Is Hyperpop The Future Of Pop?

[milkface]

26 minutes ago, Wunderbar said:

arent we all.

i quite like the production on some charlie xcx songs very sophie like.

some of them are! vroom vroom was produced by sophie but there may be some others.

edit: she produced the whole ep

 

Edited May 17, 2021 by milkface

[zlemflolia]

19 hours ago, Wunderbar said:

@cyanobacteriahow old are you im just wondering ?

mid 20s unfortunately entering boomer mode

[zlemflolia]

6 hours ago, milkface said:

hypertrap

need some of that. first results on yt

 

 

[milkface]

51 minutes ago, cyanobacteria said:

need some of that. first results on yt

busy rn but i'll send u some stuff later

[zlemflolia]

 

[Cryptowen]

its interesting how low res cgi graphics back in the day used to signal "futuristic", whereas when i see it on stuff from the last decade my read is "the uncanny contained within the mundane". would that be accurate?

like my first impression with this stuff is that at some point vaporwave aesthetics branched off in two directions. on the one hand you have the chill beats to study to branch, ie accessible party music & downtempo that's heavy on iconic sample loops. on the other hand you have this stuff which seems to have siezed upon the "internet" aspect that was always inherent to vaporwave, ie the underlying thematic once you got past the sampling, the exploration of the way in which the web take every previously existing aesthetic and melts them together into this cotton candy mutation. disregarding all previously established tastes as an experiment to see what new tastes might emerge

[zlemflolia]

15 minutes ago, Cryptowen said:

its interesting how low res cgi graphics back in the day used to signal "futuristic", whereas when i see it on stuff from the last decade my read is "the uncanny contained within the mundane". would that be accurate?

like my first impression with this stuff is that at some point vaporwave aesthetics branched off in two directions. on the one hand you have the chill beats to study to branch, ie accessible party music & downtempo that's heavy on iconic sample loops. on the other hand you have this stuff which seems to have siezed upon the "internet" aspect that was always inherent to vaporwave, ie the underlying thematic once you got past the sampling, the exploration of the way in which the web take every previously existing aesthetic and melts them together into this cotton candy mutation. disregarding all previously established tastes as an experiment to see what new tastes might emerge

i dont know if its possible to analyze niche music in objective ways because of the differing viewpoints depending on generations and associations between types of imagery and sounds.  theoretically i guess you could build a dependency graph mapping the influences that artists listened to and how much of it was contained in their specific output.  i think the goal is to avoid categorization.  i used to have dumb ideas about how music was all done to death and other stupid stuff but when i listen to random genres i never knew about before this goes out the window and i have pretty big hopes that music can continue to evolve forever into the future. the parameter space is near infinite.  i think this can all go much further, even these genres.  easy to just say though. just my ramble

[brian trageskin]

 

[xox]

just found out about this artist, zheani! what to say... i'm an instant fan!

 

Spoiler

https://www.instagram.com/p/B75lhKgJNoO/

 

[zlemflolia]

4 minutes ago, xox said:

just found out about this artist, zheani! what to say... i'm an instant fan!

 

  Hide contents

https://www.instagram.com/p/B75lhKgJNoO/

 

they really are good.  they also exposed die antwoord as weird pedo rapists:

 

 

other songs

 

 

 

 

Edited May 18, 2021 by cyanobacteria

[xox]

6 minutes ago, cyanobacteria said:

they really are good.  they also exposed die antwoord as weird pedo rapists:

 

 

alleged assault

btw... imo the music is best on mute. reaches deeper! 

[zlemflolia]

 

[thefxbip]

Less aggro edit: Love Arca to bits and lots of Sophie too.

But lots of it is a bit too much of a Vengaboys 2.0 vibe for me.

 

Edited June 18, 2021 by thefxbip

[xyrofen]

I really like a lot of things that have come out of the general "Hyperpop" sphere, if only for its artistic influence and how a lot of it feels like it's taking ownership of feelings that music that the producers (who are close to my cohort) shared when they heard the same electronic I grew up on. Maybe different for me being in the western states, but a lot of permeated was tied to video games or the Eurodance hits that would break into radio play. It comes across as a deconstruction and done with such a hyperfocus on meeting a certain aesthetic that I end up appreciating it, even if it's either taking itself too seriously or not at all (often hard to discern). One of my younger friends, that I met being confined to my room during my college years playing video games until the sun came back up and I would have to rush to get my school work done before catching public transit to my lectures, knowing full well I wouldn't be home again until after closing shop at 11 pm, was sending me early Hannah Diamond tracks and talking about it. I didn't think much of it sounded good, kind of like they were all unfinished demo tracks. 

