사용자:구순돌/연습장/하이퍼팝

위키백과, 우리 모두의 백과사전.

Hyperpop is a loosely-defined music movement[1][2] and microgenre,[3] characterized by a maximalist or exaggerated take on pop music.[2] Artists tagged with the label typically integrate popular and avant-garde sensibilities, drawing on tropes from electronic, hip hop, and dance music.[4]

Deriving influence from a varied range of sources, the origins of the hyperpop scene are most commonly traced to the mid-2010s output of A. G. Cook's PC Music collective and associated artists like Sophie and Charli XCX.[4] Music associated with this scene received wider attention in August 2019 when Spotify used "hyperpop" to name a playlist featuring artists such as A. G. Cook and 100 Gecs.[3] The genre spread within younger audiences through social media platforms such as TikTok.[5]

The movement is often linked to LGBTQ+ online communities,[4] and many key figures identify as transgender, non-binary, or gay.[6][7] Digicore is a contemporaneous movement that is sometimes conflated with "hyperpop" due to its overlapping artists.[8]

특성[편집]

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.[4] 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.[4] 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."[9] 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."[2] Artists often "straddle the avant-garde and the pop charts simultaneously."[4]

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."[4] 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.[4] 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 genre "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."[6] 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.[4] Several of its key practitioners identify as non-binary, gay, or transgender,[6] and the genre's emphasis on vocal modulation has allowed artists to experiment with the gender presentation of their voices.[4]

기원[편집]

"Hyperpop" may have been coined within SoundCloud's nightcore music scene.[1][8] 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.[3] 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.[3][10] 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."[4]

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." A. G. Cook has personally cited Max Tundra, J Dilla and Kate Bush as major influences on the PC Music aesthetic. [11].[4] 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;"[12] Ian Cohen of Pitchfork similarly stated that the term described Sleigh Bells before it became a dominant genre.[13] Eilish Gilligan of Junkee credited Kesha for impacting the genre, 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."[14]

소피(왼쪽)와 A.G. 쿡(오른쪽)이 하이퍼팝의 시조로 꼽힌다.

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 genre'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,[15][16] 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 "outré" 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]

Other artists associated with the term included 100 Gecs, whose debut album 1000 Gecs (2019) 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."[4]

제2의 물결[편집]

According to Vice, a second wave of the genre emerged in 2019 post-100 Gecs.[17] Artists such as Glaive, Quinn, Ericdoa, ElyOtto, Midwxst, d0llywood1 and various others appeared on the scene recording music from their bedrooms and receiving a warm welcome from the hyper pop community.[18]

The influence of cloud rap, emo and Dylan Brady's production style distinguishes the second wave of hyperpop. While the first wave of hyperpop was a satire and homage to the genre of pop music, the second wave was a replication and homage to the artists included on Spotify's hyperpop playlist, which is quite divisive in the community.[17][19] In particular, founding artist Charli XCX announced the death of the genre on Instagram.[20][21]

인기[편집]

In August 2019, Spotify launched the "Hyperpop" playlist which further cemented the genre, and featured guest curation from 100 Gecs and others.[3] 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.[3] In November, Cook added artists such as J Dilla and Kate Bush to the playlist, which added confusion to the genre's scope.[3]

The genre 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.[5][23] Hyperpop albums like Charli XCX's How I'm Feeling Now (2020) and A. G. Cook's Apple (2020) appeared on critic's 2020 end-of-year lists.[4] Internationally, hyperpop gained notoriety in Australia,[24] China[25] and Hispanic countries, such as Argentina, Chile, Mexico and Spain, with Spanish-speaking artists and producers delving into the microgenre. Nylon's Ben Jolley cited Putochinomaricón(스페인어판) as one of the "biggest names in the scene."[26]

In mid-late 2020, the social media platform TikTok saw a rise in the popularity of hyperpop songs, mainly being used on the 'Alt' side of TikTok, also called 'Alt TikTok'.[27][28] As of March 2022, videos with the hashtag "hyperpop" have accumulated nearly 400 million views on TikTok. Part of the reason the genre is rising in popularity across the platform can be contributed to the platform's nature of favoring heavy beats that creators can dance to and make transitions.[28] Creators have used hyperpop sounds in their videos to only further the genre's rise across the platform in reaching millions of users.[28]

