Fenix Flexin and Tyga admit to using AI

The music industry is buzzing with a new, disruptive force: artificial intelligence. What started as a futuristic concept is rapidly weaving itself into the fabric of modern creation, blurring the lines between human artistry and algorithmic generation. Artists once celebrated for their unique sounds are now grappling with the complex questions of authorship, tool usage, and what it truly means to be a creator in the age of AI.

This tension is playing out loudly in the realm of hip-hop and pop. Consider rapper Fenix Flexin, who has been navigating the spotlight with his track “RUBBERZ“. While he initially denied using artificial intelligence in the creation of the song, recent developments have shifted the narrative. The technology at the core of this controversy is a music generator platform called Treblo, a tool previously known as Sonauto, which Flexin and producer Purps on the Beat utilized to craft the bizarre synthpop track.

The emergence of AI in music isn’t just theoretical; it comes with detection mechanisms. Treblo has launched its own feature, “Was This Made With Treblo?”, which scans songs for traces of the software. While false positives are rare—less than one in ten thousand—the mere existence of such tools forces an ongoing conversation about originality.

Fenix Flexin’s journey with AI is a case study in evolving acceptance. When challenged on his use of generative technology, he initially offered a guarded response, suggesting the use of the application was limited to the recording process, downplaying the role of the AI itself. However, as analysis began circulating, the context changed. This shift mirrors a wider artistic debate: is using new technology merely an updated method for achieving creative goals, or does it challenge the fundamental definition of art?

This dynamic extends to other major figures in the music scene. Producer and artist Tyga has also explored this intersection with his project $TARFACE>. When questioned about integrating generative AI into his work, Tyga offered a pragmatic view. He likened the process to using a magician—a means to achieve an experience and feeling, rather than questioning the outcome. Tyga argued that just as technology like AutoTune was adopted by real artists, it is simply another tool in the creative toolbox.

His perspective suggests that the focus should remain on the artistic output and the feeling evoked, rather than strict provenance. The argument pivots from ‘who made it’ to ‘what does it achieve.’ This acceptance echoes earlier shifts in the music world, where technological innovations have always been embraced by musicians seeking new sonic possibilities.

Ultimately, the story of AI in music is less about technological capability and more about creative freedom. As tools like Treblo become more sophisticated, artists are learning to negotiate a new landscape where technology isn’t an outside threat, but a dynamic collaborator that reshapes how we compose, produce, and define originality.