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Vaporwave

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Not to be confused with Vaporware.

Vaporwave
EtymologyVaporware
Stylistic origins
Cultural originsEarly 2010s, cyberculture[9][4]
Typical instruments
Derivative forms
Subgenres
Other topics

Vaporwave is a microgenre of electronic music and an Internet meme that emerged in the early 2010s.[16] The style is defined by its appropriation of 1980s and 1990s mood music styles such as smooth jazz, elevator music, R&B, and lounge music, typically sampling or manipulating tracks via chopped and screwed techniques and other effects. Its surrounding subculture is sometimes associated with an ambiguous or satirical take on consumer capitalism and popular culture, and tends to be characterized by a nostalgic or surrealist engagement with the popular entertainment, technology and advertising of previous decades. It also incorporates early Internet imagery, late 1990s web design, glitch art, anime, 3D-rendered objects, and cyberpunk tropes in its cover artwork and music videos.

Originating as an ironic variant of chillwave,[17] vaporwave was loosely derived from the experimental tendencies of the mid-2000s hypnagogic pop scene. The style was pioneered by producers such as James Ferraro, