166-500: Hyperpop (sometimes called bubblegum bass ) is a loosely defined electronic music movement and microgenre that predominantly originated in the United Kingdom during the early 2010s. It is characterised by an exaggerated or maximalist take on popular music , and typically integrates pop and avant-garde sensibilities while drawing on elements commonly found in electronic , hip hop , and dance music . Deriving influence from
332-402: A MRK1 track, observing that listeners "have internalized the double-time rhythm" and the "track is so empty it makes [the listener] nervous, and you almost fill in the double time yourself, physically, to compensate". One characteristic of certain strands of dubstep is the wobble bass , often referred to as the "wub", where an extended bass note is manipulated rhythmically. This style of bass
498-399: 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 , Saturn, Ways, Zoot and Angelus. 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
664-405: A PA system , several turntables, and mixers. The performance did not go well, as creating live montages with turntables had never been done before." Later that same year, Pierre Henry collaborated with Schaeffer on Symphonie pour un homme seul (1950) the first major work of musique concrete. In Paris in 1951, in what was to become an important worldwide trend, RTF established the first studio for
830-466: A slide show synchronized with a recorded soundtrack. Composers outside of the Jikken Kōbō, such as Yasushi Akutagawa , Saburo Tominaga, and Shirō Fukai , were also experimenting with radiophonic tape music between 1952 and 1953. Musique concrète was introduced to Japan by Toshiro Mayuzumi , who was influenced by a Pierre Schaeffer concert. From 1952, he composed tape music pieces for a comedy film,
996-667: A " poster boy " for the scene. In September 2011, a Spin Magazine EDM special referred to brostep as a "lurching and aggressive" variant of dubstep that has proven commercially successful in the United States. Unlike traditional dubstep production styles, which emphasise sub-bass content, brostep accentuates the middle register and features "robotic fluctuations and metal-esque aggression". According to Simon Reynolds , as dubstep gained larger audiences and moved from smaller club-based venues to larger outdoor events, sub-sonic content
1162-551: A 'genre'—[...] featuring "saw synths, auto-tuned vocals, glitch -inspired percussion and a distinctive late-capitalism - dystopia vibe." Artists often "straddle the avant-garde and the pop charts simultaneously", and are seen as "always backflipping on the edge of addictive and abrasive", according to Pitchfork 's Kieran Press-Reynolds, who stated in 2024 that hyperpop became "a kind of Frankensteinian macro-genre" over time. Irony and humor are significant elements within hyperpop. According to Vice journalist Eli Enis, hyperpop
1328-484: A YouTube channel brand was founded by Luke Hood which introduced Dubstep to many young generations internationally at the time. UKF Dubstep has exploded in popularity as the music genre has hit the mainstream. In November 2010 the channel had 100,000 subscribers, and as of November 2019 has over one million. "UKF features established and up and coming producers from around the world, featuring artists from Flux Pavilion / Knife Party to Friction / Hybrid Minds. We're sent
1494-465: A common household item, and by the 1920s composers were using them to play short recordings in performances. The introduction of electrical recording in 1925 was followed by increased experimentation with record players. Paul Hindemith and Ernst Toch composed several pieces in 1930 by layering recordings of instruments and vocals at adjusted speeds. Influenced by these techniques, John Cage composed Imaginary Landscape No. 1 in 1939 by adjusting
1660-414: A crossover hit (in a similar manner to Skream's "Midnight Request Line") with the track "Night", which gained widespread play from DJs in a diverse range of genres. BBC Radio 1 DJ Gilles Peterson named it his record of 2007, and it was also a massive hit in the equally bassline-orientated, but decidedly more four-to-the-floor genre of bassline house , whilst Burial's late 2007 release Untrue (which
1826-621: A dark tone. In 2001, this underground sound and other strains of garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), and on the pirate radio station Rinse FM , which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple , Ammunition , and Tempa , by which time stylistic trends used in these remixes became more noticeable and distinct from 2-step and grime . A very early supporter of
SECTION 10
#17330847115551992-582: A dark, clipped and minimal new direction in dubstep. At the end of 2003, running independently from the pioneering FWD night, an event called Filthy Dub, co promoted by Plastician , and partner David Carlisle started happening regularly. It was there that Skream, Benga, N Type, Walsh, Chef, Loefah, and Cyrus made their debuts as DJs. South London collective Digital Mystikz (Mala and Coki), along with labelmates and collaborators Loefah and MC Sgt Pokes soon came into their own, bringing sound system thinking, dub values, and appreciation of jungle bass weight to
2158-401: A degree of crossover between the scenes. Artists often pull from a variety of genres such as midwestern emo, trance, and Chicago drill, amongst others. 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. In 2018, Dalton (a digicore artist relations figure) started
2324-416: A distinctive "Hexxed" sound. The bitcrushed beats feature a textured, distorted quality that provides a driving rhythm. Krushclub musicians such as Lumi Athena, Odetari , cade clair, asteria, Britney Manson , 6arelyhuman , 9lives , removeface, jnhygs, xxanteria, kyszenn, and kets4eki saw niche success thanks to websites like SoundCloud and TikTok. Electronic music Electronic music broadly
2490-459: A drop for a dynamic peak – and in some instances do not feature a bass drop at all. Rewinds (or reloads) are another technique used by dubstep DJs. If a song seems to be especially popular then someone, most often the DJ, will rewind the record by hand without lifting the stylus and play the track again. Because the stylus has not been lifted (or, on electronic turntables , the channel has not been muted),
2656-493: A facelift for the modern age." 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 ." According to Vice and The Face ,
2822-509: 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. 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 , particularly 'alt Tiktok', one of the main countercultures on
2988-533: A genre descriptor. 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. Despite many other artists and labels influencing the scene such as Meishi Smile and Maltine Records , 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
3154-446: A genre standby." Benga and Coki's single "Night" still continued to be a popular track on the UK dance chart more than a year after its release in late 2007, still ranking in the top five at the start of April 2008 on Pete Tong 's BBC Radio 1 dance chart list. However, the year 2009 saw the dubstep sound gaining further worldwide recognition, often through the assimilation of elements of
3320-601: A huge amount of music so it's our job to pick the best to upload on the channel for our audience to listen to. In just over 3 years our channels now have more than 2m subscribers and 4 channels – UKF Dubstep, Drum & Bass, Music and Mixes. The audience is getting more and more International and younger." Luke said on the interview with SoSoActive. In a move foreshadowed by endorsements of the sound from R&B, hip-hop and recently, mainstream figures such as Rihanna , or The Bomb Squad 's Hank Shocklee, Snoop Dogg collaborated with dubstep producers Chase & Status , providing
3486-410: A large influence. Purple sound later led to the development of future bass . The influence of dubstep on more commercial or popular genres can be identified as far back as 2007, with artists such as Britney Spears using dubstep sounds; critics observed a dubstep influence in the song "Freakshow", from the 2007 album Blackout , which Tom Ewing described as "built around the 'wobbler' effect that's
SECTION 20
#17330847115553652-691: A lot of people over here because it's a UK sound, but it's been someone with influences outside the original sound that has made it a lot bigger. The bad side of that is that a lot of people will just say 'dubstep equals Skrillex'. But in all honesty it genuinely doesn't bother me. I like the music he makes." Other North American artists that were initially associated with the brostep sound were Canadian producers Datsik and Excision . Their production style has been described by Mixmag as "a viciously harsh, yet brilliantly produced sound that appealed more to Marilyn Manson and Nine Inch Nails fans than it did to lovers of UK garage". The brostep sound also attracted
