Post-Internet (music)

Last updated

Post-Internet music is a style of 21st century music addressing the Internet and Information Age as influenced by the post-internet art movement coined by artist Marisa Olson in 2006. In the early 2010s, Canadian musician Grimes used the phrase "post-internet music" to describe her work. The idea was later formally introduced by Irish composer Jennifer Walshe in 2015.

Contents

The term "post-internet music" was also used by publications to describe the work of composer Holly Herndon and London's PC Music record label and art collective founded by musician A. G. Cook. The London Contemporary Music Festival's "Requiem for Reality" event hosted "post-internet" music by Jennifer Walshe, James Ferraro, PC Music associate Felicita, Neele Hülcker and Brigitta Muntendorf. Additionally, post-internet music was initially associated with academia, art galleries and art school contexts. However, the phrase has since been used to describe several 21st century Internet related musical styles and microgenres.

Etymology

Chancellor of Austria, Alexander Schallenberg and Holly Herndon photographed in Berlin on 7 June 2024 Alexander Schallenberg in Berlin on 7 June 2024 - 22.jpg
Chancellor of Austria, Alexander Schallenberg and Holly Herndon photographed in Berlin on 7 June 2024

The term "post-internet" was originally coined by artist Marisa Olson in 2006 to describe contemporary art that focused on the Internet's ubiquity in the 21st century. [1] [2] [3] [4] However, its influence has extended into music as well as broader fashion trends. [5] In 2015, writing for Vice magazine, Robert Barry aimed to define post-internet music in an article entitled "So What Is Post-Internet Music, Anyway?". [6] He stated that at the time the idea of "post-Internet music" was scarce and usually applied to the work of Holly Herndon and London's PC Music record label and art collective founded by musician A. G. Cook. [6] According to Barry, Max Pearl and Michelle Lhooq, writing in THUMP, argued PC Music was "post-internet art" and there was a connection between their sound and the post-internet video work of Ryan Trecartin. [6] [7] However, Barry ultimately credits Irish composer Jennifer Walshe with introducing the idea of "post-Internet music" on Facebook in the spring of 2015. [6]

Walshe described post-Internet music as "music written after the internet is as much a part of everyday life as electricity or indoor plumbing". [6] She added that post-internet music incorporates and showcases elements that make the songs in question impossible to have been written at any other time in history. [6] However, Sam Mackay, one of the curators of the London Contemporary Music Festival, argued, "It's not simply that such music couldn't have come about without the internet, but that it actually probes and reflexively approaches that situation". [6] In 2015, the LCMF's "Requiem for Reality" event was billed as a focus on exploring how the art world's "post-internet" ideas could work in the context of musical composition. [6] The event hosted music by Jennifer Walshe, James Ferraro, PC Music associate Felicita, Neele Hülcker and Brigitta Muntendorf. [6]

Barry cited Walshe's forty minute video and performance piece The Total Mountain as an example of post-Internet music, adding that Walshe was looking to "memes on her iPhone for inspiration". [6] The performance piece included YouTube clips, screen captures of Wikipedia pages, text messages, a "Twitter opera", valley girl accents and the Department of homeland security's flagged words list. [6] It was premiered at the Donaueschingen Musiktage in Germany. [6] [8] [9]

In 2016, High Brow Magazine wrote an article on popular music in the post-internet era, writer Sandra Canosa described "post-internet" as not implying being beyond the Internet but denoting that it is no longer a novelty and has become part of everyday life. [4] She added, "As with postmodern, post-rock, etc., the 'post' not only means that it comes after, but implies an awareness of its medium, sources, audiences and its limits." [4] Writer Peter Defraene stated for HumanHuman, "The movement then takes this self-awareness as its new subject. The result is a metastate of looking." [4] [10] [11] [12] [13] [14] [15]

In 2018, music and culture critic Adam Harper wrote an article entitled "Charting the evolution of post-internet music" for Red Bull Music Academy . [16] He stated that post-internet music concerned art that "addressed the effects of digital technology on modern ways of seeing and living". [16] He added that, "Just as not all books are about paper and not all radio shows are about electromagnetic radiation, the digital medium itself may be receding into the background as a style or subject matter for new electronic music". [16]

