.

"It will always be this bad"

In 1983, Neil Young released the album Trans, including this track, "Sample and Hold" about procuring a robot companion. The subject matter isn't too relevant here - just the fact that at one point in history, Neil Young - a very soulful, imperfect songwriter and guitarist; jumped on the Synthesizer wagon - the newest musical "thing", and tried out what it could do for his music.

Neil's new "sound" received significant resistance at the time; he largely abandoned synthesizers afterwards, but my point is this: If you hated synthesizers in 1983, this album would have likely caused a feeling akin to our AI despair. You wouldn't know that the 90's would soon bring about a distaste for keyboards or "over-production" in Rock music, you'd have wondered "is this what music is now?"

Born in 1982, I enjoy Trans for it's experimental vibe, but I can understand how jarring it's release must have felt. That's where we are with AI right now. Major players and ordinary people alike are exploring this latest novelty and occasionally, it's propelling them into the limelight - the impact for human music sure feels hurtful now, but once the novelty wears off? We'll collectively forget all about it, I imagine.

Finding a Space

I used to take such pride in being a kind of human musical computer myself. Taking popular songs, rearranging them, mutating their genres, is something I've tinkered with for years. Under Warner Music's proposed Suno plans, it feels like mimicry and genre-blending may be AI's new forte. My honest reaction? "Oh, I guess I can't feel proud about my musicality anymore, it's been replaced." - not all is lost, however. Even in this defeatist stance, I can still make weird musical things that are unique to me, and always be one step ahead in the department.

Isolation and Misanthropy

For me, generative AI feels like the human race voted "yes" to something unthinkable - the replacement of the artist. It feels like many people didn't really love music (in the way that I identify loving music) all along. It seems like many see music as an easy way of obtaining social clout or fame, and of course, the desire for fame burns in all unknowns - but for me, it was one single part of a multi-faceted love affair. My disappointment has left me feeling pretty alone right now - and that's why I'm reaching out in an attempt to find community. If you like, why not join my discord and we can chat about it?

Has Anything Changed?

If we see AI as merely a symptom of the larger, longer devaluation of music - it feels less alien and intimidating. In opposition to artistry, there's always been a significant push for music production to become "cheaper and faster". Let's pick an arbitrary cutoff point say, 2000 - in the last 25 years there's been endless technological progress; new ways of separating and re-pitching audio, generative modular doohickeys, advances in RAM, CPU power, storage etc. Has composition gotten any better? I don't think it has. In terms of pop music, a definite no in my eyes - timbral candy, often placed atop a simple chord sequence. Don't get me wrong, I love all of the new synths that come out, modulating this and twiddling that - but I do a lot of my best composition on pre-2000 systems, blending those with just one or two contemporary tones.

AI, in my mind, belongs in the same camp as musical reality shows. I ignore those too - whether it's 2005 or 2025, I can still make weird music with my friends.

A Positive?

Finally, one positive I've noticed is that I'm quicker; less perfectionist about getting my work out there. I don't know if it's desperation "Quick, release this before all art is devalued!" or the realization that human mistakes might now be endearing, but I'm getting a lot done!

If you've been moved by any of the thoughts in this article, then please reach out. Right, I'm off to listen to some more Neil Young.

• KoSMIX Research & Development 25-Nov-25
• Amiga 40: A Celebration 25-Nov-25
• Gear of the Year 2025 25-Nov-25
• Monk Echo by Mentha Works 25-Nov-25
• Make a Banger using White Noise 24-Nov-25