3818-560: 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." Spotify editor Lizzy Szabo referred to A. G. Cook as the "godfather" of hyperpop. 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. She states that hyperpop built on
3984-483: A main section (often incorporating a bass drop ), a midsection , a second main section similar to the first (often with another drop), and an outro . Many early dubstep tracks incorporate one or more "bass drops", a characteristic inherited from drum and bass. Typically, the percussion will pause, often reducing the track to silence, and then resume with more intensity, accompanied by a dominant sub-bass (often passing portamento through an entire octave or more, as in
4150-478: A majority of the scene preferring the idea of rising in popularity as a collective rather than as individuals. In 2021, the digicore album Frailty by Jane Remover received praise on mainstream music sites Pitchfork and Paste . Glitchcore , a microgenre related to hyperpop 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
4316-589: A name coined by British producer Jakes around 2012. The name comes from the Jamaican Patois term riddim , which refers to the instrumental of dub , reggae and dancehall music. Riddim is characterised by repetitive and minimalist sub-bass and triplet percussion arrangements, similar to original dubstep, with a sound described as "wonky". Riddim is looked upon as a subgenre of dubstep, similarly to other sub genres like brostep, drum-step, and wobble-step. It started gaining significant popularity around 2015. It
4482-990: A number of musicians, ranging from Neil Rolnick , Charles Amirkhanian and Alice Shields to rock musicians Frank Zappa and The West Coast Pop Art Experimental Band . Following the emergence of differences within the GRMC (Groupe de Recherche de Musique Concrète) Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called Groupe de Recherches Musicales (GRM) and set about recruiting new members including Luc Ferrari , Beatriz Ferreyra , François-Bernard Mâche , Iannis Xenakis , Bernard Parmegiani , and Mireille Chamass-Kyrou . Later arrivals included Ivo Malec , Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle . These were fertile years for electronic music—not just for academia, but for independent artists as synthesizer technology became more accessible. By this time,
4648-433: A number of women making headway into the scene in a variety of ways. Alongside Soulja of Ammunition Promotions and Mary Anne Hobbs, an influx of female producers, writers, photographers and DJs all have broken through in the up-til-then male orientated scene. With key 12" releases on Hyperdub , Immigrant and Hotflush Recordings, producers Vaccine , Subeena and Ikonika have introduced a palette of new sounds and influences to
4814-417: 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". Glitchcore is typically made up of artists that share stylistic similarity's to 100 Gecs , rather than the musicians signed to PC Music . The artist Twikipedia became a major pioneer of
4980-688: A public concert in New York together with other compositions I had written for conventional instruments." Otto Luening, who had attended this concert, remarked: "The equipment at his disposal consisted of an Ampex tape recorder . . . and a simple box-like device designed by the brilliant young engineer, Peter Mauzey, to create feedback, a form of mechanical reverberation. Other equipment was borrowed or purchased with personal funds." Just three months later, in August 1952, Ussachevsky traveled to Bennington, Vermont, at Luening's invitation to present his experiments. There,
5146-465: A radio broadcast, and a radio drama. However, Schaeffer's concept of sound object was not influential among Japanese composers, who were mainly interested in overcoming the restrictions of human performance. This led to several Japanese electroacoustic musicians making use of serialism and twelve-tone techniques , evident in Yoshirō Irino 's 1951 dodecaphonic piece "Concerto da Camera", in
Hyperpop - Misplaced Pages Continue
5312-777: A score. In 1955, more experimental and electronic studios began to appear. Notable were the creation of the Studio di fonologia musicale di Radio Milano , a studio at the NHK in Tokyo founded by Toshiro Mayuzumi , and the Philips studio at Eindhoven , the Netherlands, which moved to the University of Utrecht as the Institute of Sonology in 1960. "With Stockhausen and Mauricio Kagel in residence, [Cologne] became
5478-435: A second wave of the genre emerged in 2019 following the release of 1000 gecs . In August 2019, Spotify launched the "Hyperpop" playlist which further cemented the microgenre, and featured guest curation from 100 Gecs and others. Other artists featured on the playlist included Cook, Popstar Patch, Slayyyter , Gupi , Caroline Polachek , Hannah Diamond , and Kim Petras . Spotify editor Lizzy Szabo and her colleagues landed on
5644-454: A significant influence on popular music , with the adoption of polyphonic synthesizers , electronic drums , drum machines, and turntables , through the emergence of genres such as disco , krautrock , new wave , synth-pop , hip hop , and EDM . In the early 1980s mass-produced digital synthesizers , such as the Yamaha DX7 , became popular, and MIDI (Musical Instrument Digital Interface)
5810-567: A strong community of composers and musicians working with new sounds and instruments was established and growing. 1960 witnessed the composition of Luening's Gargoyles for violin and tape as well as the premiere of Stockhausen's Kontakte for electronic sounds, piano, and percussion. This piece existed in two versions—one for 4-channel tape, and the other for tape with human performers. "In Kontakte , Stockhausen abandoned traditional musical form based on linear development and dramatic climax. This new approach, which he termed 'moment form', resembles
5976-521: A total bust". He credited this "dispersal" to several factors, including "conflicting visions of its practitioners, the lifting of COVID-19 lockdowns , and the fact that some of its most promising musicians didn’t want fame and actively recoiled from it." Bubblegum Bass , credited as hyperpop's first "era" by Pitchfork , is sometimes used as a term to define the specific sound associated with art collective PC Music . Artists in this wave include Hannah Diamond , GFOTY and A. G. Cook , all contributors to
6142-613: 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 PC Music and associated artists such as Sophie and Charli XCX . Music associated with this scene received wider attention in August 2019 when Glenn MacDonald, an employee of Spotify , used the term "hyperpop" for the name of a playlist featuring artists such as Cook and 100 gecs . The microgenre spread within younger audiences through social media platforms, especially TikTok , with some commentators crediting COVID-19 lockdowns for this rise. Since
6308-401: A variety of outside influences, from dub-influenced techno such as Basic Channel to classical music or heavy metal . Dubstep rhythms are usually syncopated , and often shuffled or incorporating tuplets . The tempo is nearly always in the range of 132–142 beats per minute , with a clap or snare usually inserted every third beat in a bar. With a large majority of releases at 140bpm,
6474-488: A vocal for their "underground anthem", "Eastern Jam". The 2011 Britney Spears track " Hold It Against Me " was also responsible for promoting dubstep tropes within pop music. Rihanna's Rated R album released such content the very year dubstep saw a spike, containing three dubstep tracks. Such events propelled the genre into the biggest radio markets overnight, with considerable airplay. Other hip-hop artists like Xzibit added their vocals to dubstep instrumental tracks for
6640-443: A way ... It's like someone screaming in your face ... you don't want that." According to a BBC review of his 2012 album Songs , the record was a muddled attempt by Rusko to realign his music with a "Jamaican inheritance" and distance it from the "belching, aggressive, resolutely macho" dubstep produced by his contemporaries. Commenting on the success of American producers such as Skrillex, Skream stated: "I think it hurts
6806-477: A whirring noise is produced. Rewinds are also an important live element in many of dubstep's precursors; the technique originates in dub reggae soundsystems , is widely employed by pirate radio stations and is also used at UK garage and jungle nights. Taking direct cues from Jamaica 's lyrically sparse deejay and toasting mic styles in the vein of reggae pioneers like U-Roy , the MC's role in dubstep's live experience