However, the phrase "post-internet music" has also been used as an umbrella term to describe several Internet related musical styles and microgenres stemming from 21st century online culture. [16] [17] [18]

Additionally, Harper remarked that post-internet art was usually "art that was based in relatively traditional gallery and art-school settings rather than an online culture itself, even if often drew from online culture." [16] He cites that a quantity of "post-internet music" has been released under similar circumstances, including on outmoded media such as vinyl or cassette, with Gatekeeper's Young Chronos appearing as an exception due to the album being released on The Pirate Bay and a USB flash drive. [16]

Characteristics

Early post-internet music often embraced ironic, nostalgic, self-referential internet aesthetics, defined by microgenres and subcultures such as seapunk and vaporwave, [19] [20] other influences included the work of Holly Herndon and the PC Music label founded by A. G. Cook, [6] which gave way to bubblegum bass and hyperpop. These styles incorporated 1990s and early 2000s internet nostalgia, kitsch, online memes, and consumer culture into a new context. [16] They emerged primarily online and were more prevalent there than in traditional performance venues. [16]

History

Precursors

According to Vice magazine, the work of American composer Milton Babbitt has been described as a precursor to post-internet music, though not labeled a "post-internet artist", his work is thought of as fitting "the larger theme of analogue reality dissolving into digital simulation". [6] Writer Igor Toronyi-Lalic labeled him "the first [modern] composer to really apply mathematical principles to music". [6] He added that, "If the internet is anything, it’s about coding the real world. And Babbitt was doing that, trying to translate the real into the codified." [6]

Origins

Vaporwave is among the Internet-centric microgenres that emerged in the 21st century Wikiwave 00000.png
Vaporwave is among the Internet-centric microgenres that emerged in the 21st century

Post-internet art originated in the contemporary art world, its influence has extended into popular music, as well as broader fashion trends. [5] This was followed by, music scenes surrounding the early online blogosphere such as bloghouse, blog rap and blog rock, [21] and early microgenres which were distributed online such as shitgaze and hypnagogic pop which all came to define an era of alternative music that was underpinned by the growing nature of the internet as well as MP3 blogs, netlabels, streaming services and online music journalism. [22] [23] [24] By the late 2000s, chillwave became the first musical microgenre and subculture to develop primarily through the Internet. [25] [26] [27] In the early 2010s, "post-Internet music" became associated with the musician Grimes, who used the term to describe her work at a time when post-Internet concepts were not typically discussed in mainstream music spaces. [28] [29]

In 2015, the London Contemporary Music Festival's "Requiem for Reality" event was billed as a focus on exploring how the contemporary art world's "post-internet" ideas could work in the context of musical composition. [6] The event hosted music by Jennifer Walshe, James Ferraro, PC Music associate Felicita, Neele Hülcker and Brigitta Muntendorf. [6] By the late 2010s, post-internet music began to incorporate themes regarding the rise of social media and the increasing dominance of the internet in wider society. [30] [16]

Criticism

Music critic Adam Harper states that "the whole notion of a musical expression that portrays a particular (past or present) cultural milieu with a degree of artistic distance – especially ironic distance – has been criticised as 'conceptual.' Conceptual music, it's argued or implied, is music about ideas or postures rather than emotions; its makers are veiled pretenders rather than authentic, expressive artists. Much of the criticism of what some would call post-internet music ('accelerationist' music is another term) has taken this angle." [16]

Electronic

James Ferraro is an experimental artist, and has been described as "the godfather of post-internet electronic music" James Ferraro (cropped).jpg
James Ferraro is an experimental artist, and has been described as "the godfather of post-internet electronic music"

