Somewhere around then and towards the end of the decade was the meteoric rise of Sweden’s Drain Gang and, of course, 100 gecs, arguably the two biggest inspirations on this current era of genre-bending, trap-infused pop-or, if you prefer, “hyperpop.” This tight-knit community of extreme rave styles led to the experimental sounds of PC Music and other Internet-based (and heavily LGBTQ+) labels/ radio shows, resulting in different takes on deconstructed pop and electronic music now associated with the hyperpop name.Īround 2016, popstar Charli XCX started incorporating this bubbly, often abrasive aesthetic into her more conventional pop songwriting and vocals-which, in my mind (and this is certainly up for contention), bulldozed the sound open and created a larger platform for other experimental-leaning pop artists. In the early 2010s, underground dance scenes started making noise in the UK. Hyperpop’s history is fascinating, and its broad lineage maps a story of cultural and aesthetic coalescence. Now, nearing the end of 2020, hyperpop has been solidified as more of an amorphous subcultural movement than a definitive sound with set conventions. With a certain Spotify playlist’s help-which has brought both awareness and confusion to hyperpop with its diverse inclusions-the genre’s parameters have fundamentally changed and expanded. In an incredibly short span of time, the genre has pivoted to and begun to focus on a new wave of young, predominantly Soundcloud-based artists. Hyperpop is having its moment, and it’s happening fast.
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