Not only has the name hyperpop been dropped, but we are on the verge of a mass musical exodus where the genre’s ‘faces’ turn their backs on its exploded maximalist tropes in search of new pasture. Tweet from Charli XCX: ‘hyperpop is dead. chat, ”delineates a new era focused on disco for the pop star. The same goes for sword, whose latest EP, all dogs go to heaven, bypassed the sonic chaos of its original sound, indebted by digicore, for crisper, cleaner pop. In the pre-Internet age, sounds and styles had years, if not decades, to incubate. Hyperpop, however, has already burned down from its unfathomable acceleration.
But the “death” of hyperpop could well give the digicore community the oxygen it was waiting for. Bugara says: “A lot of these artists are still young, they are still encouraged to create their own thing and they are still fighting against that term. If the hyperpop were to “die,” everything would be fine because they were never hyperpop artists in the first place. They’re still young enough to capitalize on this stuff, and not being signed, they’re not contractually obligated to do anything – they have free rein, all the time in the world, and all the energy in the world. youth to continue in their own way. “
“Pop music has been run by people who aren’t people of color for a while, but that’s okay because we’re slowly getting representation as creators of something different. “- ericdoa
Hyperpop, with all of its blessings and curses, suffers from the same growing pains as its siblings. Looking at his lineage, his sprawling family tree, it begs the question: are all music scenes on the internet doomed to repeat, ignite, and die out before they’ve really had a chance to establish themselves. ?
Let’s start with the oldest child: vaporwave, recognized as the prototype of music born on the Internet. The original vaporwave scene came from a circle of online artists that was born on turntable.fm a decade ago, and as it gained traction the sound was incubated on artists like Tiny Chat, last.fm, Bandcamp, and mediafire – many of which are now obsolete or rarely used. Its intention was to be a kind of anarcho-capitalist pop, which appropriated retro songs from the 80s – the kind that collected dust in a dollar bin – corporate music and noise samples. software startup distorted to create something nostalgic yet. entirely hollow. It was the sound of an abandoned mall, the wreckage of a capitalist fantasy, the sound of the unfinished utopias of previous decades, of consumerism and globalization. Yet for many passive internet users the lasting memory of vaporwave was when the scene was in its last gasps: nothing more than a double-spaced “AESTHETI C”, a kind of posh and nerdy “real music” for hipsters. . A meme.
Vaporwave had two prosperous years in which the subculture was not touched by the creators of taste who criticized it for being on the one hand “too pretentious” and on the other, “too stupid. “. With its rise came the rubbish of witch-house, soft mall, and chillwave among a dozen others that all seemed to be a different term for slightly different sounds and aesthetics (this, of course, was a meme in itself). Joe Price, a music journalist who documented vaporwave for Pigeons & Planes, says, “A lot of people were hesitant to pay a lot of attention to something that seemed like a fad.
In the end, it wasn’t just any blog or music critic that declared vaporwave “dead”, but the fans themselves. In many ways, he was buried alive before the very thing he was protesting against would inevitably contain him and benefit from it. It was the first scene to lose control of its meaning. “At best, it was a serious joke, but at worst, it was a joke and nothing more,” Price says. “As the aesthetic started to become commonplace, you started to see people who weren’t very interested in music talking about it. There was an inherent meme-type quality to it all, and it provided a fantastic model. In the end, I would say it was for the music jerks first, and the dirt limbs later.
It wasn’t until a time when vaporwave was culturally essential that Anthony Fantano and Pitchfork paid it serious attention. But it’s important to remember that while Fantano helped make the vaporwave more visible, he made a joke review about it, and had a similar reaction to the music of Yung Lean, vaporwave successor. Price said: “I think the moment the blanket started to heat up, the fans could have felt him slowly slipping out of their grip. A lot of the key artists of the early days had moved from 2014 to 2015. The moment I felt a distinct change was when he went from something I thought was interesting online to a friend of mine who knows all about music wondering what vaporwave was. Once it became a meme beyond music, it was really the end of it for many.
The skepticism with which music critics and journalists have treated online music, however, has grown since vaporwave’s short reign. “When something essentially an Internet product hit the scene 10 years ago, it was greeted with hesitation. While these days, ”Price says,“ I don’t think you see that reaction to people like 100 guys or anyone doing hyperpop. Maybe there’s more openness to things like this now, or maybe people have learned their lesson about rejecting something so early on.