内容来源：https://www.theverge.com/entertainment/967678/1010benja-semiramis-dream-suno-ai-music

内容总结：

AI音乐作品引发争议：音乐人1010Benja用Suno创作出令人“无法讨厌”的歌曲

近日，独立音乐人1010Benja的新作《Semiramis’ Dream》在音乐圈引发热议。这首由AI音乐生成工具Suno参与创作的歌曲，却让一位原本对AI音乐持批评态度的乐评人不得不承认：“我恨自己无法讨厌这首用Suno做的歌。”

据悉，1010Benja的最新EP《Time Has Nothing To Do With What You Choose…》中，开场曲《Semiramis’ Dream》以丛林节拍和极具感染力的真实人声惊艳亮相。与市面上大量“无聊至极”的AI生成音乐不同，这首作品巧妙地将AI元素融入现代流行音乐风格，几乎让人难以察觉其AI背景。

Benja在接受采访时透露了独特的创作过程：他与朋友合作完成节拍和人声录制，将素材输入Suno后，再对生成的音频在Ableton上进行编辑和叠加，如此反复循环数百次才完成最终版本。“我们没有任何隐瞒，你在Deezer上能看到这首歌被标记为AI生成，”Benja坦言，“我们对此毫无羞愧。”

尽管Benja对使用AI工具持开放态度，但他也承认其中存在的伦理问题。作为一名曾经历 homelessness 的独立音乐人，他无奈地表示：“我用AI的唯一原因，是我当下的创作愿景远超我的经济能力。我没钱付房租，更不可能请专业儿童合唱团。”

业内人士指出，虽然《Semiramis’ Dream》证明AI在正确的人手中可以成为有价值的创作工具，但Benja的案例仍属特例。乐评人表示，Benja并未改变其对AI艺术的怀疑态度，但至少证明了“Suno不一定只能是垃圾产出引擎”。

中文翻译：

我绝不会说音乐领域完全没有AI的位置（毕竟，我还是霍莉·赫恩登的粉丝）。但总体而言，我觉得用生成式AI创作的音乐无聊得令人反感——尤其是Suno产出的那些作品。所以，当我发现自己居然挺喜欢1010Benja的《塞弥拉弥斯之梦》时，内心着实有些难以接受。

我恨自己无法讨厌这首用Suno创作的歌

1010Benja的《塞弥拉弥斯之梦》证明，AI在合适的人手中绝不仅仅是一台垃圾制造机。

我恨自己无法讨厌这首用Suno创作的歌

1010Benja的《塞弥拉弥斯之梦》证明，AI在合适的人手中绝不仅仅是一台垃圾制造机。

Benja在最新EP《时间与你所做的选择无关……》中，坦诚地使用了生成式AI。其余三首歌与2024年的《Ten Total》相比略显逊色。但开篇曲《塞弥拉弥斯之梦》却极具感染力。丛林节奏的鼓点从扬声器中迸发而出，而Benja那令人惊叹、显然属于人类的声音则占据着中心位置。

你一时没察觉这首歌是Suno的产物，这完全可以理解。因为它缺少许多明显的AI特征。即便这首歌中最显AI痕迹的部分——伴唱合唱团——也轻易地被融入受超流行音乐影响的快速切分音中，巧妙伪装起来。经过重度处理、听感人工化的嗓音是现代流行乐许多流派的常见元素，而通过利用这种诡异感，Benja成功掩盖了它们的来源。

但Benja并未刻意隐瞒。他在接受《Hearing Things》采访时坦言：

“我的朋友帕特里克·霍尔德制作了节拍。我录制了人声。然后我们把素材喂给Suno，选定一个版本，导出后导入Ableton进行编辑，再重新放回Suno。所以当你在Deezer上查看时，歌曲会被标记为AI生成。我们没有隐瞒，也不为此感到羞愧。”

Benja的制作流程无疑使他有别于其他Suno垃圾制造者。他亲自写歌词、演唱人声，并与合作者共同完成音乐演奏。随后将这些素材输入Suno，获取AI生成的结果，再导入Ableton进行编辑，添加更多层次，又重新喂回Suno……如此循环往复，不厌其烦。据Benja估计，为了《塞弥拉弥斯之梦》，他重复了数百次这样的过程。

尽管Benja声称对所用工具持中立态度，但他清楚地知道，使用生成式AI并非毫无道德包袱。他承认这项技术正在对地球造成损害，却带着些许虚无主义色彩地表示，我们无法阻止贪婪的企业，也无法把AI这个“精灵”塞回瓶子里：“这次，好人赢不了。”他说。