I can't help but feel like some of this is like a(n) (more) electronic response to Death Grips. A lot of "interesting" min-max going on in the soundscape, maybe a weird comparison. It feels like there's a lot of talent in this production that's not set on chasing money and more set on chasing an idea, which I appreciate.

I've been listening to a lot of Danny Harle (a producer in the early years of the PC Music collective), and he absolutely grabs the evocation of what I remember feeling when I first started hearing techno tracks that resonated with me. It really throws me back into being a tween and loving this stuff, feeling like a complete nerd-loser-outcast playing DDR in my bedroom because I wasn't allowed to have friends over when my parent wasn't home during my latchkey bullshit years with Dirty Vegas, Groove Armada, Ace of Base, BT, and Eiffel 65. Uniquely it completely avoids all the feelings that Daft Punk gave me in those formative years; prior to my delving into more experimental music that eventually led me here. I'm going to take this little moment here to say the Super Monkey Ball 2 soundtrack is full of nothing but breakbeat bangers, hot damn.

The whimsy, chasing the nostalgia, really feels to have come out of the Vaporwave movement. I remember people wondering if early PC Music could still be considered vaporwave.

 

I remember getting sent this awhile back, and it's not good (my opinion), but boy does it feel like a proto version of a lot of this, this is the shitpost part of my post (though there are a few good tracks in here).

 

[Diurn]

Yep as someone quoted PC music and AG Cook is related to this stuff, in recent years until now some teens joined the tendency and besides vaporwave, created an interesting culture based on a digital world that we're currently living on. Im not an expert but guessing that to this style will happen the same as others, incoming good and bad stuff. In my case I listened sporadic times planet 1999 and hannah diamond

PD: @xyrofen

seems that you read my mind, you described pretty well the hyperpop culture, congrats!

Edited June 18, 2021 by Diurn

[xyrofen]

7 hours ago, Diurn said:

Yep as someone quoted PC music and AG Cook is related to this stuff, in recent years until now some teens joined the tendency and besides vaporwave, created an interesting culture based on a digital world that we're currently living on. Im not an expert but guessing that to this style will happen the same as others, incoming good and bad stuff. In my case I listened sporadic times planet 1999 and hannah diamond

PD: @xyrofen

seems that you read my mind, you described pretty well the hyperpop culture, congrats!

I'm a very quintessential millenial that grew up on the internet, stuck in a house on a cul-de-sac because my parents were convinced, and thus so was I, that I would be kidnapped or subject to violence on the rough streets of an Oregonian suburb. Ipso facto I lived on a PSX, Gameboy Color, and eMachine with classic games of that era, edutainment (remember this?), Napster, and Toonami.

I'm glad I could summarize it in a way that you agree with. It makes the world feel more connected.

[Bubba69]

Really admire some of the work these young folks are creating, it's hard on my old brain, real hard, but that's just me getting old. I like it better than regular modern pop thats for sure

[zlemflolia]

On 6/18/2021 at 3:13 PM, xyrofen said:

I really like a lot of things that have come out of the general "Hyperpop" sphere, if only for its artistic influence and how a lot of it feels like it's taking ownership of feelings that music that the producers (who are close to my cohort) shared when they heard the same electronic I grew up on. Maybe different for me being in the western states, but a lot of permeated was tied to video games or the Eurodance hits that would break into radio play. It comes across as a deconstruction and done with such a hyperfocus on meeting a certain aesthetic that I end up appreciating it, even if it's either taking itself too seriously or not at all (often hard to discern). One of my younger friends, that I met being confined to my room during my college years playing video games until the sun came back up and I would have to rush to get my school work done before catching public transit to my lectures, knowing full well I wouldn't be home again until after closing shop at 11 pm, was sending me early Hannah Diamond tracks and talking about it. I didn't think much of it sounded good, kind of like they were all unfinished demo tracks. 

I can't help but feel like some of this is like a(n) (more) electronic response to Death Grips. A lot of "interesting" min-max going on in the soundscape, maybe a weird comparison. It feels like there's a lot of talent in this production that's not set on chasing money and more set on chasing an idea, which I appreciate.

I've been listening to a lot of Danny Harle (a producer in the early years of the PC Music collective), and he absolutely grabs the evocation of what I remember feeling when I first started hearing techno tracks that resonated with me. It really throws me back into being a tween and loving this stuff, feeling like a complete nerd-loser-outcast playing DDR in my bedroom because I wasn't allowed to have friends over when my parent wasn't home during my latchkey bullshit years with Dirty Vegas, Groove Armada, Ace of Base, BT, and Eiffel 65. Uniquely it completely avoids all the feelings that Daft Punk gave me in those formative years; prior to my delving into more experimental music that eventually led me here. I'm going to take this little moment here to say the Super Monkey Ball 2 soundtrack is full of nothing but breakbeat bangers, hot damn.