Hyperpop - Misplaced Pages Continue
6972-450: A year-round hive of charismatic avant-gardism." on two occasions combining electronically generated sounds with relatively conventional orchestras—in Mixtur (1964) and Hymnen, dritte Region mit Orchester (1967). Stockhausen stated that his listeners had told him his electronic music gave them an experience of "outer space", sensations of flying, or being in a "fantastic dream world". In
7138-420: A young Loefah regularly visited the shop as well. The shop and its record label have since closed. All throughout 2003, DJ Hatcha pioneered a new direction for dubstep on Rinse FM and through his sets at Forward>>. Playing sets cut to 10" one-off reggae-style dubplates , he drew exclusively from a pool of new South London producers—first Benga and Skream, then also Digital Mystikz and Loefah—to begin
7304-537: Is Yasutaka Nakata . 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;" Ian Cohen of Pitchfork similarly stated that the term described Sleigh Bells before it became a dominant microgenre. 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
7470-496: Is Hyperpop on steroids", 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. 100 Gecs played a significant role in establishing the sound of glitchcore music by blending various genres and pushing the boundaries of sound experimentation. Stef,
7636-692: Is a group of music genres that employ electronic musical instruments , circuitry-based music technology and software, or general-purpose electronics (such as personal computers ) in its creation. It includes both music made using electronic and electromechanical means ( electroacoustic music ). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator , theremin , or synthesizer . Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups , power amplifiers and loudspeakers . Such electromechanical devices include
7802-479: 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 Electro house , Techno , Scene Music , Eurodance and Electropop . Krushclub music combines bitcrushed electrodance beats with melodic pop rap vocals that are layered with autotune and distortion , creating
7968-479: Is alone, a world of mystery and essential loneliness." In Cologne, what would become the most famous electronic music studio in the world, was officially opened at the radio studios of the NWDR in 1953, though it had been in the planning stages as early as 1950 and early compositions were made and broadcast in 1951. The brainchild of Werner Meyer-Eppler , Robert Beyer, and Herbert Eimert (who became its first director),
8134-567: Is approximately 130 beats per minute . The breadth of styles that have come to be associated with the term post-dubstep preclude it from being a specific musical genre. Pitchfork writer Martin Clark has suggested that "well-meaning attempts to loosely define the ground we're covering here are somewhat futile and almost certainly flawed. This is not one genre. However, given the links, interaction, and free-flowing ideas ... you can't dismiss all these acts as unrelated" The production duo Mount Kimbie
8300-698: Is critically important to its impact. Notable mainstays in the live experience of the sound are MC Sgt Pokes and MC Crazy D from London, and Juakali from Trinidad. Production in a studio environment seems to lend itself to more experimentation. Kode9 collaborated extensively with the Spaceape , who MCed in a dread poet style. Kevin Martin 's experiments with the genre are almost exclusively collaborations with MCs such as Warrior Queen, Flowdan , and Tippa Irie . Skream has also featured Warrior Queen and grime artist JME on his debut album, Skream! . Plastician , who
8466-691: Is less rooted in musical technicalities than "a shared ethos of transcending genre altogether, while still operating within the context of pop." 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." 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 . 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
SECTION 50
#17330847115558632-468: Is most recognizable in its 4/4 form and more connected with the mainstream than preceding forms which were popular in niche markets. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments . These initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for
8798-436: Is not a genre in its own right and is instead just a style of dubstep. Riddim producer Oolacile states "A lot of people who have been around a lot longer have a different idea of what riddim is. Older fans consider riddim to be the swampy, repetitive sound, and newer fans will associate riddim with the sound of the underground." Beginning in mid-2014, dubstep began to decline drastically in mainstream popularity, particularly in
8964-496: Is often associated with the origination of the term post-dubstep. English music producer Jamie xx released remixes which are considered post-dubstep, including We're New Here (2011), a Gil Scott-Heron remix album. In 2011, dubstep gained significant traction in the US market, by way of a post-dubstep style known as brostep , with the American producer Skrillex becoming something of
9130-627: Is often linked to the LGBTQ community and aesthetics. Several of its key practitioners are gay , non-binary , or transgender . The microgenre's emphasis on vocal modulation has allowed artists to experiment with the gender presentation of their voices, as well as to deal with gender dysphoria , and hyperpop artists such as Sophie and 8485 have explored gender fluidity and selfhood in their lyrical content. "Digicore" and "Glitchcore" are contemporaneous movements that are sometimes conflated with "hyperpop" due to its overlapping artists. The first instance of
9296-470: Is said that those who enjoy this style of music describe it as the "dirtier, swaggier" side of dubstep, whereas those looking at this from the outside, claim that it is "repetitive and chaotic". Notable artists of the genre include Subfiltronik, Bukez Finezt, P0gman, Badklaat, 50 Carrot, Dubloadz and Coffi. Notable tracks of the genre include "Yasuo" by Bommer and Crowell, "Orgalorg" by Infekt, and "Jotaro" by Phiso. Some commentators have suggested that Riddim
9462-701: Is to be realized as a magnetic tape. According to Otto Luening, Cage also performed Williams Mix at Donaueschingen in 1954, using eight loudspeakers, three years after his alleged collaboration. Williams Mix was a success at the Donaueschingen Festival , where it made a "strong impression". The Music for Magnetic Tape Project was formed by members of the New York School ( John Cage , Earle Brown , Christian Wolff , David Tudor , and Morton Feldman ), and lasted three years until 1954. Cage wrote of this collaboration: "In this social darkness, therefore,
9628-614: Is typically produced by using a low-frequency oscillator to manipulate certain parameters of a synthesiser such as volume , distortion or filter cutoff . The resulting sound is a timbre that is punctuated by rhythmic variations in volume, filter cutoff, or distortion. This style of bass is a driving factor in some variations of dubstep, particularly at the more club-friendly end of the spectrum. Wobble bass has been nicknamed Wobble-step. Originally, dubstep releases had some structural similarities to other genres like drum and bass and UK garage. Typically, this would comprise an intro ,
9794-458: The Independent on Sunday commented on "a whole new sound", at a time when both genres were becoming popular, stating that "grime" and "dubstep" were two names for the same style, which was also known as "sublow", "8-bar", and "eskibeat". In the summer of 2005, Forward>> brought grime DJs to the fore of the line up. Building on the success of Skream's grimey anthem "Midnight Request Line",
9960-660: The 2-step garage sound. These experiments often ended up on the B-side of a white label or commercial garage release. Dubstep is generally instrumental . Similar to a vocal garage hybrid – grime – the genre's feel is commonly dark; tracks frequently use a minor key or the Phrygian mode , and can feature dissonant harmonies such as the tritone interval within a riff. Compared to other styles of garage music, dubstep tends to be more minimalistic, focusing on prominent sub-bass frequencies. Some dubstep artists have also incorporated
10126-592: The BBC 's Maida Vale studios for a show called Generation Bass . The show was the evolution from her seminal BBC Radio 1 Dubstepwarz Show in 2006, and further documented another set of dubstep's producers. Silkie and Quest, along with Kromestar and Heny G would all come through the Anti-Social Entertainment crew, with a show on Rinse FM and later Flex FM . As the genre has spread to become an international rather than UK-centric scene, it has also seen
