New music that doesn’t suck: In this day and age how can you tell if a song is generated by artificial intelligence?
We are going to follow up our last column on AI with a question: “How can you tell if a song is AI-generated?” — at least those that aren’t labeled as such. For the answer we went directly to the source: AI.
Is there an online presence?
Is there social media activity?
Is there any concert footage?
Do the lyrics seem repetitive or clichéd?
Does the music have a fuzzy, tinny sound?
So far, it has been relatively easy to spot AI-generated music, but as the technology advances it may become harder to determine. And you need to remember that computer software is already widely used in music production today. My daughter Samantha is a one-woman band with the tools she has available.
The only streaming site that attempts to label AI-generated music is the French service Deezer. Sites like Spotify, Apple, and YouTube have yet to provide that information to their subscribers. Perhaps in the future?
And now for some NMTDS.
Hermanos Gutierrez: “Elegantly Wasted featuring Leon Bridges”
The Ecuadorian (by way of Zurich) brothers have released six albums; their 2024 album “Sonido Cosmico” was one our 10 best of 2024.
I am a big fan of the London-based jazz septet and their exploration of the music of West Africa. Their latest long-player is “Tuff Times Never Last” and while it is more laid back than the band’s 2022 debut, it is definitely worth a listen.
“I’ll Be Waiting as You Drive Away” is Hayden’s fifth or sixth studio album and already one my 10 best albums of 2025. He is described as an “avant-garde musician, politician (he ran for the city council in Amarillo), performance artist and model.” He is an acoustic guitarist but with influences ranging from John Fahey and Nick Drake to Miles Davis and King Crimson. If you have any questions about his musical approach, the album’s title refers to an episode from “Little House On The Prairie.”
Nine Inch Nails: “As Alive As You Need Me To Be”
It’s been a while (five years) since we had a proper NIN album. With all of their soundtrack work and winning two Oscars in the process, there just wasn’t a project that fit NIN’s industrial rock. The soundtrack to “TRON:Ares” provided the opportunity to incorporate the band’s signature sound.
The Band Loula: “Sweet Southern Summer”
This from the country duo’s debut EP. Their unique mix of country, gospel and southern-fried rock has struck a chord so to speak as they are one of the most talked about new acts in Nashville.
“Everything Must Go” is the band’s fourth album and has solidified their standing as one of the best of the new generation of jam bands (along with bands like Tedeschi Trucks).
Joe Alterman and Mocean Worker: “Yay Yay Yay”
Their album “Keep The Line Open” is a tribute to the late jazz/soul legend Les McCann. The mix of sampling and live instrumentation gives the album an almost party-like feel and we can definitely use more of those.
The Grammy and Oscar winner has released his ninth studio album of the same name. It has a little something for everyone with songs that incorporate blues, gospel, soul and jazz plus collaborations with artists like Randy Newman and Andra Day.
Christian McBride Big Band: “Murder By Numbers”
I listened to a lot of big band music growing up; my father loved it. Unfortunately it’s difficult today (financially for the most part) to put big bands on the road so you wait for people like Roy Hargrove and Christian to release an album. “Without Further Ado, Vol. 1” is McBride’s fourth album with the group, this time with guest appearances by Jeffrey Osborne, Samara Joy, Dianne Reeves and this Police classic featuring Sting and Andy Summers.
Lido Pimienta: “Quien Tiene La Luz”
She is being hailed as the future of Canadian rock, which is misleading to say the least. The Canadian/Columbian visual artist, composer and singer/songwriter has diverse musical influences and is definitely into doing a little genre-bending. Her new album “La Belleza” was described by The Guardian as “Gregorian chant meets dembow rhythm” (which is derived from Jamaican dance hall music).
Till next time, good listening.
David Hersrud is a third-generation South Dakota native. After college and graduate school, he spent more than six years in the music industry working with bands and artists like George Harrison, Eagles, The Beach Boys, Queen, Led Zeppelin, Frank Sinatra and Fleetwood Mac. He stayed active after returning to South Dakota and the family business as a writer, consultant and then the host of CDTV for 12 years. David and his wife Kathy live in Sturgis.
Photo courtesy David Hersrud
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