The work of vaporwave pioneers Oneohtrix Point Never and James Ferraro [32] [33] have been linked to the pioneering of post-internet related music. Ferraro's 2011 album Far Side Virtual [34] [35] alongside OPN's 2018 album Age Of [36] have been described as reflections of the post-internet age. Far Side Virtual was described by Dazed as full of "advertisements, ringtones, iPads, and Nintendo Wiis". [37] Other influential artists include the works of Hayden Dunham, Laurel Halo and Holly Herndon. [6] [16] [38]

Some post-internet musicians have also collaborated with post-internet visual artists, such as Jon Rafman's work with Oneohtrix Point Never on a two-part music video for "Sticky Drama", from Lopatin's 2015 album Garden of Delete . [39] [40] Ferraro had also experimented with post-internet related visual art, releasing the film "9/11 Simulation in Roblox Environment" in 2017. [41] His work has been compared to that of post-Internet figures such as Ryan Trecartin. [42]

The independent record label, Hippos in Tanks founded by Barron Machat and Travis Woolsey in 2010, was a leading influence in post-internet music, featuring artists like Dean Blunt, Inga Copeland, Grimes, James Ferraro, Autre Ne Veut, Laurel Halo, Hype Williams, and Arca. [43] [44]

Hip-hop

Swedish rapper Bladee, alongside his collective Drain Gang, has been described as defining "the malaise of post-internet alienation" Bladee in Toronto, Canada 2016.jpg
Swedish rapper Bladee, alongside his collective Drain Gang, has been described as defining "the malaise of post-internet alienation"

Soundcloud rap has been credited with emerging primarily on the internet. [46] [47] [48] Amarco referred to internet cloud rap artist Yung Lean, who visually drew influence from seapunk and vaporwave aesthetics, [49] [50] as "by and large a product of the internet and a leading example of a generation of youths who garner fame through social media." [19] Additionally, rapper Sematary's sound has been described as "distinctly post-internet". [51]

The Swedish internet rap collective Drain Gang, consisting of Bladee, Ecco2K, Thaiboy Digital, and Whitearmor, have also been described as reflective of post-internet music. [52] [45] The group inspired the microgenre draincore, later renamed to digicore. [53] [54] [55] [56] Bladee has been described as defining "the malaise of post-internet alienation". [45] He cited the work of James Ferraro under the pseudonym BEBETUNE$ as an influence. [57] In 2025, Bladee and Ferraro collaborated with Microsoft on an interactive visual art project incorporating generative AI. [58] [59]

Other rappers who have been described as post-internet include JPEGMafia [60] [61] and Edward Skeletrix, [62] the latter of whom initially gained popularity by experimenting with AI-generated videos to TikTok. [63] [64]

In 2024, Rolling Stone magazine described the 2020s underground rap scene as "extremely online", stating songs "have gone viral on TikTok, the app of choice for a post-internet generation". [65] Artists cited in the article included Xaviersobased, Nettspend and Yhapojj. [65]

Internet rock

During the 2000s, rock music microgenres such as shitgaze and blog rock would develop on the Internet. [66] By the 2010s, egg punk, originally known as devo-core, emerged as an Internet microgenre primarily based on the new wave band Devo. [67] Subsequently, incelcore, an online rock microgenre was pioneered by musician Negative XP in 2019 with the release of the compilation album MK Ultra Support Group. [68] [69] [70] [71] The style has been described as drawing heavily from "internet culture, symbolism and terminology". [69] The genre has been described as an online subculture influenced by the "imagery, attitudes and irony" of internet image boards. [69] In 2026, writing for Pitchfork , music journalist Kieran Press-Reynolds defined the style as making use of 4chan's speaking culture. [68]

In August 2025, Press-Reynolds credited online musicians jaydes and Wifiskeleton with inspiring an "online indie music boom" or "new wave of SoundCloud 'indie rock'." [72] Press-Reynolds used the phrase "BandLab rock" to describe the style. [72] The genre is defined as a form of indie rock primarily distributed on SoundCloud, it grew in popularity on TikTok in 2025, with artists making use of "Alex G samples". Press-Reynolds noted that bedroom producers posted video tutorials on YouTube for "indie rock beats (without a real guitar)." [72] Notable acts included aeter, ayowitty and bunii. [72]