SECTION 60
#173308471155510292-752: The Columbia-Princeton Electronic Music Center in the late 1950s. Following his work with Studio d'Essai at Radiodiffusion Française (RDF), during the early 1940s, Pierre Schaeffer is credited with originating the theory and practice of musique concrète. In the late 1940s, experiments in sound-based composition using shellac record players were first conducted by Schaeffer. In 1950, the techniques of musique concrete were expanded when magnetic tape machines were used to explore sound manipulation practices such as speed variation ( pitch shift ) and tape splicing . On 5 October 1948, RDF broadcast Schaeffer's Etude aux chemins de fer . This
10458-484: The Deep Medi Musik label, using 1970s funk and soul reference points, a departure from the familiar strains of dub and UK garage. The sound also continued to interest the mainstream press with key articles in magazines like Interview , New York , and The Wire , which featured producer Kode9 on its May 2009 cover. XLR8R put Joker on the cover of its December 2009 issue. In April 2009, UKF Dubstep ,
10624-498: The Ensemble of electro-musical instruments [ ru ] , which used theremins, electric harps, electric organs, the first synthesizer in the USSR "Ekvodin", and also created the first Soviet reverb machine. The style in which Meshcherin's ensemble played is known as " Space age pop ". In 1957, engineer Igor Simonov assembled a working model of a noise recorder (electroeoliphone), with
10790-489: The Internet and aided the growth of the scene, such as dubstepforum, the download site Barefiles and blogs such as gutterbreakz. Simultaneously, the genre was receiving extensive coverage in music magazines such as The Wire and online publications such as Pitchfork , with a regular feature entitled The Month In: Grime/Dubstep . Interest in dubstep grew significantly after BBC Radio 1 DJ Mary Anne Hobbs started championing
10956-758: The Web 2.0 era. 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. 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." Writing for American Songwriter , Joe Vitagliano described it as "an exciting, bombastic and iconoclastic genre — if it can even be called
11122-432: The telharmonium , Hammond organ , electric piano and electric guitar . The first electronic musical devices were developed at the end of the 19th century. During the 1920s and 1930s, some electronic instruments were introduced and the first compositions featuring them were written. By the 1940s, magnetic audio tape allowed musicians to tape sounds and then modify them by changing the tape speed or direction, leading to
11288-503: The "biggest names in the scene." 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. Charli XCX, in August 2021, posted a tweet asking " rip hyperpop? discuss". 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
11454-537: The 'cinematic splice' techniques in early twentieth-century film." The theremin had been in use since the 1920s but it attained a degree of popular recognition through its use in science-fiction film soundtrack music in the 1950s (e.g., Bernard Herrmann 's classic score for The Day the Earth Stood Still ). Dubstep Dubstep is a genre of electronic dance music that originated in South London in
11620-421: The (perhaps misnamed) Grime and Grime 2 . The first featured Plasticman, Mark One and Slaughter Mob, with Kode9, Loefah, and Digital Mystikz appearing on the second. These compilations helped to raise awareness of dubstep at a time when the grime sound was drawing more attention, and Digital Mystikz and Loefah's presence on the second release contributed to the success of their DMZ club night. Soon afterwards,
11786-445: The 1950s and algorithmic composition with computers was first demonstrated in the same decade. During the 1960s, digital computer music was pioneered, innovation in live electronics took place, and Japanese electronic musical instruments began to influence the music industry . In the early 1970s, Moog synthesizers and drum machines helped popularize synthesized electronic music. The 1970s also saw electronic music begin to have
11952-436: The 1989—99 UK lineage: bleep 'n' bass, jungle, techstep , Photek -style neurofunk , speed garage , [and] 2 step." Reynolds comments that the traces of pre-existing styles "worked through their intrinsic sonic effects but also as signifiers, tokenings-back addressed to those who know ". Dubstep's early roots are in the more experimental releases of UK garage producers, seeking to incorporate elements of drum and bass into
12118-637: The Forward>;> sound as "b-lines to make your chest cavity shudder." Forward>> also ran a radio show on east London pirate station Rinse FM , hosted by Kode9 . The original Forward>> line ups included Hatcha , Youngsta, Kode 9, Zed Bias, Oris Jay, Slaughter Mob, Jay Da Flex, DJ Slimzee , and others, plus regular guests. The line up of residents has changed over the years to include Youngsta, Hatcha, Geeneus, and Plastician , with Crazy D as MC/host. Producers including D1, Skream and Benga make regular appearances. Another crucial element in
12284-517: 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. 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". Krushclub
12450-659: The Louisville Symphony and A Poem in Cycles and Bells , both for orchestra and tape. Because he had been working at Schaeffer's studio, the tape part for Varèse's work contains much more concrete sounds than electronic. "A group made up of wind instruments, percussion and piano alternate with the mutated sounds of factory noises and ship sirens and motors, coming from two loudspeakers." At the German premiere of Déserts in Hamburg, which
12616-538: The Mass venue, a converted church) saw fans attending from places as far away as Sweden , the United States, and Australia, leading to a queue of 600 people at the event. This forced the club to move from its regular 400-capacity space to Mass' main room, an event cited as a pivotal moment in dubstep's history. Later Mala would also found the influential label Deep Medi Musik . In 2004, Richard James ' label, Rephlex , released two compilations that included dubstep tracks –
12782-536: The Official UK Singles Chart. DJ Fresh and Nero both had number one singles in 2011 with " Louder " and " Promises ". Strong baselines imported from dubstep continued in popular music with the Taylor Swift song " I Knew You Were Trouble ", which made number 1 on Billboard's U.S. Mainstream Top 40 chart. In early 2011, the term "post-dubstep" (sometimes known as " UK bass " or simply "bass music")
12948-535: The PC Music label. Digicore is a microgenre related to hyperpop. 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. This microgenre saw a rise during the COVID-19 pandemic . It differs from hyperpop mainly through the racial identities of its artists but there remains
13114-467: The Philips studio in the Netherlands. The public remained interested in the new sounds being created around the world, as can be deduced by the inclusion of Varèse's Poème électronique , which was played over four hundred loudspeakers at the Philips Pavilion of the 1958 Brussels World Fair . That same year, Mauricio Kagel , an Argentine composer, composed Transición II . The work was realized at
13280-446: The Poet , a 1959 series of electronic compositions that stood out for its immersion and seamless fusion of electronic and folk music , in contrast to the more mathematical approach used by serial composers of the time such as Babbitt. El-Dabh's Leiyla and the Poet , released as part of the album Columbia-Princeton Electronic Music Center in 1961, would be cited as a strong influence by
13446-509: The Tempa Label. The sound's first North American ambassador, Baltimore DJ Joe Nice helped kickstart its spread into the continent. Regular Dubstep club nights started appearing in cities like New York, San Francisco, Seattle, Montreal, Houston, and Denver, while Mary Anne Hobbs curated a Dubstep showcase at 2007's Sónar festival in Barcelona. Non-British artists have also won praise within
13612-533: The United States following the end of World War II. These were the basis for the first commercially produced tape recorder in 1948. In 1944, before the use of magnetic tape for compositional purposes, Egyptian composer Halim El-Dabh , while still a student in Cairo , used a cumbersome wire recorder to record sounds of an ancient zaar ceremony. Using facilities at the Middle East Radio studios El-Dabh processed
13778-454: The United States, electronic music was being created as early as 1939, when John Cage published Imaginary Landscape, No. 1 , using two variable-speed turntables, frequency recordings, muted piano, and cymbal, but no electronic means of production. Cage composed five more "Imaginary Landscapes" between 1942 and 1952 (one withdrawn), mostly for percussion ensemble, though No. 4 is for twelve radios and No. 5, written in 1952, uses 42 recordings and
