Electronic music genre
Hyperpop
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Stylistic origins
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Cultural origins
| Early 2010s, United Kingdom
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Typical instruments
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Hyperpop
is a loosely defined
electronic
music movement
[1]
[4]
and
microgenre
[5]
that predominantly originated in the United Kingdom during the early 2010s. It is characterised by a
maximalist
or exaggerated take on
popular music
,
[4]
and artists within the microgenre typically integrate
pop
and
avant-garde
sensibilities while drawing on elements commonly found in
electronic
,
hip hop
, and
dance music
.
[6]
Deriving influence from a varied range of sources, the origins of the hyperpop scene are commonly traced to the output of English musician
A. G. Cook
's record label and collective
PC Music
and its associated artists such as
Sophie
and
Charli XCX
.
[6]
Music associated with this scene received wider attention in August 2019 when
Spotify
used the term "hyperpop" as the name of a playlist featuring artists such as Cook and
100 gecs
.
[5]
The microgenre spread within younger audiences through
social media
platforms, especially
TikTok
.
[7]
Characteristics
[
edit
]
Hyperpop reflects an exaggerated, eclectic, and
self-referential
approach to
pop music
and typically employs elements such as brash
synth
melodies,
Auto-Tuned
"
earworm
" vocals, and excessive
compression
and
distortion
, as well as
surrealist
or nostalgic references to 2000s Internet culture and the
Web 2.0
era.
[6]
Common features include vocals that are heavily
processed
; metallic, melodic percussion sounds;
pitch-shifted
synths; catchy choruses; short song lengths; and "shiny, cutesy aesthetics" juxtaposed with angst-ridden lyrics.
[6]
The Wall Street Journal
'
s Mark Richardson described the genre as intensifying the "artificial" tropes of popular music, resulting in "a cartoonish wall of noise that embraces catchy tunes and memorable hooks. The music zooms between beauty and ugliness, as shimmery melodies collide with mangled instrumentation."
[8]
Writing for
American Songwriter
, Joe Vitagliano described it as "an exciting, bombastic and
iconoclastic
genre ? if it can even be called a 'genre'?[...] featuring "saw synths, auto-tuned vocals,
glitch
-inspired percussion and a distinctive
late-capitalism
-
dystopia
vibe."
[4]
Artists often "straddle the
avant-garde
and the pop charts simultaneously."
[6]
According to
Vice
journalist Eli Enis, hyperpop is less rooted in musical technicalities than "a shared
ethos
of transcending genre altogether, while still operating within the context of pop."
[1]
Artists in the style reflect a "tendency to rehabilitate styles of music that have long since gone out of fashion, constantly poking at what is or isn't 'cool' or artful."
[6]
The style may blend elements from a range of styles, including
bubblegum pop
,
trance
,
Eurohouse
,
emo rap
,
nu metal
,
cloud rap
,
J-pop
and
K-pop
.
[6]
The influence of cloud rap,
emo
and
lo-fi
trap
,
trance music
,
dubstep
, and
chiptune
are evident in hyperpop, as well as more surreal and haphazard qualities that are pulled heavily from hip hop since the mid-2010s.
[1]
The Atlantic
noted the way the microgenre "swirls together and speeds up
Top 40
tricks of present and past: a
Janet Jackson
drum slam here, a
Depeche Mode
synth squeal there, the overblown pep of novelty jingles throughout," but also noted "the genre's zest for
punk
's brattiness, hip-hop's boastfulness, and
metal
's noise."
[9]
Some of the style's more surreal and off kilter qualities drew from 2010s hip-hop.
[1]
Hyperpop is often linked to the
LGBTQ+
community and queer aesthetics.
[6]
Several of its key practitioners identify as
gay
,
non-binary
, or
transgender
.
[9]
The microgenre's emphasis on vocal modulation has allowed artists to experiment with the
gender presentation
of their voices.
[6]
"Digicore" and "Glitchcore" are contemporaneous movements that are sometimes conflated with "hyperpop" due to its overlapping artists.
[10]
Origins
[
edit
]
The first instance of the term "hyperpop" was seemingly coined on October 1988 by writer Don Shewey in an article about the Scottish
dream pop
band
Cocteau Twins
,
[11]
stating that
England
in the 1980s had "nurtured the simultaneous phenomena of hyperpop and antipop".
