Hot Take/ Musical Confession Thread!

nolalady said:
Beyonce wants to be from NOLA so bad. Her new song is great, but it's allllll nola bounce.
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You’re probably right but it reminded me of 80s Chicago/Detroit house. Like if you told me Frankie Knuckles or Carl Craig produced it I would not be surprised.

Really it kinda feels like when Madonna released “Deeper” in that it was made to be a club banger though I would imagine it’s a bit of a one off and the rest of the albums has a more straight Pop/R&B sound.

Regardless I am looking forward to thousands or remixes that are gonna come out over the next 6 months.
 
Viking Dan said:
Let me start by saying - despite the pressing issues - I'm a huge fan of the last Phoebe Bridger's Album.

But I need the next release to LAUNCH into some songs and bring it.
She's worn me out on the quiet string intro build into the pseduo-ASMR tender/quiet thing she does.
Also - lose the skeleton bullshit.

I need the next album to open with a Barbaric YAWLP, please.

pitchfork.com

Phoebe Bridgers Performs “Sidelines” on Fallon

She’s currently on tour in support of Punisher
pitchfork.com pitchfork.com
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I am similarly worn out even though I generally liked both of her albums. Her songs would really shine with dynamics to them, versus what you describe. The few that do (mostly the singles) stick out a lot more to me. Not a fan of the skeleton shtick either.
 
So... is hyperpop officially dead?

Seems like as soon as Charli shifted away from it on Crash, a lot of interest in the genre just kind of went away. Add onto that a lack of new music from a lot of the more high-profile artists (gecs, A.G. Cook), plus the unfortunate passing of SOPHIE, I think it's a style that burned brightly for about a year or two but has fizzled out pretty quickly. I think the peak might have come with that Gaga remix album last year; that was probably the biggest exposure the sound had gotten outside of Charli and it seemed poised to be the big breakthrough moment for hyperpop into the mainstream, but I don't think it ended up doing a whole lot for the genre in the long run.

I know for me, I was 100% on board the hyperpop train throughout 2019 and 2020, but I sort of gradually fell out of love as the label started being co-opted and there was an oversaturation of attempts to ride the trend that weren't anywhere near as fresh, exciting or experimental as the first gecs album, the early PC Music stuff or anything SOPHIE did. I think people saw the trashy, lo-fi late 2000s aesthetic that gecs had and thought that was all there was to it, but I don't think any of their imitators have been able to replicate how original 1000 gecs felt when it was new and nobody else had really taken the sound that far before. I would almost hypothesize that's why there hasn't been a follow-up yet.

I don't know, I'd be curious to hear other people's thoughts as I know there were some others on here besides me who were fairly tapped into the genre at a certain point. It seemed like a lot of people pegged hyperpop as something that was going to be a defining sound of the 2020s, but I think it ended up being too niche and undefined to really take off.
 
gaporter said:
So... is hyperpop officially dead?

Seems like as soon as Charli shifted away from it on Crash, a lot of interest in the genre just kind of went away. Add onto that a lack of new music from a lot of the more high-profile artists (gecs, A.G. Cook), plus the unfortunate passing of SOPHIE, I think it's a style that burned brightly for about a year or two but has fizzled out pretty quickly. I think the peak might have come with that Gaga remix album last year; that was probably the biggest exposure the sound had gotten outside of Charli and it seemed poised to be the big breakthrough moment for hyperpop into the mainstream, but I don't think it ended up doing a whole lot for the genre in the long run.

I know for me, I was 100% on board the hyperpop train throughout 2019 and 2020, but I sort of gradually fell out of love as the label started being co-opted and there was an oversaturation of attempts to ride the trend that weren't anywhere near as fresh, exciting or experimental as the first gecs album, the early PC Music stuff or anything SOPHIE did. I think people saw the trashy, lo-fi late 2000s aesthetic that gecs had and thought that was all there was to it, but I don't think any of their imitators have been able to replicate how original 1000 gecs felt when it was new and nobody else had really taken the sound that far before. I would almost hypothesize that's why there hasn't been a follow-up yet.

I don't know, I'd be curious to hear other people's thoughts as I know there were some others on here besides me who were fairly tapped into the genre at a certain point. It seemed like a lot of people pegged hyperpop as something that was going to be a defining sound of the 2020s, but I think it ended up being too niche and undefined to really take off.
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I was a third of the way through this post before I noticed who wrote it and I was thinking I can't wait to hear @gaporter's response to this.:LOL:
 
gaporter said:
So... is hyperpop officially dead?

Seems like as soon as Charli shifted away from it on Crash, a lot of interest in the genre just kind of went away. Add onto that a lack of new music from a lot of the more high-profile artists (gecs, A.G. Cook), plus the unfortunate passing of SOPHIE, I think it's a style that burned brightly for about a year or two but has fizzled out pretty quickly. I think the peak might have come with that Gaga remix album last year; that was probably the biggest exposure the sound had gotten outside of Charli and it seemed poised to be the big breakthrough moment for hyperpop into the mainstream, but I don't think it ended up doing a whole lot for the genre in the long run.