13944-402: The United States, where many formerly successful dubstep artists became popular. Artists such as Skrillex, for instance, moved on to producing tracks for trap and pop artists, while artists such as Mount Kimbie and James Blake shifted their sounds from post-dubstep into more experimental or soulful electronic influenced music. Pioneers of dubstep such as Skream and Loefah moved away from
14110-577: The WDR studio in Cologne. Two musicians performed on the piano, one in the traditional manner, the other playing on the strings, frame, and case. Two other performers used tape to unite the presentation of live sounds with the future of prerecorded materials from later on and its past of recordings made earlier in the performance. In 1958, Columbia-Princeton developed the RCA Mark II Sound Synthesizer ,
14276-476: The aggression and impact of brostep with the rich tonality and musicality of melodic dubstep, drawing on the best elements of both sides and fusing tonality with mid-range bass sound design. Artists like 501, Subscape, and Gemini have experimented upon this style of production in the earlier 2010s. English dubstep producer Chime coined the term " colour bass " describing this style of dubstep due to its focus on vibrant, bright and colourful production, and founded
14442-733: The ancestor of the ORTF . Karlheinz Stockhausen worked briefly in Schaeffer's studio in 1952, and afterward for many years at the WDR Cologne's Studio for Electronic Music . 1954 saw the advent of what would now be considered authentic electric plus acoustic compositions—acoustic instrumentation augmented/accompanied by recordings of manipulated or electronically generated sound. Three major works were premiered that year: Varèse's Déserts , for chamber ensemble and tape sounds, and two works by Otto Luening and Vladimir Ussachevsky : Rhapsodic Variations for
14608-511: The app. 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. Pitchfork has credited the isolation of the COVID-19 pandemic for its rise. 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. Hyperpop artist ElyOtto 's song " SugarCrash! " became one of
14774-428: The attention of metal bands. Nu metal band Korn 's 2011 album The Path of Totality features several collaborations with electronic music producers, including Skrillex and Excision. This style of dubstep is sometimes known as metalstep . In the early 2010s, UK artists began to play with a style of dubstep reminiscent of a resurgence or continuation of original British dubstep styles. This became known as Riddim ,
14940-475: The audio example). It is very common for the bass to drop at or very close to 55 seconds into the song, because 55 seconds is just over 32 measures at the common tempo of 140 bpm. However, this (or the existence of a bass drop in general) is by no means a completely rigid characteristic, rather a trope; a large portion of seminal tunes from producers like Kode9 and Horsepower Productions have more experimental song structures which do not rely on
15106-637: The borrowed equipment in the back of Ussachevsky's car, we left Bennington for Woodstock and stayed two weeks. . . . In late September 1952, the travelling laboratory reached Ussachevsky's living room in New York, where we eventually completed the compositions." Two months later, on 28 October, Vladimir Ussachevsky and Otto Luening presented the first Tape Music concert in the United States. The concert included Luening's Fantasy in Space (1952)—"an impressionistic virtuoso piece" using manipulated recordings of flute—and Low Speed (1952), an "exotic composition that took
15272-487: The common tropes of the genre. The early sounds of proto-dubstep originally came out of productions during 1999–2000 by producers such as Oris Jay, El-B , Steve Gurley and Zed Bias . Neil Jolliffe of Tempa Recordings coined the term "dubstep" in 2002. Ammunition Promotions, who run the influential club night Forward>> and have managed many proto-dubstep record labels (including Tempa, Soulja, Road, Vehicle, Shelflife, Texture, Lifestyle and Bingo), began to use
15438-412: The composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music (1907). Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery . They predicted expansions in timbre allowed for by electronics in
15604-600: The development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète , created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced solely from electronic generators was first produced in Germany in 1953 by Karlheinz Stockhausen . Electronic music was also created in Japan and the United States beginning in
15770-597: The development of music technology several decades later. Following the foundation of electronics company Sony in 1946, composers Toru Takemitsu and Minao Shibata independently explored possible uses for electronic technology to produce music. Takemitsu had ideas similar to musique concrète , which he was unaware of, while Shibata foresaw the development of synthesizers and predicted a drastic change in music. Sony began producing popular magnetic tape recorders for government and public use. The avant-garde collective Jikken Kōbō (Experimental Workshop), founded in 1950,
15936-402: The direction of electronic music. Another associate of Schaeffer, Edgard Varèse , began work on Déserts , a work for chamber orchestra and tape. The tape parts were created at Pierre Schaeffer's studio and were later revised at Columbia University . In 1950, Schaeffer gave the first public (non-broadcast) concert of musique concrète at the École Normale de Musique de Paris . "Schaeffer used
16102-629: The dubstep scene. Digital Mystikz brought an expanded palette of sounds and influences to the genre, most prominently reggae and dub, as well as orchestral melodies. After releasing 12-inch singles on Big Apple, they founded DMZ Records, which has released fourteen 12"s to date. They also began their night DMZ, held every two months in Brixton , a part of London already strongly associated with reggae. DMZ has showcased new dubstep artists such as Skream, Kode 9, Benga, Pinch , DJ Youngsta, Hijak, Joe Nice , and Vex'd. DMZ's first anniversary event (at
16268-517: The early 2000s. The style emerged as a UK garage offshoot that blended 2-step rhythms and sparse dub production, as well as incorporating elements of broken beat , grime , and drum and bass . In the United Kingdom, the origins of the genre can be traced back to the growth of the Jamaican sound system party scene in the early 1980s. Dubstep is generally characterised by the use of syncopated rhythmic patterns , with prominent basslines , and
16434-542: The early development of dubstep was the Big Apple Records record shop in Croydon . Key artists such as Hatcha and later Skream worked in the shop (which initially sold early UK Hardcore / Rave, Techno and House and later, garage and drum and bass, but evolved with the emerging dubstep scene in the area), while Digital Mystikz were frequent visitors. El-B, Zed Bias, Horsepower Productions , Plastician, N Type, Walsh and
16600-507: The edits", rather than an actual music genre. Hyper Mandelão , or Hyperfunky , is the result of the fusion of mandelão, a subgenre of funk carioca and slap house , with hyperpop and influence of industrial music . The main artists of this style are DJ Mu540, DJ Ramemes and Pabllo Vittar . Dariacore , also known as hyperflip , is a microgenre related to hyperpop. It was coined by Jane Remover following her 2021 album Dariacore and its two sequels, " Dariacore 2: Enter Here, Hell to
16766-721: The end of the 1960s, musical groups playing light electronic music appeared in the USSR. At the state level, this music began to be used to attract foreign tourists to the country and for broadcasting to foreign countries. In the mid-1970s, composer Alexander Zatsepin designed an "orchestrolla" – a modification of the mellotron. The Baltic Soviet Republics also had their own pioneers: in Estonian SSR — Sven Grunberg , in Lithuanian SSR — Gedrus Kupriavicius, in Latvian SSR — Opus and Zodiac . The world's first computer to play music
16932-438: The first complete work of computer-assisted composition using algorithmic composition. "... Hiller postulated that a computer could be taught the rules of a particular style and then called on to compose accordingly." Later developments included the work of Max Mathews at Bell Laboratories , who developed the influential MUSIC I program in 1957, one of the first computer programs to play electronic music. Vocoder technology
