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Music

Fusions of sonic moods in students’ playlists 

Music sub and cross-genres are more mainstream, but which ones are people fond of?

With more people becoming artists and countless music projects releasing every day, it is only natural for the boundaries of music to become more flexible. As time goes by, a perhaps preconceived mentality that music genres should fit in a box is prone to trickle away. 

Instead, innovative and experimental sounds are getting easier to get accustomed to. Songs blend core instruments of a certain type of music, the atmospheric essence of another, the foundational rhythm of another, etc., more organically. The options for creativity when it comes to music crafting are limitless at this point! Therefore, I asked students around Concordia for some of the music subgenres that flow through their headphones recently and which ones they noticed were popular online. 

#1: Hyperpop

One of the most recurrent auxiliary sounds mentioned was Hyperpop. So many genres can mesh together into a Hyperpop production, ranging from obvious Bubblegum Pop (a mix of rock and pop forming upbeat, catchy and danceable rhythms), Hip-Hop, EDM, and Nightcore (within the electronic realm where a song has a sped up tempo and raised pitch.) This energy-inducing sound typically features drums that are punchy, sharp and even distorted. Imagine a classic pop song, but turning the dial of numerous editing effects all the way up. 

Artists such as Mura Masa, Shygirl, Arca, 100 Gecs, Dorian Electra and notably Charli XCX, with her iconic 2016 hit “Vroom Vroom,” were mentioned by people. Moreover, this subgenre has a prominent space today in the so-called alternative TikTok world, with its “addictive dance tracks.”  

Artist Sophie is a prime example and an adored figure. Her unapologetic craft, from producing for numerous artists like Madonna to releasing stellar projects like Oil of Every Pearl’s Un-Insides from 2018 features her signature high-pitched vocals, generous bass and synthesized chords. Listening to Hyperpop makes me feel like I’ve just had a surge of caffeine levels in my system but in the best way possible. 

#2: Dreamgaze

The second sub-division of music genres that was brought up was Dreamgaze. Under the alternative rock umbrella, it entails a combination of Shoegaze and Dream-pop atmospheres. 

From its initial rise in the early ‘90s, Shoegaze contains distorted and shimmery-sounding guitars, rumbling drums and various effect pedals at its core. Shoegaze also supplies a sense of introspection in terms of its higher focus on lyrics and overall ethereal ambience, which is in full effect in Dreamgaze. My Bloody Valentine, Slowdive and Ride are key bands from the movement and helped Dreamgaze establish a more concrete immersive experience. 

Some of Dreampop’s earliest considered projects and artists also had their start in the early ‘90s. The enticing, rich, sonic textures and lavish amount of reverb were adopted from Dream-pop along with its breathy vocals. Bands like Spiritualized, Wild Nothing, Broadcast and Yo La Tengo have engaged a great presence in the genre. Cocteau Twins and Mazzy Star were specifically mentioned by students as bands that supported the foundation of Dream-pop, thus Dreamgaze.

While both mother genres hold different meanings from audiences about each other’s characteristic boundaries over the past couple of decades, Dreamgaze still offers the best of both worlds. Beach House is notably notorious for incorporating elements of both sister genres, Shoegaze and Dream-pop. The cherished local band Men I Trust also combines the overlapping of ethereal and harmonic vocals from Shoegaze as well as the catchy and jangly melodies from Dream-pop. 

An honourable mention subgenre that came up a few times is Nova MPB, also known as Neo-Samba. The music style essentially groups bossa nova and samba genres from Brazil and falls under the indie realm. All throughout, it contains a lively and colourful tone that marks it as different from the usual sounds from the genre.  

The goal of all these unfolding music branches is to embrace and show love to preexisting sounds in new ways. It is to respect artists’ work by professing creatively their mark on the music industry. By adopting attributes from various original music genres, you too can come up with a sound full of novelty.

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Ar(t)chives Music Quickspins

QUICKSPINS: 10,000 gecs – 100 gecs

100 gecs returns with an album that’s pure fun

It doesn’t take long to see why 10,000 gecs, the newest project from experimental pop visionaries Dylan Brady and Laura Les, is one of the most thrilling releases of the year. The duo’s 2019 debut album 1000 gecs was a landmark in helping to define the relatively new genre known as hyperpop, with singles such as “money machine” making waves over social media. Coming four years later, it’s safe to say there’s been anticipation for a new record, and luckily this album does not disappoint.

Within the span of a single minute, the opener “Dumbest Girl Alive” begins with the signature THX Deep Note theme, transitions into an overblown guitar solo, and follows that up with a beat reminiscent of Travis Scott’s “Sicko Mode.” It is wonderfully bizarre and sets up a 10-track run that only gets stranger as it progresses. The album triumphs as an exercise in throwing so many ideas at the wall that the wall crumbles down.

