Bold claim: AI is reshaping our world, and not everyone who loves art is ready to embrace it. But here’s the twist you’ll want to read to the end: the debate over using AI to craft melodies, harmonies, and rhymes is far from settled, and it touches the core of what it means to be an artist. In a new interview with Doc Rock’s Metal Shop 101 on Ragebreed Radio, TESTAMENT’s Chuck Billy weighed in on this hot topic. He cautions that while AI can function as a tool to assist writing, it should not replace the artist or be the sole source of material sold to fans. He emphasizes that AI is increasingly woven into everyday life—driverless taxis in multiple cities, robotic delivery carts on LA streets, and automations at warehouses like Sweetwater—reminding us that technology is here to stay. Yet Billy remains wary about letting AI take a primary creative role in music releases.
He explains: AI could be useful as a preliminary aid to generate ideas, but if you intend to publish and sell music created mainly with AI, he’s not on board. His point isn’t about shunning new tools altogether; rather, he sees AI as a potential starting point for younger creators making things like T-shirts or concepts, while insisting that the core of original, human artistry should stay at the heart of any commercially released work. In his view, using AI to churn out an album’s core content would blur the line between human craft and machine output, which he regards as misalignment with what it means to be an artist.
Billy adds that, as with any new tool, you should leverage AI to streamline parts of your process—but if the final product hinges on AI-generated material alone, that crosses a line for him. It’s a nuanced stance: he acknowledges the practical reality that AI is already embedded in many sectors (not just music) and accepts its existence as part of the evolving landscape of work and creativity.
Previously, Billy shared a broader anxiety about AI’s trajectory. He pointed to real-world scenes—from driverless taxis in San Francisco to robots handling restaurant duties and automated warehousing—that illustrate AI’s expanding reach. His lingering concern centers on how AI could amass vast amounts of information and potentially reach a point where it can almost decide answers on its own. That sharper, more cautionary note frames his current stance: AI is a powerful tool, but it should augment human creativity rather than replace it.
Meanwhile, TESTAMENT’s plans are moving forward. The band has announced the U.S. leg of its Thrash Of The Titans world tour, partnering with OVERKILL and DESTRUCTION for one of the year’s most anticipated metal outings. Their latest album, Para Bellum, released in October 2025 via Nuclear Blast, was produced with Juan Urteaga and mixed by Jens Bogren for the first time. Eliran Kantor returned to paint the cover art.
Para Bellum’s publication was preceded by the music video for the lead track Infanticide A.I., directed by Joey Durango, which accompanied the album’s reveal last August. The video and album together highlight the band’s ongoing exploration of provocative themes and meticulous production, while Billy’s comments on AI invite fans to consider the broader implications of technology in art—and to decide where they personally draw the line between inspiration and automation.
What do you think: should AI be allowed to contribute to an artist’s final product, or should the pen (and the heart) stay in human hands? Do you agree with Billy’s cautious boundary, or do you see AI as a natural evolution that will eventually redefine musical authorship? Share your thoughts in the comments.
