The funny thing is that the only really good ones are the first few where they claim its just random noise. The later ones just sound like a crappy radio.

With images the technique works because we like looking at the dense artifacts. Millions of dog heads essentially copy and pasted onto any appendage that looks like it should be a head. It looks like drugs and overwhelms in the same way.

If you just take white noise and throw it through a tuned filter bank (which is in essence and in final effect what they are doing here) then you just get crappy audio.

The more standard and successful use of NN in composition is the use it on pitch series and compositional forms. Like feeding it all of Beethoven and then getting it to generate similar compositions. That's been going on for decades. You can do it with that kind of data.

But the thing about pop and electronic music is that the easily machine observable elements are not very interesting. Listen to the 4/4 kick and snare pattern in the video. Its boring as hell. (Other tracks can be just a kick and snare and they are amazing and we celebrate them as classics and play them for 20 years. Machines will never understand why)

What's great and essential are things like spatial relationships between elements in the mix: how does the surge of the compressed synth/guitar cause the beat to tumble outward and stir you up ? after a series of peaks in a synth melody then the next time it pulls back creating a space that pulls at your heart strings. you create a negative space that the listener goes into. playing with listeners expectations based on what songs, conventions and tropes they already know and respond to.