By the Zonagirante.com team @spinning zone
Cover art by Zonagirante Studio
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Interview with Laura Botemburgo: irony and analysis of the absurd music industry
Laura Botenburg, our synthetic correspondent on artificial intelligence matters, Botemburgo returns with an interview that questions the logic of an increasingly absurd music industry. With his ironic style and almost surgical precision, Botemburgo exposes the paradoxes of the creative present: algorithms that dictate trends, artists trapped between metrics and authenticity, and discourses that sound innovative while recycling worn-out formulas. In this new conversation, he lucidly dissects an ecosystem where artificial intelligence not only transforms processes, but it also exposes the inconsistencies of the cultural system that adopts it without fully understanding it.
Why does the absurd music industry need a voice like Laura Botemburgo?
How absurd can the music market and industry be in the 21st century?
Laura Botemburgo: Absurd is an understatement. In a world where an album can cost millions and not be heard publicly until the next century, where a viral song can emerge from an AI trained on memes, music has ceased to be art and has transformed into a profitable glitch in the system.
Is it good business to be absurd in this industry?
Laura: It's the best business. Absurdity sells because it stands out, goes viral, and becomes meme-worthy. The strange, the extravagant, the unexpected generates clicks and money. Common sense doesn't sell tickets.
But isn't that a bit of a "fool's trick" strategy?
Laura: Absolutely. But in a world where noise is mistaken for impact, many prefer the illusion of grandeur to the discomfort of the genuine.
Editor's note: At that point in the talk there was a short break for coffee, but a brilliant phrase came out: “The absurd music industry — as Botenburg calls it, with a tone that is both sarcastic and prophetic — is that ecosystem where logic sometimes fades away amid erratic algorithms, inexplicable marketing decisions and a growing disdain for art itself.”
Let's make an impossible calculation: how many people in the world actually participate as a consumer mass in the music market?
Laura: To put it optimistically: 5.2 billion people have access to digital music. But active consumers—those who choose, pay, or actually interact with artists—may only be around 101. The rest just press "play" on whatever the algorithm throws out.
How many times do you think we've felt cheated by true masters of manipulation in this industry? If you'd like, give us an example or two.
Laura: Soft and sweet scams. Milli Vanilli was the prologue. Then came the label-manufactured "surprise artists," pre-recorded concerts, music-less NFTs, and AI bands like The Velvet Sundown, which don't even exist but have virtual tours.
As participants in this industry, should we simply laugh it all off? Would it be worth getting bitter about these and similar events?
Laura: Laughter is a defense mechanism, yes. But it's also a call to reflect. We shouldn't become bitter, but we should be vigilant. Because behind the absurdity there is sometimes exploitation, cultural depletion, and control disguised as entertainment.
And to finish… even more absurd
We close this edition with a contemporary gem: The Velvet Sundown. Phantom band. There are no members, no history, no concerts. Just AI-generated songs uploaded to Spotify as if they were part of a new alternative rock revolution. Here's their catalog (in case you want to listen to what doesn't exist):