17098-539: The first programmable synthesizer. Prominent composers such as Vladimir Ussachevsky, Otto Luening, Milton Babbitt , Charles Wuorinen , Halim El-Dabh, Bülent Arel and Mario Davidovsky used the RCA Synthesizer extensively in various compositions. One of the most influential composers associated with the early years of the studio was Egypt's Halim El-Dabh who, after having developed the earliest known electronic tape music in 1944, became more famous for Leiyla and
17264-516: The flute far below its natural range." Both pieces were created at the home of Henry Cowell in Woodstock, New York. After several concerts caused a sensation in New York City, Ussachevsky and Luening were invited onto a live broadcast of NBC's Today Show to do an interview demonstration—the first televised electroacoustic performance. Luening described the event: "I improvised some [flute] sequences for
17430-617: The future)." Word quickly reached New York City. Oliver Daniel telephoned and invited the pair to "produce a group of short compositions for the October concert sponsored by the American Composers Alliance and Broadcast Music, Inc., under the direction of Leopold Stokowski at the Museum of Modern Art in New York. After some hesitation, we agreed. . . . Henry Cowell placed his home and studio in Woodstock, New York, at our disposal. With
17596-403: The genre (as well as others, including grime) is sometimes referred to as "140". In its early stages, dubstep was often more percussive, with more influences from two‑step drum patterns. Many producers were also experimenting with tribal drum samples, such as Loefah's early release "Truly Dread" and Mala's "Anti-War Dub". In an Invisible Jukebox interview with The Wire , Kode9 commented on
17762-476: The genre, beginning with a show devoted to it (entitled "Dubstep Warz") in January 2006. Towards the end of the 2000s and into the early 2010s, the genre started to become more commercially successful in the UK, with more singles and remixes entering the music charts. Music journalists and critics also noticed a dubstep influence in several pop artists' work. Around this time, producers also began to fuse elements of
17928-460: The genre, moving on to other genres instead. Loefah stopped playing and producing dubstep and moved on to UK bass, founding his record label Swamp81 in the process. Skream shifted away from dubstep, choosing to instead produce and play house and techno music in his DJ sets and releasing various techno songs on Alan Fitzpatrick's record label We Are The Brave. Around the early to mid 2010s, a niche development of dubstep began to emerge which combines
18094-402: The genre, such as double-time bass drums, 8-bit video game samples , hand percussion and lushly arranged strings. Mary Anne Hobbs commented that, unlike "Grime and drum 'n' bass raves, the mood at dubstep nights is less aggressive, or more meditative, leading to a larger female attendance at events than with the genre's precursors. You see the female-to-male ratio constantly going up – it's got
18260-416: 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
18426-575: The help of which it was possible to extract various timbres and consonances of a noise nature. In 1958, Evgeny Murzin designed ANS synthesizer , one of the world's first polyphonic musical synthesizers. Founded by Murzin in 1966, the Moscow Experimental Electronic Music Studio became the base for a new generation of experimenters – Eduard Artemyev , Alexander Nemtin [ ru ] , Sándor Kallós , Sofia Gubaidulina , Alfred Schnittke , and Vladimir Martynov . By
18592-536: The hype around the DMZ night and support from online forums (notably dubstepforum.com) and media, the scene gained prominence after Radio 1 DJ Mary Anne Hobbs gathered top figures from the scene for one show, entitled "Dubstep Warz", (later releasing the compilation album Warrior Dubz ). The show created a new global audience for the scene, after years of exclusively UK underground buzz. Burial 's self-titled album appearing in many critics' "Best of ..." lists for
18758-486: The hyperpop umbrella, including rap-influenced artists from SoundCloud, as well as its significant LGBTQ inclusion. The raves operate as a useful networking event for artists that attend. 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 Putochinomaricón as one of
18924-526: The influence of PC Music, but also incorporated the sounds of emo rap, cloud rap, trap, trance, dubstep and chiptune. Among Cook's frequent collaborators, Variety and The New York Times described the work of Sophie as pioneering the style, 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 –
19090-547: The influential manifesto The Art of Noises (1913). Developments of the vacuum tube led to electronic instruments that were smaller, amplified , and more practical for performance. In particular, the theremin , ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger and Maria Schuppel to adopt them. They were typically used within orchestras, and most composers wrote parts for
19256-467: The instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of several orchestral instruments with reasonable precision. It achieved viable public interest and made commercial progress into streaming music through telephone networks . Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged
19422-442: The label would not be releasing new music, instead turning to archival projects and special reissues. In September 2023 Underscores , another significant contributor to the microgenre, stated that it was "officially dead". In October 2024, Kieran Press-Reynolds of Pitchfork commended the past success of the hyperpop scene but remarked that "none of [its] artists [had] soared in an enduring way" and that "the 'pop' in hyperpop proved
19588-405: The label. 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." There were many other predecessors to the genre, as explained by Pritchard, "to some,
19754-528: The labelling of the term "hyperpop", the word has been rejected as a label by many of the artists placed under its umbrella, with several of these artists announcing the "death" of the microgenre from 2020 onward. Hyper-pop embodies 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
19920-619: The larger Dubstep community. The dynamic dubstep scene in Japan is growing quickly despite its cultural and geographical distance from the West. Such DJ/producers as Goth-Trad , Hyaku-mado, Ena and Doppelganger are major figures in the Tokyo scene. Joe Nice has played at DMZ, while the fifth instalment of Tempa's "Dubstep Allstars" mix series (released in 2007) included tracks by Finnish producer Tes La Rok and Americans JuJu and Matty G. Techno artists and DJs began assimilating dubstep into their sets and productions. Shackleton's "Blood on My Hands"
20086-407: 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." The same year, prominent hyperpop musician Glaive stated that he and Ericdoa were "working on killing" the movement, though three months later stated that it "will never die." He later stated that
20252-613: 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. 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. Some popular digicore artists like d0llywood1 even refer to glitchcore as "an aesthetic, like
20418-447: The mid-2010s. 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." Some of the style's more surreal and off kilter qualities drew from 2010s hip-hop. Hyperpop
20584-401: The mixtape project Mr Grustle & Tha Russian Dubstep LA Embrace The Renaissance Vol. 1 Mixed by Plastician . In summer 2009, rapper and actress Eve used Benga's "E Trips"; adding her own verses over the beat to create a new tune called "Me N My"; the first single from her unreleased album Flirt . The track was co-produced by Benga and hip hop producer Salaam Remi . Throughout 2010,
20750-496: The most popular songs in the app's history, and was used in over 5 million videos on the platform by July 2021. Subculture, a "hyperpop rave ", gained prominence alongside the rise of the microgenre and continued during the pandemic through six-hour long " Zoom parties", welcoming over 1,000 guests at its peak and hosting raves in cities across the United States after the pandemic. In 2023, the rave gained attention from Rolling Stone for its mix of PC Music artists and others under
20916-407: The name for their August 2019 playlist after McDonald noted the term in the website's metadata and classified it as a microgenre. 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. In addition, David Turner,
21082-799: The organization of electronic sounds in Mayuzumi's "X, Y, Z for Musique Concrète", and later in Shibata's electronic music by 1956. Modelling the NWDR studio in Cologne, established an NHK electronic music studio in Tokyo in 1954, which became one of the world's leading electronic music facilities. The NHK electronic music studio was equipped with technologies such as tone-generating and audio processing equipment, recording and radiophonic equipment, ondes Martenot, Monochord and Melochord , sine-wave oscillators , tape recorders, ring modulators , band-pass filters , and four- and eight-channel mixers . Musicians associated with