[12]
Complex
has stated that "the origins of hyperpop are tangled and murky in the way that things conceived on the internet often are."
[10]
"Hyperpop" was sometimes used within
SoundCloud
's
nightcore
music scene as a genre descriptor.
[1]
Spotify
analyst Glenn McDonald stated that he first saw the term used in reference to the UK-based label
PC Music
in 2014, but believed that the name did not qualify as a
microgenre
until 2018.
[5]
Despite many other artists and labels influencing the scene such as
Meishi Smile
and
Maltine Records
,
[13]
the origins of the style are usually located to the mid-2010s output of PC Music, with hyperpop artists either being affiliated with or directly inspired by the label.
[5]
[14]
The Independent
'
s Will Pritchard stated that "it's possible to see [hyperpop] as an expression not just of the genres it borrows from, but of the scene that evolved around
A. G. Cook
's PC Music label (an early home to
Sophie
and
Charli XCX
, among others) in the UK in the early 2010s."
[6]
There were many other predecessors to the genre, as explained by Pritchard, "to some, the ground covered by hyperpop won't seem all that new". He cited "outliers" of 2000s
nu rave
(such as
Test Icicles
) and PC Music contemporaries
Rustie
and
Hudson Mohawke
as pursuing similar approaches; of the latter two artists, he noted that their "fluoro, trance-edged smooshes of dance and hip-hop are reminiscent of a lot of hyperpop today." Another artist who has heavily influenced the hyperpop scene is
Yasutaka Nakata
.
[13]
Heather Phares of
AllMusic
stated that the work of
Sleigh Bells
foreshadowed hyperpop and other artists who "brazenly ignored genre boundaries and united the extremes of sweet and heavy;"
[15]
Ian Cohen of
Pitchfork
similarly stated that the term described Sleigh Bells before it became a dominant microgenre.
[16]
Eilish Gilligan of
Junkee
credited
Kesha
for impacting the microgenre, stating that her "grating, half-
spoken
vocal featured in ['
Blow
'] and all of her early work, in fact, feel reminiscent of a lot of the intense vocals in hyperpop today", as well as
Britney Spears
, whose "2011 dancefloor fillers '
Till The World Ends
', '
Hold It Against Me
' and '
I Wanna Go
' all share the same pounding beats that populate modern hyperpop."
[17]
Spotify editor Lizzy Szabo referred to A. G. Cook as the "godfather" of hyperpop.
[1]
According to Enis, PC Music "laid the groundwork for [the microgenre's] melodic exuberance and cartoonish production", with some of hyperpop's surrealist qualities also derived from 2010s hip hop.
[1]
She states that hyperpop built on the influence of PC Music, but also incorporated the sounds of emo rap, cloud rap, trap, trance, dubstep and chiptune.
[1]
Among Cook's frequent collaborators,
Variety
and
The New York Times
described the work of Sophie as pioneering the style,
[18]
[19]
while Charli XCX was described as "queen" of the style by
Vice
, and her 2017 mixtape
Pop 2
set a template for its sound, featuring "outre" production by Cook, Sophie, Umru, and
Easyfun
as well as "a titular mission to give pop ? sonically, spiritually, aesthetically ? a facelift for the modern age."
[1]
Popularity
[
edit
]
In May 2019, hyperpop duo
100 gecs
released their debut album
1000 gecs
(2019), which amassed millions of listens on
streaming services
and helped to consolidate the style. In Pritchard's description, 100 Gecs took hyperpop "to its most extreme, and extremely catchy, conclusions: stadium-sized
trap
beats processed and distorted to near-destruction, overwrought emo vocals and cascades of ravey
arpeggios
."
[6]
According to
Vice
and
The Face
, a second wave of the genre emerged in 2019 following the release of
1000 gecs
.
[20]
[21]
In August 2019, Spotify launched the "Hyperpop" playlist which further cemented the microgenre, and featured guest curation from 100 Gecs and others.
[5]
Other artists featured on the playlist included Cook,
Slayyyter
,
Gupi
,
Caroline Polachek
,
Hannah Diamond
, and
Kim Petras
.
