Using technology for artistic expression was not always a cop-out or a sign of laziness. It was probably as difficult to master the sound of the machine as the sound of the piano. Today that may not necessarily be the case. As long as you can write a coherent sentence, you can make a song. Or the prompt that will get a generative AI bot to do it.

Recently, I stumbled upon a subculture of people who code music. While the results were these fun remixes of popular songs or some original samples, the act of remembering commands to produce music saddened me. Even though I strongly believe that creating music does not need to be inherently related to possessing a certain skill or education, I could not help but think that detaching the exploration of sounds and the actual work with sounds from the music writing and production process completely erases the chance for innovation.

Early electronic music stood for democratizing the access to music. From a highly-selective field, it was becoming more and more accepting of people with various skillsets. The DJ deck became a tool of liberation. The technology was not used to replace musicianship, though. On the contrary, it helped develop it. Electronic music allowed for the creation of new sounds that cannot be replicated on any acoustic instrument. In fact, they are probably not replicable using any natural object and method of making sounds. It is through this kind of innovation that electronic music carved a space for itself in the music business.

But that is not what an AI bot can do. It is simply impossible to create something unique with a model that only creates using already existing databases. So instead of falling for the trap of recycled music, I propose falling down the rabbit hole of remixed music. To find out what constitutes the difference, read on and get inspired.

EUSEXUA Afterglow by FKA Twigs

A surprise release by the one and only FKA Twigs came out just this past Friday, Nov. 15. After the success of her long awaited album EUSEXUA, FKA decided to release what sounds like all of the scrapped tracks: the ones that did not quite make the cut for the original album. EUSEXUA Afterglow sounds far more chaotic and experimental than even its predecessor. The concerts from FKA Twig’s tour with EUSEXUA had a clear and structured storyline, what I like to call a “narrative concert”. This is where EUSEXUA Afterglow comes in as its side-kick, there both as an aid and agent of chaos. Borrowing from ballroom culture, the UK underground, and herself from her earliest works like EP1 and EP2, FKA Twigs brings the human and the machine so close together, but instead of losing her authenticity, she somehow humanizes the computer.

choke enough (DELUXE) by Oklou

If Lo-Fi study playlists had a personality, they would probably sound like choke enough. In choke enough Oklou creates a dreamscape that feels at the same time familiar and totally foreign. From the first to the last track on the album, the listener floats in Oklou’s dream of gentle synths and somewhat shy vocals. The dream is occasionally interrupted by glitching sounds and static that create just the right amount of tension to keep you listening and wondering what comes next. No wonder FKA Twigs would be a featured artist on this album: this kind of experimental dance and EDM music is right up her alley.

Congotronics by Konono No.1

Many cite the origins of electronic music as Europe and Japan,and while many prolific artists from the 70s and 80s did work from these places when EDM was making its mainstream debut, the contributions of artists from the other parts of the world are not to be underestimated.

Konono N01 are definitely right up there with the greats. When we talk about creativity and ingenuity, there is no way we can skip the album Congotronics. First recorded some time in the 60s, the album is a mixtape of electrically-amplified traditional Congolese music. The result is this futuristic-sounding and jazzy album that is immersive and energizing. I can imagine this music being played on a morning radio show as a way of helping commuters and mothers wake up and get their day started. Congotronics is fascinating not only in its sound but also its performance: the musicians used scrapped car parts like magnets to create their own amplifiers and microphones, achieving a distinct metallic and distorted sound that redefines electronic music as a genre. This is the kind of technological innovation we need today to survive the age of AI.

ALIAS is ME by Shygirl (to be released Nov. 19, 2025)

USB by Fred again.. (to be released Dec. 12, 2025)

Two of the most prolific electronic music artists are currently cooking something up for us in their studios. Shygirl is set to release a high-intensity and high-energy album in only a couple of days. The pre-released singles suggest that she is gunning for the status of club-classics for her songs, and while many have already made it to that rank, Shygirl seems to be more of a Greedygirl as she has prepared a whole 14-track LP for DJs around the world to spin on their decks. Fred again.. has also been teasing us with new music for quite a while, with the single “Victory Lap” even going viral. His new project under the compilation USB sounds like it is going to be a departure from his previous slightly indie, philosophical and meditative works. It promises to be another super high-energy record, with more hip-hop influences than before, and a fresh set of collaborators. But perhaps even more exciting than the album release are the live sets that are going to follow as part of the promotion for the record. Fred again... just dominates live music.