Pop

PC Music, the London art collective founded by A.G. Cook in 2013 has been described as "post-internet" by several publications. [73] [74] [75] The label led to musical styles such as bubblegum bass and hyperpop, [76] [77] [78] with the latter also being described as "post-internet". [79] Musician Cayenne of the Singoporean trio Sobs has been described by the NME as "post-internet pop". [80] In an article about hyperpop duo 100 gecs, British magazine Dazed stated "Fandom in the post-internet world is an odd thing – you would think that, if you loved something so much, you wouldn't dare to tinker with it [...] when Les and Brady released their debut album, 1000 gecs , last year, people were falling over themselves to remix it. Such are the times." [81]

Corecore

In 2025, digital culture blogger Kieran Press-Reynolds was cited by Time and Mashable as discussing the corecore aesthetic in-depth. [82] [83] Press-Reynolds told Mashable that at the time he first wrote about corecore, "most of the popular clips [...] was frenetic — they were these rapid-fire 15-second montages of surreal memes (like cute cats, alpha wolf edits) with intense music (Drain Gang and other internet rap) that didn't have much of a discernible meaning beyond the pleasurable rush of recognizable audiovisual material." [83]

See also

References

  1. ↑ Gat, Orit (2023-11-07). "The Digital Culture Odyssey of Post-Internet Art". Frieze. No. 239. ISSN   0962-0672 . Retrieved 2026-02-14.
  2. ↑ Dunne, Carey (2014-03-10). "9 Post-Internet Artists You Should Know". Fast Company. Retrieved 2021-01-26.
  3. ↑ Soit, Honi (2022-03-27). "Post-Internet music and the rise of Hyperpop - Honi Soit". honisoit.com. Retrieved 2025-07-25.
  4. 1 2 3 4 "The Singularity You Can Hear: Post-Internet Waves in Popular Music | Highbrow Magazine". www.highbrowmagazine.com. Retrieved 2026-02-12.
  5. 1 2 Dazed (2022-10-04). "Memes, minions and meta-irony: The rise of post-internet fashion". Dazed. Retrieved 2025-06-30.
  6. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 Barry, Robert (2015-11-11). "So What Is Post-Internet Music, Anyway?". VICE. Retrieved 2026-01-13.
  7. ↑ Lhooq, Max Pearl and Max Pearl and Michelle (2015-01-08). "PC Music is Post-Internet Art". VICE. Retrieved 2026-02-12.
  8. ↑ "Post-Internet music and the rise of Hyperpop – Honi Soit". honisoit.com. Retrieved 2026-01-13.
  9. ↑ Waugh, Michael (2017). "'My laptop is an extension of my memory and self': Post-Internet identity, virtual intimacy and digital queering in online popular music". Popular Music. 36 (2): 233–251. ISSN   0261-1430.
  10. ↑ "New sounds, new spaces: Inside the weird world of post-internet music". Red Bull. 2018-10-10. Retrieved 2026-01-13.
  11. ↑ Albini, Steve (2014-11-17). "Steve Albini on the surprisingly sturdy state of the music industry – in full". The Guardian. ISSN   0261-3077 . Retrieved 2026-01-13.
  12. ↑ Schneider, Marc (2014-11-18). "Watch Steve Albini and His Eagle Shirt Defend the Post-Internet Music Biz". Billboard. Retrieved 2026-01-13.
  13. ↑ "The Singularity You Can Hear: Post-Internet Waves in Popular Music | Highbrow Magazine". www.highbrowmagazine.com. Retrieved 2026-01-13.