I know for me, I was 100% on board the hyperpop train throughout 2019 and 2020, but I sort of gradually fell out of love as the label started being co-opted and there was an oversaturation of attempts to ride the trend that weren't anywhere near as fresh, exciting or experimental as the first gecs album, the early PC Music stuff or anything SOPHIE did. I think people saw the trashy, lo-fi late 2000s aesthetic that gecs had and thought that was all there was to it, but I don't think any of their imitators have been able to replicate how original 1000 gecs felt when it was new and nobody else had really taken the sound that far before. I would almost hypothesize that's why there hasn't been a follow-up yet.

I don't know, I'd be curious to hear other people's thoughts as I know there were some others on here besides me who were fairly tapped into the genre at a certain point. It seemed like a lot of people pegged hyperpop as something that was going to be a defining sound of the 2020s, but I think it ended up being too niche and undefined to really take off.
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So I am old and have to defer to my daughter sometimes. Last night she played breakcore for me which (to me) has a lot of hyper pop influences.

I think of hyper pop more as the couture art piece in a fashion show that eventually gets watered down, stripped of the “weird”, and packaged in a more conventional way to sell to more people. I think that the sound is still going to permeate music in the 2020’s but only in pieces of songs or as an interesting break but not as an entire song—at least not in a lot of mainstream music. So let’s say that hyper pop may be dead, but it’s getting reincarnated.
 
gaporter said:
So... is hyperpop officially dead?

Seems like as soon as Charli shifted away from it on Crash, a lot of interest in the genre just kind of went away. Add onto that a lack of new music from a lot of the more high-profile artists (gecs, A.G. Cook), plus the unfortunate passing of SOPHIE, I think it's a style that burned brightly for about a year or two but has fizzled out pretty quickly. I think the peak might have come with that Gaga remix album last year; that was probably the biggest exposure the sound had gotten outside of Charli and it seemed poised to be the big breakthrough moment for hyperpop into the mainstream, but I don't think it ended up doing a whole lot for the genre in the long run.

I know for me, I was 100% on board the hyperpop train throughout 2019 and 2020, but I sort of gradually fell out of love as the label started being co-opted and there was an oversaturation of attempts to ride the trend that weren't anywhere near as fresh, exciting or experimental as the first gecs album, the early PC Music stuff or anything SOPHIE did. I think people saw the trashy, lo-fi late 2000s aesthetic that gecs had and thought that was all there was to it, but I don't think any of their imitators have been able to replicate how original 1000 gecs felt when it was new and nobody else had really taken the sound that far before. I would almost hypothesize that's why there hasn't been a follow-up yet.

I don't know, I'd be curious to hear other people's thoughts as I know there were some others on here besides me who were fairly tapped into the genre at a certain point. It seemed like a lot of people pegged hyperpop as something that was going to be a defining sound of the 2020s, but I think it ended up being too niche and undefined to really take off.
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I wouldn't call it dead at all.
By nature its kind of a prediction of musical sound, and so as it actually gains some form of popularity, the 'genre' as it was known will disseminate into a more public ethos.
I see it as very similar to Vaporwave, which was a seminal 'microgenre' that could really only happen for a relatively small time and in a specific place. So much of both exist in the novelty, and being particularly internet focused the iterations bounce back and forth very fast so the novelty vanishes. SOPHIE now has a distinct, set legacy, and unfortunately for things to progress it means that legacy will have to be moved on from, which Gaga and Charli are obviously doing. Hyperpop will live on in the fresher artists who came in the wake of SOPHIE like Dorian Electra, 100 Gecs, and the plethora of other acts that will continue to cross the sound over to various new directions.
 
gaporter said:
So... is hyperpop officially dead?

Seems like as soon as Charli shifted away from it on Crash, a lot of interest in the genre just kind of went away. Add onto that a lack of new music from a lot of the more high-profile artists (gecs, A.G. Cook), plus the unfortunate passing of SOPHIE, I think it's a style that burned brightly for about a year or two but has fizzled out pretty quickly. I think the peak might have come with that Gaga remix album last year; that was probably the biggest exposure the sound had gotten outside of Charli and it seemed poised to be the big breakthrough moment for hyperpop into the mainstream, but I don't think it ended up doing a whole lot for the genre in the long run.

I know for me, I was 100% on board the hyperpop train throughout 2019 and 2020, but I sort of gradually fell out of love as the label started being co-opted and there was an oversaturation of attempts to ride the trend that weren't anywhere near as fresh, exciting or experimental as the first gecs album, the early PC Music stuff or anything SOPHIE did. I think people saw the trashy, lo-fi late 2000s aesthetic that gecs had and thought that was all there was to it, but I don't think any of their imitators have been able to replicate how original 1000 gecs felt when it was new and nobody else had really taken the sound that far before. I would almost hypothesize that's why there hasn't been a follow-up yet.