21248-638: The original dubstep sound with other influences, creating fusion genres including future garage and the slower and more experimental post-dubstep . The harsher electro-house and heavy metal -influenced variant brostep , led by American producers such as Skrillex , greatly contributed to dubstep's popularity in the United States. The music website AllMusic has described dubstep's overall sound as "tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals." According to Simon Reynolds , dubstep's constituents originally came from "different points in
21414-418: The packaging of the community within the name 'hyperpop' for profit led to its music becoming "algorithmic" over time. Subculture organisers Gannon Baxter and Tyler Shepherd expressed mixed feelings about their use of the term "hyperpop", but Shepherd stated that their use of the term was "just a tool to quickly convey what realm of music we’re talking about". In June 2023, PC Music announced that after that year,
21580-550: The popular Dr. Jekyll and Mr. Hyde in the United States. Experiments with graphical sound were continued by Norman McLaren from the late 1930s. The first practical audio tape recorder was unveiled in 1935. Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. As early as 1942, test recordings were being made in stereo. Although these developments were initially confined to Germany, recorders and tapes were brought to
21746-468: The potential to be 40:60". Purple sound emerged in Bristol in late 2008 out of the splintering dubstep scene and took inspiration from wonky , which it is sometimes considered a part of. It incorporates synth-funk from the 1980s and G-funk production from the 1990s into dubstep, while also introducing many aspects of grime and 8-bit music. Several prominent purple sound artists cite video game music as
21912-400: The presence of dubstep in the pop charts was notable, with " I Need Air " by Magnetic Man reaching number 10 in the UK singles chart. This presented a turning point in the popularity of mainstream dubstep amongst UK listeners as it was placed on rotation on BBC Radio 1 . " Katy on a Mission " by Katy B (produced by Benga) followed, debuting at number 5 in the UK singles chart, and stayed in
22078-482: The principle of the theremin . In the 1930s, Nikolai Ananyev invented "sonar", and engineer Alexander Gurov — neoviolena, I. Ilsarov — ilston., A. Rimsky-Korsakov [ ru ] and A. Ivanov — emiriton [ ru ] . Composer and inventor Arseny Avraamov was engaged in scientific work on sound synthesis and conducted a number of experiments that would later form the basis of Soviet electro-musical instruments. In 1956 Vyacheslav Mescherin created
22244-413: The production of electronic music. Also in 1951, Schaeffer and Henry produced an opera, Orpheus , for concrete sounds and voices. By 1951 the work of Schaeffer, composer-percussionist Pierre Henry, and sound engineer Jacques Poullin had received official recognition and The Groupe de Recherches de Musique Concrète , Club d 'Essai de la Radiodiffusion-Télévision Française was established at RTF in Paris,
22410-493: The recorded material using reverberation, echo, voltage controls and re-recording. What resulted is believed to be the earliest tape music composition. The resulting work was entitled The Expression of Zaar and it was presented in 1944 at an art gallery event in Cairo. While his initial experiments in tape-based composition were not widely known outside of Egypt at the time, El-Dabh is also known for his later work in electronic music at
22576-480: The sound into other genres, in a manner similar to drum and bass before it. At the start of the year, UK electronic duo La Roux put their single " In for the Kill " in the remix hands of Skream . They then gave remix duties of " I'm Not Your Toy " to Nero and then again with their single " Bulletproof " being remixed by Zinc . The same year, London producer Silkie released an influential album, City Limits Vol. 1 , on
22742-417: The sound was BBC Radio 1 DJ John Peel , who started playing it from 2003 onwards. In 2004, the last year of his show, a listeners vote included songs by Distance , Digital Mystikz , and Plastician as the top 50 for the year. Dubstep started to enter mainstream British popular culture when it spread beyond small local scenes in late 2005 and early 2006; many websites devoted to the genre appeared on
22908-427: The soundtrack to much of the second series of Dubplate Drama , which aired on Channel 4 with a soundtrack CD later released on Rinse Recordings . A track by Skream also featured in the second series of the teen drama Skins , which also aired on Channel 4 in early 2008. In the summer of 2008, Mary Anne Hobbs invited Cyrus, Starkey, Oneman , DJ Chef , Silkie , Quest, Joker , Nomad, Kulture and MC Sgt Pokes to
23074-482: The speeds of recorded tones. Composers began to experiment with newly developed sound-on-film technology. Recordings could be spliced together to create sound collages , such as those by Tristan Tzara , Kurt Schwitters , Filippo Tommaso Marinetti , Walter Ruttmann and Dziga Vertov . Further, the technology allowed sound to be graphically created and modified . These techniques were used to compose soundtracks for several films in Germany and Russia, in addition to
23240-666: The studio included Toshiro Mayuzumi, Minao Shibata, Joji Yuasa, Toshi Ichiyanagi , and Toru Takemitsu. The studio's first electronic compositions were completed in 1955, including Mayuzumi's five-minute pieces "Studie I: Music for Sine Wave by Proportion of Prime Number", "Music for Modulated Wave by Proportion of Prime Number" and "Invention for Square Wave and Sawtooth Wave" produced using the studio's various tone-generating capabilities, and Shibata's 20-minute stereo piece "Musique Concrète for Stereophonic Broadcast". The impact of computers continued in 1956. Lejaren Hiller and Leonard Isaacson composed Illiac Suite for string quartet ,
23406-546: The studio of Bebe and Louis Barron . In the same year Columbia University purchased its first tape recorder—a professional Ampex machine—to record concerts. Vladimir Ussachevsky, who was on the music faculty of Columbia University, was placed in charge of the device, and almost immediately began experimenting with it. Herbert Russcol writes: "Soon he was intrigued with the new sonorities he could achieve by recording musical instruments and then superimposing them on one another." Ussachevsky said later: "I suddenly realized that
23572-571: The studio was soon joined by Karlheinz Stockhausen and Gottfried Michael Koenig . In his 1949 thesis Elektronische Klangerzeugung: Elektronische Musik und Synthetische Sprache , Meyer-Eppler conceived the idea to synthesize music entirely from electronically produced signals; in this way, elektronische Musik was sharply differentiated from French musique concrète , which used sounds recorded from acoustical sources. In 1953, Stockhausen composed his Studie I , followed in 1954 by Elektronische Studie II —the first electronic piece to be published as
23738-488: The tape recorder could be treated as an instrument of sound transformation." On Thursday, 8 May 1952, Ussachevsky presented several demonstrations of tape music/effects that he created at his Composers Forum, in the McMillin Theatre at Columbia University. These included Transposition, Reverberation, Experiment, Composition , and Underwater Valse . In an interview, he stated: "I presented a few examples of my discovery in
23904-399: The tape recorder. Ussachevsky then and there put them through electronic transformations." The score for Forbidden Planet , by Louis and Bebe Barron , was entirely composed using custom-built electronic circuits and tape recorders in 1956 (but no synthesizers in the modern sense of the word). In 1929, Nikolai Obukhov invented the " sounding cross " (la croix sonore ), comparable to
24070-561: The term "dubstep" to describe this style of music in around 2002. The term's use in a 2002 XLR8R cover story (featuring Horsepower Productions on the cover) contributed to it becoming established as the name of the genre. Forward>> was originally held at the Velvet Rooms in London's Soho and later moved to Plastic People in Shoreditch , east London. Founded in 2001, Forward>>
24236-564: The term "hyperpop" was seemingly coined in October 1988 by writer Don Shewey in an article about the Scottish dream pop band Cocteau Twins , stating that England in the 1980s had "nurtured the simultaneous phenomena of hyperpop and antipop". Complex has stated that "the origins of hyperpop are tangled and murky in the way that things conceived on the internet often are." "Hyperpop" was sometimes used within SoundCloud 's nightcore music scene as