  14. ↑ "Holly Herndon and Jennifer Walshe crowdsource database of sound and music - The Wire". The Wire Magazine - Adventures In Modern Music. Retrieved 2026-01-13.
  15. ↑ "James Ferraro Talks Phases, Fads and Fidget Spinners". www.sleek-mag.com. Retrieved 2026-01-13.
  16. 1 2 3 4 5 6 7 8 9 10 11 "Adam Harper tracks the evolution of post-internet music". Red Bull. 2018-10-03. Retrieved 2025-06-30.
  17. ↑ Lubner, Rafael (19 November 2019). "2010s: Against The Post-Internet". Tiny Mix Tapes. Archived from the original on 2022-05-23. Retrieved 2026-02-12.
  18. ↑ Press-Reynolds, Kieran (2022-01-25). "Deep-internet bubbles: How microgenres are taking over SoundCloud". No Bells. Retrieved 2026-02-12.
  19. 1 2 Amarca, Nico (March 1, 2016). "From Bucket Hats to Pokémon: Breaking Down Yung Lean's Style". High Snobiety. Retrieved May 24, 2020.
  20. ↑ Chakrabarti, Tuhin (2019-12-28). "The apathy of post-internet generations and VAPORWAVE". The Stony Brook Press. Retrieved 2025-07-11.
  21. ↑ Jonze, Tim (2011-06-13). "Blog rock is born". The Guardian. ISSN   0261-3077 . Retrieved 2025-07-03.
  22. ↑ Abascal, Lina. "How Bloghouse's Sweaty, Neon Reign United the Internet". Wired. ISSN   1059-1028 . Retrieved 2025-07-02.
  23. ↑ "The 40 Greatest Blog Rock Albums Of All Time". UPROXX. 2023-08-16. Retrieved 2025-07-03.
  24. ↑ "The Blog Era Was Perfectly Imperfect". Complex. Retrieved 2025-07-09.
  25. ↑ Chakrabarti, Tuhin (2019-12-28). "The apathy of post-internet generations and VAPORWAVE". The Stony Brook Press. Retrieved 2025-06-30.
  26. ↑ Scherer, James (2016-10-26). "Great artists steal: An interview with Neon Indian's Alan Palomo -". Smile Politely — Champaign-Urbana's Culture Magazine. Retrieved 2025-06-30.
  27. ↑ "The Last Relevant Blogger". VICE. 2015-01-30. Retrieved 2025-06-30.
  28. ↑ Snapes, Laura (February 19, 2020). "Pop star, producer or pariah? The conflicted brilliance of Grimes". The Guardian .
  29. ↑ Krebs, Nolan. "Grimes rises beyond post-Internet label". The North Wind. Retrieved 2025-06-30.
  30. ↑ "2010s: Against The Post-Internet". Tiny Mix Tapes. Retrieved 2025-06-30.
  31. ↑ Radio, N. T. S. "In Focus: James Ferraro 9th May 2025". NTS Radio. Retrieved 2025-06-30.
  32. ↑ "The disappearance of the internet". SCHIRN KUNSTHALLE FRANKFURT. Retrieved 2025-06-30.
  33. ↑ "Inside James Ferraro's Elevator at MoMA PS1". The FADER. Retrieved 2025-06-30.
  34. ↑ Blanning, Lisa (April 2019). "Listening today: James Ferraro's Far Side Virtual and the fate of functional sounds". Organised Sound. 24 (1): 36–44. doi:10.1017/S1355771818000375 (inactive 16 January 2026). Retrieved 30 June 2025.{{cite journal}}: CS1 maint: DOI inactive as of January 2026 (link)
  35. ↑ Cheung, Terence (2017). Human Excess: Aesthetics of Post-Internet Electronic Music (PDF). Proceedings of the International Computer Music Conference (ICMC). Retrieved 30 June 2025.
  36. ↑ "Oneohtrix Point Never's 'Age Of' Is As Unbound As Its Title » PopMatters". www.popmatters.com. 2018-07-13. Retrieved 2025-06-30.
  37. ↑ Dazed (2013-08-06). "Andy Warhol's great grandchildren". Dazed. Retrieved 2026-02-12.
  38. ↑ "The Singularity You Can Hear: Post-Internet Waves in Popular Music | Highbrow Magazine". www.highbrowmagazine.com. Retrieved 2025-06-30.
  39. ↑ Archived at Ghostarchive and the Wayback Machine : Sticky Drama - Music Video. YouTube .
  40. ↑ Domanick, Andrea (2015-12-17). "The Noisey Editors' Best and Worst of 2015: Andrea Domanick". VICE. Retrieved 2025-06-30.
  41. ↑ "James Ferraro Talks Phases, Fads and Fidget Spinners". www.sleek-mag.com. Retrieved 2025-06-30.
  42. ↑ Simonini, Ross (2014-03-28). "Listen Up | An Artist Who Brings Background Music to the Forefront". T Magazine. Retrieved 2026-02-12.
  43. ↑ Masters, Marc. "James Ferraro: Sushi". Pitchfork. Retrieved 2025-06-30.
  44. ↑ "How Hippos In Tanks Ushered Avant-Garde Music Into The 21st Century". The FADER. Retrieved 2025-06-30.
  45. 1 2 3 "Creamcake looks back on a decade of partying in this exclusive playlist". Crack Magazine. Retrieved 2025-06-30.
  46. ↑ Dazed (2024-03-28). "How the SoundCloud rapper became the internet's most hated aesthetic". Dazed. Retrieved 2025-06-30.
  47. ↑ Dunham, Ian (2022). "SoundCloud Rap: An investigation of community and consumption models of internet practices". Critical Studies in Media Communication. 39 (1): 1–20. doi:10.1080/15295036.2021.2015537.
  48. ↑ Gamble, Steven (2024). "Internet Rap and Generational Tensions in Hip Hop's SoundCloud Era". Digital Flows: Online Hip Hop Music and Culture. Oxford University Press.
  49. ↑ Bakare, Lanre (2014-08-15). "Yung Lean review – high energy meets low culture in sweaty hip-hop set". The Guardian. ISSN   0261-3077 . Retrieved 2025-06-30.
  50. ↑ "Yung Lean, Lil Yachty and Sickly-Sweet Rap Music". Pelican. 2017-07-26. Retrieved 2025-06-30.
  51. ↑ Enis, Eli (January 19, 2024). "Sematary: Hear $uicideboy$ tourmate go goth-punk on new song "Wendigo"". Revolver . Retrieved September 18, 2024.
  52. ↑ "Becoming the Fool: (A Hyper Online Take) On Bladee's Beauty and Blind Faith Network Spirituality – The Greene Street Review". 2022-05-09. Retrieved 2025-06-30.
  53. ↑ Sundaresan, Mano; Angel, H. D.; Angel, Mano Sundaresan and H. D. (2022-03-15). "Bells & Whistles, Vol. 9: Ends and beginnings". No Bells. Retrieved 2025-09-16.
  54. ↑ "Draincore is in my DNA". Public Pressure. Retrieved 2025-09-20.
  55. ↑ Sundaresan, Mano; Angel, H. D.; Angel, Mano Sundaresan and H. D. (2022-03-15). "Bells & Whistles, Vol. 9: Ends and beginnings". No Bells. Retrieved 2025-09-16.
  56. ↑ Digicore the Underground Sound: Scenes. YouTube. SoundCloud. January 27, 2021. Retrieved 19 September 2025.
  57. ↑ "Being Bladee, a rare interview with the Drain Gang CEO". The FADER. Retrieved 2025-09-28.
  58. ↑ "Microsoft launches new AI projects with Bladee, Yaeji, Cuco, and more". The FADER. Retrieved 2025-06-30.
  59. ↑ "Exploring art's next frontier". Microsoft Unlocked. Retrieved 2025-06-30.
  60. ↑ "JPEGMAFIA is at the mercy of the music industry". District Magazine. 2020-10-05. Retrieved 2025-06-30.
  61. ↑ "JPEGMAFIA Nails the Chaos of Post-Internet Society in 'All My Heroes Are Cornballs'". Highsnobiety. 2019-09-16. Retrieved 2025-06-30.
  62. ↑ Barlas, Jon (2021-12-30). "Our Generation Awards: OGM's Top 10 rising stars of 2022". Our Generation Music. Retrieved 2025-06-30.
