No. Fool’s Gold is not entirely AI-generated.

Modern digital and AI-assisted composition tools were used during the production process, but all creative direction comes from Jules Flesner. The songwriting, themes, and overall artistic vision were developed under her direction.

Five songs were written by Jules Flesner. Four tracks include lyrics adapted from works by other authors, used with permission and credited individually.

You’re listening to songs written by human beings. The lyrics, stories, emotions, and occasional life advice tucked into each track all come directly from lived human experience and human imagination.

In 2025, I paused my career in financial tech/software and decided to revisit the collection of song ideas that had been living in my head (and various MacBooks) for decades. Recording an entire album the traditional way was out of reach for me financially, so instead I turned to modern composition software I already had on my computer to shape the songs that became Fool’s Gold.

Songs created with electronic and digital tools isn’t new. Electronic music has been part of the music scene since the 1960s. What’s radically different today is the expanding range of software that allows people to experiment more freely with sound.

I was able to create an entire band “in the cloud” and trained it to layer instruments, reshape arrangements, and blend genres in new ways.

I developed each track drawing on years of music theory training through piano, along with guitar and vocal lessons, inherent songwriting instincts, and a professional background in creative writing.

Ironically, no other humans were involved in the recording process, which is part of the joke behind the album title.

Yes and no…

I can sing! And, yes, I did upload “me singing” into my computer in order to produce these songs. But, you’re not hearing my raw voice on these tracks.

The vocals were produced using various digital voice models trained from recordings of my raw voice. The lyrics, the performance, and the direction are all mine, but the “person singing” isn’t a real person. In a similar way, I spent months “directing” a digital band on how and what instruments to play.

It’s hard to pin to one category, but folk is the thread running through the album. A few songs carry strong bluegrass and Appalachian influences. I have my dad to thank for introducing me to this genre early in life and for instilling an appreciation for simplicity and strong storytelling.

I’ve always been fascinated by instruments used in traditional mariachi and Middle Eastern music, so those sounds found their way into a few tracks.

Nope. Not music, anyway.

I have sensory processing disorder (SPD), which makes it very difficult for me to process speech (lyrics) while singing live, let alone play piano or guitar and sing at the same time. (Did you know that speech is one of the most complex motor activities in the human body, coordinating hundreds of muscles in seconds to control breath, pitch, and sound?)

Add in the noise and sensory input of a typical live environment, and it becomes more overwhelming than enjoyable for me.

I do love chiming in on informal jam sessions, and will always hold so much respect for gifted on-stage performers. But for me, making music has always felt more like a form of energy therapy. The only stage I’ve ever felt comfortable on is at my pole fitness dance recitals!

While live music performances aren’t my goal, I do hope to make a positive impact in the responsible use of AI and automated software, and to use my (raw!) voice to advocate for more diversity in STEM careers.

I founded Vermillion Design + Co. in March 2009 with the intention of always keeping creative agency collaborations alive, whether as a hobby or as part- to full-time freelance work.

After working with some of the world’s most recognized brands including the Swoosh + the Three Stripes, I landed in commercial real estate where I helped pioneer the first technology enabling crowdfunded investing + AI chat tools, and was among the first creative directors in the U.S. to specialize in AI search optimization.

In 2025, I started experimenting with emerging SaaS and the music I’d written. Publishing under a project name felt more appropriate, so I borrowed my long-standing “Vermillion” name.

The “and company” in my design agency reflects the trusted (human) collaborators I call on to deliver award-winning work for clients, a mix of independent contractors and agencies. In the artist name, “and company” is a nod to the different personas my voice can take on when producing music through modern studio tools.

The word vermillion (alt: vermilion) describes a brilliant red with a hint of orange. I happen to be a fiery redhead based in Orange County, California.

To be clear, I’m not in the music industry. This answer is very much “from the outside looking in.”

It’s also worth clarifying that Fool’s Gold was not an “entirely AI-generated” album, so I can’t speak to that experience directly.

Of course I’m adamantly against copying another artist’s likeness or exploiting someone’s voice or content without permission.

I’m also against misleading people by presenting an AI-generated voice as someone’s natural singing voice. Transparency and clear authorship matter to me, which is why I released Fool’s Gold under a project name rather than my personal artist name, and published this website to help explain the project.

I acknowledge and share the concern in a rise of “fake” AI musicians releasing music. It’s unsettling knowing that today, someone with no musical background can generate an album with just a few prompts and clicks, releasing it alongside Fool’s Gold which was shaped by decades of lived experience, paid music lessons, and songwriting efforts.

At the same time, I see how digital tools can remove barriers that have historically kept many people out of music. Recording in traditional professional studios and working with producers typically requires money, connections, or both.

I also think about people like my dad, who is sitting on a 40+ year collection of original songs and poetry but simply wasn’t born with a strong singing voice. Tools that create a digital AI voice can allow a Top 40-worthy song to be discovered, especially when the goal is pitching it to established artists and live performers.

There are also exciting accessibility possibilities. For people with speech challenges, mobility limitations, or other barriers to traditional music production, these tools open new paths for participation. Much like communication technologies have helped nonverbal autistic individuals publish books and give presentations for the first time, showcasing their brilliance in the face of stigma, AI music tools can allow more people to share their musical “voice” and talents.

Music follows the same supply-and-demand dynamics as any other commercial industry, so I think ultimately audiences will decide what shapes the future, what sticks, and what doesn’t. Only the years ahead can sort out questions around authorship, credit, award worthiness, and legal protections.

All of them!

While bringing these tracks to life, I saw a funny viral video about the frustrating 1990s experience of buying an entire album only to discover one or two great songs. In the cassette and CD era, it seems like labels only focused on one or two singles that could become radio hits. The rest of the album felt like B-side filler.

In today’s on-demand streaming world, every track has to stand on its own. That viral video was my reminder to only publish songs that I would never skip or thumbs-down myself.

Yes! While living in Nashville, Tennessee, “the” Hank Williams, Sr. appeared to me one night in a dream. He said, “I’m going to play a song for you, over and over, enough times that you’ll wake up and remember it.” Then he started playing.

I remember thinking, “hmm, this song doesn’t sound anything like his signature style. This is more modern, borderline pop.”

I woke up, grabbed my Yamaha Red Label acoustic guitar, the “poor man’s Martin.” (Fitting, since Hank played Martins.) The melody and lyrics were still in my head, and playing by ear I went straight to the chord progressions I’d heard Hank perform.

I wish I could give him songwriting credit, but since I can’t, I gave him the song’s title instead.

For press or speaking engagements related to AI-powered SaaS, head over to the Vermillion Design + Co. website Press page to submit your request.