See also
Look up microgenre in Wiktionary, the free dictionary.
A microgenre is a specialized or niche genre. [1] The term has been used since at least the 1970s to describe highly specific subgenres of music, literature, film, and art. [2] In music, examples include the myriad sub-subgenres of heavy metal and electronic music. [3] Some genres are sometimes retroactively created by record dealers and collectors as a way to increase the monetary value of certain records, with early examples including Northern soul, freakbeat, garage punk, and sunshine pop. By the early 2010s, most microgenres were linked and defined through various outlets on the Internet, usually as part of generating popularity and hype for a newly perceived trend. [4] Examples of these include chillwave, witch house, seapunk, shitgaze, and vaporwave.
Hyper-specific formulas and subgenres have always featured in popular culture. In a 1975 French article about historical fiction, "microgenre" and "macrogenre" were invoked as concepts. The author defined microgenres as "a narrowly defined group of texts connected in time and space", whereas macrogenres are "more diffuse and harder to generalize about." [5] Further discussion of the microgenre concept appeared in various critical works of 1980s and 1990s. [3]
Historically, musical microgenres were usually labelled by writers seeking to define a new style by linking together a group of seemingly disparate artists. [6] For example, when Lenny Kaye invoked the phrase "garage-punk" in liner notes for the 1971 compilation Nuggets , it effectively created a style of rock music that, until then, was nameless and lingering in obscurity. [7] The process of recognition for "power pop" was similarly formulated by a circle of rock writers who advocated their own annotated history of the genre. [8] Music journalist Simon Reynolds has suggested that early examples of "genre-as-retroactive-fiction" include "Northern soul" and "garage punk", both of which were coined in the early 1970s, and later followed by "freakbeat" and "sunshine pop". According to Reynolds, such "semi-invented" genres were sometimes pushed by record dealers and collectors to increase the monetary value of the original records. [9]
Successful attempts that resulted in widespread usage include "post-rock" (Reynolds) and "hauntology" (Mark Fisher). [6] In the mid 1990s, Melody Maker journalists went so far as to make up fictional bands to justify the existence of an updated New Romantic scene they dubbed "Romantic Modernism". That same decade, there was a trend of electronic and dance music producers who created specialized descriptions of their music as a way to assert their individuality. In the instance of trance music, this desire led to progressive trance, Goa trance, deep psytrance, and hard trance. [6] House, drum-n-bass, dubstep and techno also contain a large number of microgenres. [10]
The concept of microgenres gained prominence during the digital age, and despite its earlier history, is more often associated with later trends. [11] The speed at which microgenres achieve recognition and familiarity also accelerated substantially. [12] This 21st-century "microgenre explosion" was partly a consequence of "software advances, faster internet connections, and the globalized proliferation of music". [13]
In 2009, a writer for the New York Times observed that indie rock was then evolving into "an ever-expanding, incomprehensibly cluttered taxonomy of subgenres." [14] By the early 2010s, most microgenres were linked and defined through various outlets on the internet. Each of them, according to Vice writer Ezra Marcus, were "music scenes [created] out of thin air". [4] Pitchfork 's Jonny Coleman commented: "The line between a real genre that sounds fake and a fake genre that could be real is as thin as ever, if existent at all. This is the uncanny genre valley that publicists-cum-neologicians live in and for." [15]
Chillwave—termed sarcastically in a 2009 blog post [16] —was one of the first music genres to formulate online. [17] The term did not gain mainstream currency until early 2010, when it was the subject of articles by the Wall Street Journal and the New York Times. [18] Writing in 2019, journalist Emilie Friedlander, called chillwave "the internet electronic micro-genre that launched a hundred internet electronic micro-genres (think: vaporwave, witch house, seapunk, shitgaze, distroid, hard vapor), not to mention its corollaries in this decade’s internet rap, which largely shared its collagist, hyper-referential approach to sound." [14]
In 2010, The Atlantic 's Llewellyn Hinkes Johns referenced the succession of chillwave, glo-fi, and hypnagogic pop as a "prime example" of a cycle involving the invention of a new category that is quickly and "brazenly denounced, sometimes in the same article". [19] Grantland 's Dave Schilling describes the "chillwave" designation as a pivotal moment that "revealed how arbitrary and meaningless labels like that really are. It wasn't a scene. It was a parody of a scene, both a defining moment for the music blogosphere and the last gasp." [20] PopMatters ' Thomas Britt argued that the "staggering number of niches created by writers and commenters to 'distinguish' musical acts is ultimately binding. If a band plays along and tailors itself to a category, then its fortunes are likely tied to the shelf life of that category." [21]
The spread of digital publishing in the 21st century led to the rise of ever-more niche microgenres in literature – from Amish romance to NASCAR passion. [22]
In 2020, Netflix identified 76,897 different microgenres in its algorithms, which it had used to develop successful series like House of Cards and Orange Is the New Black . [2]
Dream pop is a subgenre of alternative rock and neo-psychedelia that emphasizes atmosphere and sonic texture as much as pop melody. Common characteristics include breathy vocals, dense productions, and effects such as reverb, echo, tremolo, and chorus. It often overlaps with the related genre of shoegaze, and the two genre terms have at times been used interchangeably.