  63. ↑ "Edward Skeletrix's compelling Museum Music gives conceptual art a bad rap". The FADER. Retrieved 2026-02-14.
  64. ↑ "What is Skeletrix Island? Creepy AI-generated videos take over TikTok". Yahoo Life. 2023-11-16. Retrieved 2026-02-14.
  65. 1 2 Lindert, Hattie (2024-03-14). "The Future of Underground Rap Is Extremely Online". Rolling Stone. Retrieved 2026-02-12.
  66. ↑ Snerburne, Phillip (7 October 2021). "25 Microgenres That (Briefly) Defined the Last 25 Years". Pitchfork. Retrieved 25 April 2024.
  67. ↑ Snerburne, Phillip (7 October 2021). "25 Microgenres That (Briefly) Defined the Last 25 Years". Pitchfork. Retrieved 25 April 2024.
  68. 1 2 Press-Reynolds, Kieran. "The Femcels: I Have to Get Hotter". Pitchfork. Retrieved 2026-02-06.
  69. 1 2 3 Collen, Dan (10 November 2023). ""Incelcore" Artists Whose Music Celebrates Mass Shootings On Canadian Tour". Canadian Anti-Hate Network . Retrieved 2026-02-06.
  70. ↑ Banks, Gurgeh (22 September 2021). "Incel Punks Fuck Off: When a Far-Right Internet Subculture Comes to Town". DSRW. Archived from the original on 2021-11-28. Retrieved 2026-02-06.
  71. ↑ "Negative XP – Atlanta Antifascists". 2022-03-30. Retrieved 2026-02-07.
  72. 1 2 3 4 Press-Reynolds, Kieran (2025-08-27). "Inside the Online "Indie" Music Boom". Pitchfork. Retrieved 2026-02-12.
  73. ↑ Nesbitt, Huw (2015-07-14). "SOPHIE's Lemonade ad for McDonald's: flagrant consumerism or the future of pop?". The Guardian. ISSN   0261-3077 . Retrieved 2026-02-12.
  74. ↑ Macellari, Augustin. "The Warm Physicality of Rough Music | Feature". Crack Magazine. Retrieved 2026-02-12.
  75. ↑ Garvey, Meaghan (2015-05-26). "PC Music, Hipster Runoff and the Year of the Internet Hangover". Pitchfork. Retrieved 2026-02-12.
  76. ↑ Staff, Aiyush Pachnanda and VICE (2022-06-16). "We Asked PC Music Fans: Is Hyperpop Dead?". VICE. Retrieved 2026-02-12.
  77. ↑ Pareles, Jon (2026-02-10). "Inside Danny L Harle's Synthetic Universe". The New York Times. ISSN   0362-4331 . Retrieved 2026-02-12.
  78. ↑ Musgravepublished, Jon (2024-11-29). ""Its sounds, and the producers responsible for them, have inspired many big developments in mainstream music": Exploding the vibrant components of hyperpop". MusicRadar. Retrieved 2025-07-25.
  79. ↑ Soit, Honi (2022-03-27). "Post-Internet music and the rise of Hyperpop - Honi Soit". honisoit.com. Retrieved 2025-07-25.
  80. ↑ Gwee, Karen (2021-07-05). "Cayenne: Sobs frontwoman makes post-internet pop in sweet and spicy solo project". NME. Retrieved 2026-02-12.
  81. ↑ Dazed (2020-04-20). "100 gecs are ready for the age of the virtual music festival". Dazed. Retrieved 2026-02-12.
  82. ↑ Mendez II, Moises (January 20, 2023). "What to Know About Corecore, the Latest Aesthetic Taking Over TikTok". Time . Archived from the original on December 28, 2024. Retrieved April 30, 2023.
  83. 1 2 Townsend, Chance (January 14, 2023). "Explaining corecore: How TikTok's newest trend may be a genuine Gen-Z art form". Mashable . Archived from the original on January 27, 2025. Retrieved April 30, 2023.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.