관련 장르[편집]

Digicore[편집]

In the late 2010s, the term "digicore" was adopted by an online community of teenage musicians, communicating through Discord, to distinguish themselves from the preexisting hyperpop scene.[8] It differs from hyperpop mainly through the racial identities of its artists but there remains a degree of crossover between the scenes.[8] Artists often pull from a broad range of genres such as midwestern emo, trance, and even Chicago drill.[29] The beginnings of digicore are rooted in internet culture and many popular digicore producers are between the ages of 15 and 18 who use platforms such as Discord to interact. [29] 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 osquinn, Glaive, and Angelus.[29] This sense of community and collaboration have become key tenets within the digicore scene, and have contributed to the rise in popularity of the genre as a whole, with a majority of the scene preferring the idea of rising in popularity as a collective rather than as individuals.[29]

Glitchcore[편집]

Glitchcore is often characterized by high-pitched vocals, sharp 808’s, and frequent hi-hats. As one article stated, “Glitchcore is Hyperpop on steroids”,[30] referring to the exaggerated vocals, distortions, glitch noises, and other pop elements present within Glitchcore.[출처 필요]

Stef, a producer of the popular Hyperpop and Glitchore group “helixtears” stated that there certainly is a difference between the two genres, saying “Hyperpop is more melodic and poppy” while “Glitchcore is indescribable”.[30] Similar to Digicore, Glitchcore is typically made up of a younger group of artists than traditional Hyperpop.[31]

TikTok played a key role in popularizing Glitchore, through video edits to two famous glitchcore songs “NEVER MET!” by CMTEN and “Pressure” by David Shawty and Yungster Jack.[31] Glitchcore has also been associated with a specific visual aesthetic where videos are typically accompanied by glitchy, fast-paced, cluttered, colorful edits that are even marked with flash warnings in certain cases.[31] Some popular Digicore artists like d0llywood1 even refer to Glitchcore as “an aesthetic, like the edits”, rather than an actual music genre.[32]

같이 볼것[편집]

  • 아반트팝
  • 포스트 인터넷
  • 맥시멀리즘
  • 포스트모던 음악

각주[편집]