I don't know, I'd be curious to hear other people's thoughts as I know there were some others on here besides me who were fairly tapped into the genre at a certain point. It seemed like a lot of people pegged hyperpop as something that was going to be a defining sound of the 2020s, but I think it ended up being too niche and undefined to really take off.
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This is the kind of highly reactionary and irresponsible takes containing nuggets of truth we need in the hot take thread
 
gaporter said:
So... is hyperpop officially dead?

Seems like as soon as Charli shifted away from it on Crash, a lot of interest in the genre just kind of went away. Add onto that a lack of new music from a lot of the more high-profile artists (gecs, A.G. Cook), plus the unfortunate passing of SOPHIE, I think it's a style that burned brightly for about a year or two but has fizzled out pretty quickly. I think the peak might have come with that Gaga remix album last year; that was probably the biggest exposure the sound had gotten outside of Charli and it seemed poised to be the big breakthrough moment for hyperpop into the mainstream, but I don't think it ended up doing a whole lot for the genre in the long run.

I know for me, I was 100% on board the hyperpop train throughout 2019 and 2020, but I sort of gradually fell out of love as the label started being co-opted and there was an oversaturation of attempts to ride the trend that weren't anywhere near as fresh, exciting or experimental as the first gecs album, the early PC Music stuff or anything SOPHIE did. I think people saw the trashy, lo-fi late 2000s aesthetic that gecs had and thought that was all there was to it, but I don't think any of their imitators have been able to replicate how original 1000 gecs felt when it was new and nobody else had really taken the sound that far before. I would almost hypothesize that's why there hasn't been a follow-up yet.

I don't know, I'd be curious to hear other people's thoughts as I know there were some others on here besides me who were fairly tapped into the genre at a certain point. It seemed like a lot of people pegged hyperpop as something that was going to be a defining sound of the 2020s, but I think it ended up being too niche and undefined to really take off.
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I still haven't warmed up to Crash, though it's grown on me in the few months since it was released. I still think the song "Baby" is shit, though.
 
Joe Mac said:
Same. But I kinda like that though. I don’t have the energy to keep up with the cool kids anymore…
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Yep. Yesterday I was talking to a friend who's five years younger about what I did on my week off. I mentioned the wife and I went and checked out a huge Hindu temple in Atlanta and got lunch one day and the rest of the week I did projects at home and listened to records. It was a nice relaxing week. In his week off he went to Seattle, took ecstasy at a rave in the Idaho desert, went camping in Oregon, climbed two mountains, and went through a breakup. I'm happy not needing to squeeze all that in a week and then go back to work exhausted on Monday. So I'm ok with being older, haha.
 
Hemotep said:
Yep. Yesterday I was talking to a friend who's five years younger about what I did on my week off. I mentioned the wife and I went and checked out a huge Hindu temple in Atlanta and got lunch one day and the rest of the week I did projects at home and listened to records. It was a nice relaxing week. In his week off he went to Seattle, took ecstasy at a rave in the Idaho desert, went camping in Oregon, climbed two mountains, and went through a breakup. I'm happy not needing to squeeze all that in a week and then go back to work exhausted on Monday. So I'm ok with being older, haha.
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I am exhausted just reading that.
 
Hemotep said:
Yep. Yesterday I was talking to a friend who's five years younger about what I did on my week off. I mentioned the wife and I went and checked out a huge Hindu temple in Atlanta and got lunch one day and the rest of the week I did projects at home and listened to records. It was a nice relaxing week. In his week off he went to Seattle, took ecstasy at a rave in the Idaho desert, went camping in Oregon, climbed two mountains, and went through a breakup. I'm happy not needing to squeeze all that in a week and then go back to work exhausted on Monday. So I'm ok with being older, haha.
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I spent the last 5 days with my brother and his 5 year old daughter and 2 year old son. I’m shattered but honestly much more fun than being cool!
 
“Beyoncé agreed to change the lyrics in “Heated,” which met with backlash for using an ableist slur. A representative for Beyoncé confirmed yesterday that the lyric would be removed from “Heated,” writing: “The word, not used intentionally in a harmful way, will be replaced.”

Did Picasso alter Les Demoiselles d’Avignon to appease?
Did Serrano remove the Piss Christ crucifix from the container of urine to mollify?
Did Manet change the context of setting or skin tone of the Olympia muse to gain acceptance?
Did Mapplethorpe blurkle his images to make them more commercially viable?

She responds there was no hurtful intent.
Yet, rather than defend and stand behind her creation and artistic choice, she alters it because it “offends”.

Would Bowie do this?
Or Prince?
Or John Lyndon?
Or Patti Smith?
Or Joni Mitchell?

In light of the above, should the term “artist” apply to Beyoncé anymore?



​

 
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