“我之所以使用生成式AI，唯一的原因是我目前的愿景远超我的能力范围。人们一直问我：‘你这张EP用了生成式AI吗？’我（讽刺地）回答：‘没有，我雇了一个专业儿童合唱团。’开什么玩笑？我上个月没付房租，这个月也付不起。我他妈都不知道自己下一步会在哪儿。”

很难不对Benja产生同情。尽管他似乎即将迎来突破，其《Ten Total》还获得了Pitchfork梦寐以求的“最佳新音乐”称号，但他仍是一名挣扎求存的艺术家，甚至经历过无家可归的时期。

不过，同样值得指出的是，《塞弥拉弥斯之梦》在声音层面，并没有多少是他不用AI就无法实现的效果。诚然，他雇不起儿童合唱团，但AI合唱团在《时间与你所做的选择无关……》整张EP中其实也并不特别令人信服。通过一些分层演唱和巧妙的人声处理，同样可以达到类似的效果。

1010Benja并没有改变我——我依然对AI艺术深表怀疑。但他确实证明了，在合适的人手中，Suno并非注定是一台垃圾制造机。

英文来源：

I would never go so far as to say there’s no place for AI in music (I’m a fan of Holly Herndon, after all). But I generally find music made with generative AI to be offensively boring, especially the outputs of Suno. So I’m having a bit of a tough time processing the fact that I actually quite enjoy 1010Benja’s “Semiramis’ Dream.”
I hate that I don’t hate this song made with Suno
1010Benja’s “Semiramis’ Dream” shows AI can be more than a slop engine in the right hands.
I hate that I don’t hate this song made with Suno
1010Benja’s “Semiramis’ Dream” shows AI can be more than a slop engine in the right hands.
Benja has been unapologetic about his use of generative AI on his latest EP, Time Has Nothing To Do With What You Choose… The other three tracks can’t quite hold a candle to what you find on 2024’s Ten Total. But the opener “Semiramis’ Dream” is infectious. It explodes out of the speakers with a jungle beat and Benja’s incredible, obviously human voice front and center.
You’d be forgiven for not immediately realizing that the song is the product of Suno. It lacks many of the dead giveaways. Even the most obviously AI part of the song — the choir of backup vocalists — is easily camouflaged amidst the hyperpop-influenced rapid-fire chops. Heavily processed and artificial-sounding vocals are a staple of many modern pop genres and, by leaning into that uncanniness, Benja is able to mask their origins.
But Benja isn’t hiding. He told Hearing Things in an interview:
My friend Patrick Holder did the beat. I recorded the vocals. Then we fed Suno the elements, settled on something, brought it out, edited it on Ableton, and then put it back into Suno. So when you look in Deezer, it marks the song as AI-generated. We’re not hiding it. We don’t feel any shame about it.
Benja’s process certainly separates it from the rest of the Suno slop out there. He wrote the lyrics, sang the vocals, and worked with collaborators to perform the music. Then fed that into Suno, took what the AI spit out, brought it into Abelton, edited it, added more layers, fed that back into Suno… rinse repeat ad naseum. Benja estimates he did this a few hundred times for “Semiramis’ Dream.”
While Benja professes to be agnostic about the tools he uses, he is under no illusion that using generative AI doesn’t come with ethical baggage. He acknowledges the damage it’s doing to the planet, but somewhat nihilistically says we can’t stop greedy corporations or put the AI genie back in the bottle: “The good guy doesn’t win this one,” he says.
The only reason I’m using gen at all is because my visions are currently far beyond my means. People have been asking me, “Did you use gen AI for this EP?” I’m like, [sarcastically] “No, I hired a professional children’s choir.” What are we talking about? I haven’t paid rent last month, and I won’t pay rent this month. I don’t know where the fuck I’m gonna be.
It’s hard not to empathize with Benja. Despite seeming to be on the verge of a breakout and earning a coveted Best New Music from Pitchfork for Ten Total, he’s a struggling artist who has endured periods of homelessness.
Still, it’s also worth acknowledging that there is little on “Semiramis’s Dream” sonically that he couldn’t have achieved without AI. Sure, he couldn’t hire a children’s choir, but it’s not like the AI one found throughout the Time Has Nothing To Do With What You Choose… is particularly convincing. A similar effect could be accomplished with some layered performances and smart vocal processing.
1010Benja hasn’t converted me — I still remain deeply skeptical of AI art. But he has proven that, in the right hands, Suno doesn’t have to be a slop engine.