  1. ↑ 가 나 다 라 마 바 사 아 자 Enis, Eli (2020년 10월 27일). “This is Hyperpop: A Genre Tag for Genre-less Music”. Vice. 
  2. ↑ 가 나 다 “A. G. Cook Is Changing Popular Music As We Know It”. 《American Songwriter》. 2020년 9월 18일. 2020년 9월 20일에 확인함. 
  3. ↑ 가 나 다 라 마 바 사 Dandridge-Lemco, Ben (2020년 11월 10일). “How Hyperpop, a Small Spotify Playlist, Grew Into a Big Deal”. 《The New York Times》. 
  4. ↑ 가 나 다 라 마 바 사 아 자 차 카 타 파 하 Pritchard, Will (2020년 12월 17일). “Hyperpop or overhyped? The rise of 2020's most maximal sound”. 《The Independent》. 2021년 2월 13일에 확인함. 
  5. ↑ 가 나 Kornhaber, Spencer (2021년 2월 14일). “Noisy, Ugly, and Addictive”. 《The Atlantic》 (영어). 2021년 5월 19일에 확인함. 
  6. ↑ 가 나 다 Kornhaber, Spencer (2021년 2월 14일). “What is Hyperpop?”. 《The Atlantic》. 2021년 2월 22일에 확인함. 
  7. ↑ Bell, Sadie (2022년 1월 21일). “A Starter Kit for Getting Into Hyperpop, the Wild Gen Z Genre of Electronic Music”. 
  8. ↑ 가 나 다 라 Walker, Sophie (2021년 11월 4일). “((404 Error, Genre Not Found: The Life Cycle of Internet Scenes))”. 《Complex Networks》. 
  9. ↑ Richardson, Mark (2020년 12월 29일). “Hyperpop's Joyful Too-Muchness”. 《The Wall Street Journal》. 2021년 2월 22일에 확인함. 
  10. ↑ Ravens, Chai (2020년 8월 13일). “7G”. 《Pitchfork》. 
  11. ↑ https://twitter.com/agcook404/status/1309502742717628416
  12. ↑ Phares, Heather. “Sleigh Bells - Biography”. 《AllMusic》. 2021년 9월 23일에 확인함. 
  13. ↑ Cohen, Ian. “Texis - Album Review”. 《Pitchfork》. 2021년 9월 23일에 확인함. 
  14. ↑ Gilligan, Eilish (2021년 10월 18일). “How The Music From 2011 Is Still Defining Pop Today”. 《Junkee》 (미국 영어). 2021년 10월 19일에 확인함. 
  15. ↑ Amorosi, A.D. (2021년 1월 30일). “Sophie, Grammy-Nominated Avant-Pop Musician, Dies at 34”. 《Variety》. 2021년 1월 31일에 확인함. 
  16. ↑ Pareles, Jon (2021년 1월 30일). “Sophie, Who Pushed the Boundaries of Pop Music, Dies at 34”. 《The New York Times》. 2021년 1월 31일에 확인함. 
  17. ↑ 가 나 Fenwick, Julie (2022년 4월 6일). “'It's Happening, Slowly but Surely': Who Killed Hyperpop?”. 《Vice》 (영어). 2022년 5월 22일에 확인함. 
  18. ↑ Schube, Will (2022년 3월 25일). “Hyperpop: The Internet's Loudest, Most Exciting Music Genre”. 《uDiscover Music》 (미국 영어). 2022년 5월 22일에 확인함. 
  19. ↑ Yalcinkaya, Günseli (2022년 1월 28일). “Goodbye hyperpop: the rise and fall of the internet's most hated 'genre'”. 《Dazed》 (영어). 2022년 5월 22일에 확인함. 
  20. ↑ “Charli XCX teases the death of hyperpop amid new era”. 《Gaga Daily》 (미국 영어). 2022년 5월 21일에 확인함. 
  21. ↑ Pachnanda, Aiyush (2022년 6월 16일). “We Asked PC Music Fans: Is Hyperpop Dead?”. 《Vice》 (영어). 2022년 6월 17일에 확인함. 
  22. ↑ D'Souza, Shaad. “Charli XCX's 'Futurist' Pop Is Just Our Present Dystopia”. 《Paper》. 2021년 2월 14일에 확인함. 
  23. ↑ Salzman, Eva. “Will hyperpop die like disco?”. 《The Ithacan》 (영어). 2021년 3월 12일에 확인함. 
  24. ↑ “'Everything's dialled up to 11': meet Australia's rising stars of hyperpop”. 《The Guardian》. 2021년 5월 12일. 2022년 1월 26일에 확인함. 
  25. ↑ Grogan, Bryan (2021년 11월 5일). “Wild, Creative, Disturbing: Inside China's 'Hyperpop' Music Scene”. 《Sixth Tone》. 2022년 1월 26일에 확인함. 
  26. ↑ Jolley, Ben (2021년 4월 8일). “MEET THE SPANISH HYPERPOP ARTISTS BRINGING THE '00S BACK”. 《NYLON》. 
  27. ↑ Leight, Elias (2020년 8월 6일). “Alt TikTok Is Music's Latest Scene, and Straight TikTok Has Noticed”. 《Rolling Stone》 (미국 영어). 2022년 1월 24일에 확인함. 
  28. ↑ 가 나 다 Abdel-Gawad, Minna. “Alt Kids and Algorithms: How Hyperpop Has Ascended on TikTok”. 《Ringtone Mag》. 2022년 3월 30일에 확인함. 
  29. ↑ 가 나 다 라 Bugara, Billy (2021년 4월 20일). “Digicore captures the angst of coming of age during a global pandemic”. 《Vice》 (영어). 2022년 3월 29일에 확인함. 
  30. ↑ 가 나 Williams, Kyann-Sian (2020년 12월 18일). “The rise and rise of hyperactive subgenre glitchcore”. 《NME》. NME. 2022년 3월 30일에 확인함. 
  31. ↑ 가 나 다 Zhang, Cat (2020년 11월 19일). “Is Glitchcore a TikTok Aesthetic, a New Microgenre, or the Latest Iteration of Glitch Art?”. 《Pitchfork》. Pitchfork. 2022년 3월 30일에 확인함. 
  32. ↑ Press-Reynolds, Kieran. “Gorgeous Glitches and Nightcored Melodies: The New Generation of SoundCloud Music is Here”. 《Complex》. Complex. 2022년 3월 30일에 확인함. 


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