If there’s one constant running through the entire twenty-seven minute record, it’s silly fun. 10,000 gecs feels like an album extracted from a late night Discord call — a bit too much caffeine in everyone’s system, each person trying to one up the other with jokes. It’s an experience that you laugh with, not at.

Take the song “757,” for example. Its intensely processed vocals emit such high energy that at a certain point they just start muttering gibberish and it still works. Later, the song takes a turn, and the lines “I smoke the trees when I’m in Colorado / Interior gas station McDonalds” play over a methodical, distorted snare and kick drum combo. Do these lyrics make sense? Not particularly. Does it go hard? Very much so.

Going from track to track is akin to playing musical roulette. From a violent encounter sparked by two friends with an equally violent instrumental (“Billie Knows Jamie”), to a ska song recounting the painful aftermath of a trip to the dentist (“I Got My Tooth Removed”), to relaxed verses explaining one’s questionable life choices (“The Most Wanted Person In The United States”), 10,000 gecs runs the gamut of genres and topics. 

The philosophy of short-but-impactful material is applied to most of the songs on the album, as they all fall within the two-to-three minute range. This is not an issue on its own, but it’s hard not to want a few extra tracks to flesh out the record a little more. Singles “Hollywood Baby,” “mememeandDoritos & Fritos are clear standouts, and the album would’ve benefitted with one more banger along those lines (though it is telling how good a project is when the only issue is that you want more).

10,000 gecs is the kind of album that gets you excited about music. There is so much bursting at the seams in this collection of tunes. It overflows with creativity and is a testament to the power of friendship, comradery, and cranking the volume up to eleven. It also happens to have a song titled “Frog On The Floor.”

Trial Track: “Hollywood Baby”

8/10

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Music Quickspins

QUICKSPINS: Charli XCX – CRASH

CRASH lacks the cohesion and forward-thinking sonics of the work that has defined the recent years of Charli’s career. 

Charli XCX has had one of the most unexpected careers as a pop star in the last decade. Breaking out with a handful of large singles, and features on smash hits “I Love It” by Icona Pop and Iggy Azalea’s “Fancy,” Charli was shot into stardom. 

The first surprise in Charli’s career came in the form of 2016’s Vroom Vroom EP, enlisting bubblegum bass pioneer SOPHIE as executive producer, hot off the backend of her 2015 project Product. SOPHIE was becoming one of the most in-demand producers, known for her deconstructed club sound with heavy left field tendencies, which made this EP cut out for a dance floor in the loudest nightclub in town, and not the FM radio waves. 

After a pair of collaboration-oriented mixtapes, and two more studio albums, Charli has (intentionally or not) become the figurehead of what came to be the “hyperpop” scene, blazing the trail for numerous artists like 100 gecs and Dorian Electra. 

The 2017’s Pop 2 and 2019’s Charli became a harbour for this scene, with an all-star lineup of artists being featured across the tracklists, all while also maintaining the pop sensibility that made her a star. 

CRASH is the most radio-pop project we have received from Charli since 2014’s Sucker. The PC Music label sounds preceding hyperpop that Charli embraced in recent years have dissolved into a more conventional sound. 

CRASH comes loosely packaged with a plethora of pop and dance music influences through the decades. Whether it’s the ’80s synth pop tinted “Good Ones” and “Lightning” to 2000s trance leads and 2-step drums of “Beg For You,” the project lacks the clear cut direction of her last two records. 

Though going over well on Number 1 Angel, which like this project did not have a rock solid sonic identity, CRASH comes across as a bit of a jumbled mess. Disorientingly bouncing from funky guitar lines, to big ’90s gated drums and 2000s Ibiza synths, the variety of sounds on this project can at times mix like water and oil. 

Highlights like “Move Me” and “New Shapes” have immense vocal performances and spotless production, but these highpoints only crop up in the first half, leaving CRASH feeling front loaded. 

CRASH comes as a bitter end to her five album contract with Atlantic as Charli’s TikToks and tweets have not shied away from expressing her frustration towards PR and contractual commitments. 

If CRASH is Charli’s out from this contract, and she was simply trying to just dump a more conventional pop album on Atlantic to sell, then she has done what she sought out to do. Major labels are notorious for editing artists into creative oblivion and CRASH could be a record that’s content got lost in translation. Though she may not have made a product that fully expresses her artistic direction, given full creative control, I am sure future projects will result in a full realization of another pop opus Charli surely has within her. 

 

Trial Track: “Beg For You” feat. Rina Sawayama 

Rating: 5/10

 

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