[22]
Spotify editor Lizzy Szabo and her colleagues landed on the name for their August 2019 playlist after McDonald noted the term in the website's metadata and classified it as a microgenre.
[5]
In November, Cook added artists including
J Dilla
,
Nicki Minaj
,
Lil Uzi Vert
and
Kate Bush
to the playlist, which caused controversy due to these additions pushing out smaller hyperpop artists who relied upon the playlist for their earnings.
[5]
[23]
In addition, David Turner, a former strategy manager at SoundCloud, noted a "spike in March and April 2020 from new creators," on the platform, many of which were making hyperpop-adjacent music.
[24]
The microgenre began to see rise in popularity in 2020, with the prominence of the Spotify playlist and its spread within younger audiences on social media, such as on
TikTok
,
[7]
[25]
particularly 'alt Tiktok', one of the main
countercultures
on the app.
[26]
In 2022,
Ringtone Mag
suggested that part of the reason the microgenre rose in popularity across the platform was due to its nature of favouring heavy beats to which creators could dance and make transitions.
[27]
Hyperpop albums like Charli XCX's
How I'm Feeling Now
(2020) and A. G. Cook's
Apple
(2020) appeared on critics' 2020 end-of-year lists.
[6]
Hyperpop artist
ElyOtto
's song "
SugarCrash!
" became one of the most popular songs in the app's history, and was used in over 5 million videos on the platform by July 2021.
[11]
Internationally, hyperpop gained notoriety in
Hispanic countries
, such as
Argentina
,
Chile
,
Mexico
and
Spain
, particularly with
Spanish-speaking
artists and producers.
Nylon
'
s Ben Jolley cited
Putochinomaricon
as one of the "biggest names in the scene."
[28]
Questions concerning the potential decline of the microgenre, the corporate influences upon it, and the meaning of the 'hyperpop' name, began to be raised in 2021.
[10]
Charli XCX, in August 2021, posted a tweet asking "rip hyperpop? discuss".
[21]
[29]
In 2022,
Dazed
noted that since 2019, the word 'hyperpop' "has since become a catch-all phrase for any and all forms of extreme pop music," and that "sonically, you'd be hard pressed to find any internet-born music made in the last decade that hasn't been retroactively brandished as hyperpop", also stating that "almost all of those given the label have grown disillusioned with the term, or grown irritated by its constraints."
[30]
The same year, prominent hyperpop musician
Glaive
stated that he and
Ericdoa
were "working on killing" the movement,
[20]
though three months later stated that it "will never die."
[31]
He later stated that the packaging of the community within the name 'hyperpop' for profit led to its music becoming "algorithmic" over time.
[24]
In June of 2023, PC Music announced that after that year, the label would not be releasing new music, instead turning to archival projects and special reissues.
[32]
In September 2023
Underscores
, another significant contributor to the microgenre, stated that it was "officially dead".
[33]
Related genres
[
edit
]
Digicore
[
edit
]
Digicore
is a microgenre related to hyperpop.
[34]
The term ("digi" is short for "digital") was adopted in the mid-2010s by an online community of teenage musicians, communicating through
Discord
, to distinguish themselves from the preexisting hyperpop scene.
[10]
It differs from hyperpop mainly through the racial identities of its artists but there remains a degree of crossover between the scenes.
[10]
Artists often pull from a variety of genres such as midwestern emo, trance, and Chicago drill, amongst others.
[35]
The beginnings of digicore are rooted in internet culture and many popular producers from the microgenre are between the ages of 15 and 18 who use platforms such as
Discord
to interact.
[35]
In 2018, Dalton (a digicore artist relations figure) started a
Minecraft
and Discord server called "Loser's Club" that became a haven for several of the most popular artists within the digicore scene such as
Quinn
,
Glaive
,
Ericdoa
, Funeral,
Midwxst
, and Angelus.
[35]
This sense of community and collaboration have become key tenets within the scene, and have contributed to the rise in the popularity of the microgenre as a whole, with a majority of the scene preferring the idea of rising in popularity as a collective rather than as individuals.
[35]
In 2021, the digicore album
Frailty
by
Jane Remover
received praise on mainstream music sites
Pitchfork
and
Paste
.