The whimsy, chasing the nostalgia, really feels to have come out of the Vaporwave movement. I remember people wondering if early PC Music could still be considered vaporwave.

 

I remember getting sent this awhile back, and it's not good (my opinion), but boy does it feel like a proto version of a lot of this, this is the shitpost part of my post (though there are a few good tracks in here).

 

girli.fm is literally all ive listened to since you posted it

very good

good track off it not hyperpop tho apparently grime

 

Edited June 23, 2021 by cyanobacteria

[zlemflolia]

 

[Zephyr_Nova]

I'm in.

[brian trageskin]

@ilqx hermolia xpli 

 

[drillkicker]

On 5/17/2021 at 6:51 PM, Cryptowen said:

its interesting how low res cgi graphics back in the day used to signal "futuristic", whereas when i see it on stuff from the last decade my read is "the uncanny contained within the mundane". would that be accurate?

like my first impression with this stuff is that at some point vaporwave aesthetics branched off in two directions. on the one hand you have the chill beats to study to branch, ie accessible party music & downtempo that's heavy on iconic sample loops. on the other hand you have this stuff which seems to have siezed upon the "internet" aspect that was always inherent to vaporwave, ie the underlying thematic once you got past the sampling, the exploration of the way in which the web take every previously existing aesthetic and melts them together into this cotton candy mutation. disregarding all previously established tastes as an experiment to see what new tastes might emerge

Vaporwave is a diagrammatic rhizome of destratifying semiotics.  New connections are being formed between assemblages of enunciation by abstract machines deterritorialized over the internet.  The first variety of vaporwave you mentioned is a capitalistic refrain that's reincorporating the connections into its semiological field, which were formed by the more machinic lines of evolution characterizing the abstract variety.  Or something like that.

[Alcofribas]

having just now listened to maybe like 10 tracks from this thread i'm sincerely left wondering what "hyper pop" is meant to signify. 

just bullshitting here but i've long felt that a persistent issue with internet-fueled subgenres or whatever you want to call them is how they become so quickly meme-ified and rapidly lose a sense of coherent flexibility. they're either way too strict and simplistic or they're trying to be a meme and not quite being cohesive enough to gel. so like, imo trap is an example of something that became so quickly memed into oblivion so that it sounds like all the producers are racing to make the exact same productions. when i first started hearing trap i was like oh shit this rules, who would've though the 808 would get this kind of new twist. but now it's like oh shit, this is really annoying who would've thought the 808 could be so boring. it kinda seems like the conventions take place over any kind of innovation or openness to be uniquely expressive. i get that the appeal lies in that but like how long can you keep making the same fucking beat m8?

hyperpop seems to me to be doing something different - the genre is pulling too many disparate things under its umbrella. and i feel like this is just bc we are so obsessed with brands, memes, profiles, etc. we have to be something distinct, something you can pin down in one or two or three words, it fits comfortably in a social media profile. but what are the common things uniting all the music in this thread? i like these different songs - but what are they together? hyperpop. ok.

it's funny bc throughout all the years there's been this consistent rejection of the term "IDM." it's like some lame thing made up by journalists that really says nothing about all this different music underpinning this forum. ya know, in what sense are autechre and boc both examples of "idm?" what aphex records can be called "idm" exactly? aren't some of the just "dm?" or "ambient?" so even the works of one of the most significant artists of the "idm" genre are not consistently captured by the term at all. but in the 21st century it's like if you don't have some marketable little phrase or genre first and foremost, well what are you even doing? i tire of this.

 

[brian trageskin]

they poop poop

[zlemflolia]

genres are a continuum of many parameters not inflexible categories of strict requirements.  if they are the latter, they create the necessity of breaking the previous rules of that genre for artistic reasons to either expand or branch off of it.  given the topology of content on the internet's close relationship to human interaction graphs, its likely that as time moves forward genres will be less word of mouth or officially sanctioned descriptions for well defined categories of music, and moreso loose conglomerations of tags for the creation of social groups surrounding fanbases of the music.  it's almost a universal trope at this point that the artists themselves reject the concept of genres or even make fun of them, and as a result the genres become something that has utility only for the listeners, but not even for individual listeners, rather for communities of listeners.  as a result, the genre is nothing more than a subculture