24402-412: The theremin that could otherwise be performed with string instruments . Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes. The instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives , Dimitrios Levidis , Olivier Messiaen and Edgard Varèse . Further, Percy Grainger used
24568-403: The theremin to abandon fixed tonation entirely, while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music . Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph . Record players became
24734-553: The top 10 for five more weeks. Also, in 2010, American producer Skrillex had achieved moderate commercial success in North America with a dubstep-influenced sound. By 2011, his EP Scary Monsters and Nice Sprites had peaked at number three on the U.S. Billboard Dance/Electronic Albums chart. In February 2011, Chase & Status 's second album No More Idols reached No. 2 in the UK album chart. On 1 May 2011, Nero 's third single " Guilt " from their album reached number 8 in
24900-400: The two collaborated on various pieces. Luening described the event: "Equipped with earphones and a flute, I began developing my first tape-recorder composition. Both of us were fluent improvisors and the medium fired our imaginations." They played some early pieces informally at a party, where "a number of composers almost solemnly congratulated us saying, 'This is it' ('it' meaning the music of
25066-461: The work of Earle Brown, Morton Feldman, and Christian Wolff continues to present a brilliant light, for the reason that at the several points of notation, performance, and audition, action is provocative." Cage completed Williams Mix in 1953 while working with the Music for Magnetic Tape Project. The group had no permanent facility, and had to rely on borrowed time in commercial sound studios, including
25232-407: The year, notably The Wire' s Best Album of 2006. The sound was also featured prominently in the soundtrack for the 2006 sci-fi film Children of Men , which included Digital Mystikz, Random Trio, Kode 9, Pressure and DJ Pinch. Ammunition also released the first retrospective compilation of the 2000–2004 era of dubstep called The Roots of Dubstep , co-compiled by Ammunition and Blackdown on
25398-543: Was CSIRAC , which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March , of which no known recordings exist, only the accurate reconstruction. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice. CSIRAC
25564-570: Was also a major development in this early era. In 1956, Stockhausen composed Gesang der Jünglinge , the first major work of the Cologne studio, based on a text from the Book of Daniel . An important technological development of that year was the invention of the Clavivox synthesizer by Raymond Scott with subassembly by Robert Moog . In 1957, Kid Baltan ( Dick Raaymakers ) and Tom Dissevelt released their debut album, Song Of The Second Moon , recorded at
25730-415: Was built in 1935. however, after World War II, Japanese composers such as Minao Shibata knew of the development of electronic musical instruments. By the late 1940s, Japanese composers began experimenting with electronic music and institutional sponsorship enabled them to experiment with advanced equipment. Their infusion of Asian music into the emerging genre would eventually support Japan's popularity in
25896-419: Was conducted by Bruno Maderna , the tape controls were operated by Karlheinz Stockhausen . The title Déserts suggested to Varèse not only "all physical deserts (of sand, sea, snow, of outer space, of empty streets), but also the deserts in the mind of man; not only those stripped aspects of nature that suggest bareness, aloofness, timelessness, but also that remote inner space no telescope can reach, where man
26062-445: Was critical to the development of dubstep, providing the first venue devoted to the sound and an environment in which dubstep producers could premier new music. Around this time, Forward>> was also incubating several other strains of dark garage hybrids, so much so that in the early days of the club the coming together of these strains was referred to as the "Forward>> sound". An online flyer from around this time encapsulated
26228-726: Was developed. In the same decade, with a greater reliance on synthesizers and the adoption of programmable drum machines, electronic popular music came to the fore. During the 1990s, with the proliferation of increasingly affordable music technology, electronic music production became an established part of popular culture. In Berlin starting in 1989, the Love Parade became the largest street party with over 1 million visitors, inspiring other such popular celebrations of electronic music. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music . Pop electronic music
26394-420: Was gradually replaced by distorted bass riffs that function roughly in the same register as the electric guitar in heavy metal . The term brostep has been used by some as a pejorative descriptor for a style of popular dubstep developed in the United States. The producer known as Rusko himself claimed in an interview on BBC Radio 1Xtra that "brostep is sort of my fault, but now I've started to hate it in
26560-527: Was never recorded, but the music played was accurately reconstructed. The oldest known recordings of computer-generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey . The earliest group of electronic musical instruments in Japan, Yamaha Magna Organ
26726-515: Was nominated for the 2008 Nationwide Mercury Music Prize in the UK) incorporated extensive use of heavily manipulated, mostly female, 'girl next door' vocal samples. Burial has spoken at length regarding his intent to reincorporate elements of musical precursors such as 2-step garage and house into his sound. Much like drum and bass before it, dubstep started to become incorporated into other media. In 2007, Benga, Skream, and other dubstep producers provided
26892-482: Was offered access to emerging audio technology by Sony. The company hired Toru Takemitsu to demonstrate their tape recorders with compositions and performances of electronic tape music. The first electronic tape pieces by the group were "Toraware no Onna" ("Imprisoned Woman") and "Piece B", composed in 1951 by Kuniharu Akiyama. Many of the electroacoustic tape pieces they produced were used as incidental music for radio, film, and theatre. They also held concerts employing
27058-457: Was one of the first DJ's to mix the sound of grime and dubstep together, has worked with notable grime setup Boy Better Know as well as renowned Grime MC's such as Wiley, Dizzee Rascal and Lethal Bizzle. He has also released tracks with a dubstep foundation and grime verses over the beats. Dubstep artist and label co-owner Sam Shackleton has moved toward productions which fall outside the usual dubstep tempo, and sometimes entirely lack most of
27224-870: Was remixed by minimal techno producer Ricardo Villalobos (an act reciprocated when Villalobos included a Shackleton mix on his "Vasco" EP) and included on a mix CD by Panoramabar resident Cassy. Ellen Allien and Apparat 's 2006 song "Metric" (from the Orchestra of Bubbles album), Modeselektor 's "Godspeed" (from the 2007's Happy Birthday! album, among other tracks on that same album) and Roman Flugel's remix of Riton 's "Hammer of Thor" are other examples of dubstep-influenced techno. Berlin's Hard Wax record store (operated by influential dub techno artists Basic Channel) has also championed Shackleton's Skull Disco label, later broadening its focus to include other dubstep releases. The summer of 2007 saw dubstep's musical palette expand further, with Benga and Coki scoring
27390-416: Was the first " movement " of Cinq études de bruits , and marked the beginning of studio realizations and musique concrète (or acousmatic art). Schaeffer employed a disc cutting lathe , four turntables, a four-channel mixer, filters, an echo chamber, and a mobile recording unit. Not long after this, Pierre Henry began collaborating with Schaeffer, a partnership that would have profound and lasting effects on
27556-555: Was used to describe club music that was influenced by certain aspects of dubstep. Such music often references earlier dubstep productions as well as UK garage , 2-step and other forms of underground electronic dance music . Artists producing music described as post-dubstep have also incorporated elements of ambient music and early R&B . The latter in particular is heavily sampled by three artists described as post-dubstep: Mount Kimbie , Fantastic Mr Fox and James Blake . The tempo of music typically characterised as post-dubstep
#554445