[36]
[37]
Glitchcore
[
edit
]
Glitchcore
, a microgenre related to hyperpop
[34]
and digicore (sometimes characterised as a subgenre of both styles), is often characterised by high-pitched vocals, sharp
808s
, and frequent
hi-hats
. As one article stated, "Glitchcore is Hyperpop on steroids",
[38]
referring to the exaggerated vocals, distortions, glitch noises, and other pop elements present within Glitchcore. One of the most defining elements of glitchcore is vocal glitch patterns, created by rapidly repeating a section of a vocal sample.
Stef, a producer of the popular Hyperpop and glitchcore collective 'Helix Tears' stated that there certainly is a difference between the two microgenres, saying "Hyperpop is more melodic and poppy" while "Glitchcore is indescribable".
[38]
Similar to digicore, glitchcore is typically made up of a younger group of artists than traditional Hyperpop.
[39]
The artist Twikipedia became a major pioneer of the microgenre, incorporating hyperpop's traditional heavily processed vocals with an 8-bit inspired sound.
TikTok
played a key role in popularising glitchcore, through video edits to two viral glitchcore songs "NEVER MET!" by CMTEN and Glitch Gum and "Pressure" by David Shawty and Yungster Jack.
[39]
Glitchcore has also been associated with a specific visual aesthetic where videos are typically accompanied by glitchy, fast-paced, cluttered, colourful edits that are even marked with flash warnings in certain cases.
[39]
Some popular digicore artists like d0llywood1 even refer to glitchcore as "an aesthetic, like the edits", rather than an actual music genre.
[40]
Hyper Mandelao
[
edit
]
Hyper Mandelao
, or
Hyperfunky
,
[41]
[42]
is the result of the fusion of mandelao, a subgenre from
funk carioca
and
slap house
, with hyperpop and influence of
industrial music
. The main artists of this style are DJ Mu540, DJ Ramemes
[43]
and
Pabllo Vittar
.
Dariacore
[
edit
]
"Dariacore" redirects here. For the album that created the genre, see
Dariacore (album)
.
Dariacore
, also known as
hyperflip
, is a
microgenre
related to hyperpop.
[34]
It was coined by
Jane Remover
following her 2021 album
Dariacore
and its two sequels,
Dariacore 2: Enter Here, Hell to the Left
and
Dariacore 3... At least I think that's what it's called?
. The microgenre gained popularity on
SoundCloud
in 2021 and 2022. Dariacore is characterised by sped up and pitch-shifted samples from pop music and other popular media,
breakbeats
, and
Jersey club
influence.
[44]
The genre was described by Raphael Helfand of
The Fader
as "an entire genre in and of itself, taking hyperpop's silliest tendencies to their logical conclusions".
[45]
Krushclub
[
edit
]
Krushclub is a microgenre of underground music that garnered attention on
TikTok
in the mid-2020s. This microgenre is a fusion of several distinct musical styles, including
electronic dance music
and
Jersey club
, and is notable for incorporating elements from
house music
,
techno
,
eurodance
and
electropop
.
[46]
[47]
[48]
Musicians such as Lumi Athena,
Odetari
, cade clair, asteria,
Britney Manson
, 9lives, Ayesha Erotica, removeface, jnhygs, kyszenn, and kets4eki saw niche success thanks to websites like
SoundCloud
and TikTok.
[49]
[50]
[51]
See also
[
edit
]
References
[
edit
]
- ^
a
b
c
d
e
f
g
h
i
j
Enis, Eli (27 October 2020).
"This is Hyperpop: A Genre Tag for Genre-less Music"
. Vice.
Archived
from the original on 1 November 2020
. Retrieved
17 November
2020
.
- ^
Chaudhury, Aliya (14 April 2021).
"Why hyperpop owes its existence to heavy metal"
.
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.
Archived
from the original on 14 October 2021
. Retrieved
15 April
2021
.
- ^
"The rise and rise of hyperactive subgenre glitchcore"
.
NME
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Archived
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a
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.
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a
b
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f
g
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.
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.
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k
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- ^
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.
- ^
a
b
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.
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. Archived from
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- ^
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.
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16 September
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.
- ^
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.
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.
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- ^
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- ^
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.
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- ^
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.
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- ^
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.
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"
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.
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.
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