Chill-out is a loosely defined form of popular music characterized by slow tempos and relaxed moods. The definition of "chill-out music" has evolved throughout the decades, and generally refers to anything that might be identified as a modern type of easy listening.
Psychedelic music is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as 5-MeO-DMT, DMT, LSD, mescaline, and psilocybin mushrooms, to experience synesthesia and altered states of consciousness. Psychedelic music may also aim to enhance the experience of using these drugs and has been found to have a significant influence on psychedelic therapy.
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. Genre is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.
Chillwave is a music microgenre that emerged in the late 2000s. It is characterized by evoking the popular music of the late 1970s and early 1980s while engaging with notions of memory and nostalgia. Common features include a faded or dreamy retro pop sound, escapist lyrics, psychedelic or lo-fi aesthetics, mellow vocals, slow-to-moderate tempos, effects processing, and vintage synthesizers.
Witch house is a microgenre of electronic music that is musically characterized by high-pitched keyboard effects, heavily layered basslines and trap-style drum loops, while it aesthetically employs occult and gothic-inspired themes.
Seapunk is a subculture that originated on Tumblr in 2011. It is associated with an aquatic-themed style of fashion, 3D net art, iconography, and allusions to popular culture of the 1990s. The advent of seapunk also spawned its own electronic music microgenre, featuring elements of Southern hip hop and pop music and R&B music of the 1990s. Seapunk gained limited popularity as it spread through the Internet, although it was said to have developed a Chicago club scene.
Vaporwave is a microgenre of electronic music and a subgenre of hauntology, a visual art style, and an Internet meme that emerged in the early 2010s, and became well-known in 2015. It is defined partly by its slowed-down, chopped and screwed samples of smooth jazz, 1970s elevator music, R&B, and lounge music from the 1980s and 1990s. The surrounding subculture is sometimes associated with an ambiguous or satirical take on consumer capitalism and pop culture, and tends to be characterized by a nostalgic or surrealist engagement with the popular entertainment, technology and advertising of previous decades. Visually, it incorporates early Internet imagery, late 1990s web design, glitch art, anime, stylized Greek sculptures, 3D-rendered objects, and cyberpunk tropes in its cover artwork and music videos.
Floral Shoppe is the ninth studio album by the American electronic musician Ramona Andra Langley under the alias Macintosh Plus, released on December 9, 2011 by the independent record label Beer on the Rug. It was one of the first releases of the 2010s microgenre known as vaporwave to gain popular recognition on the Internet. Since then, Floral Shoppe has been considered by some critics to be the defining album of the style.
Synthwave is an electronic music microgenre that is based predominantly on the music associated with action, science-fiction, and horror film soundtracks of the 1980s. Other influences are drawn from the decade's art and video games. Synthwave musicians often espouse nostalgia for 1980s culture and attempt to capture the era's atmosphere and celebrate it.
Hypnagogic pop is pop or psychedelic music that evokes cultural memory and nostalgia for the popular entertainment of the past. It emerged in the mid to late 2000s as American lo-fi and noise musicians began adopting retro aesthetics remembered from their childhood, such as radio rock, new wave pop, light rock, video game music, synth-pop, and R&B. Recordings circulated on cassette or Internet blogs and were typically marked by the use of outmoded analog equipment and DIY experimentation.
Electronic rock is a music genre that involves a combination of rock music and electronic music, featuring instruments typically found within both genres. It originates from the late 1960s when rock bands began incorporating electronic instrumentation into their music. Electronic rock acts usually fuse elements from other music styles, including punk rock, industrial rock, hip hop, techno and synth-pop, which has helped spur subgenres such as indietronica, dance-punk and electroclash.
Blank Banshee 0 is the debut studio album by Canadian artist and producer Blank Banshee. It was released for free via Bandcamp on September 1, 2012.
Hardvapour is an Internet-based microgenre of music that emerged in late 2015 as a tongue-in-cheek response to vaporwave, departing from the calm, muzak-sampling capitalist utopia concept of the latter in favor of a gabber- and punk-influenced sound. Canadian music producer Wolfenstein OS X album End of World Rave (2015) and the Antifur record label are credited with having first defined the hardvapour sound. It is also related to vaportrap.
Hyperpop is a loosely defined electronic music movement and microgenre that predominantly originated in the United Kingdom during the early 2010s. It is characterised by a maximalist or exaggerated take on popular music, and artists within the microgenre typically integrate pop and avant-garde sensibilities while drawing on elements commonly found in electronic, hip hop, and dance music.
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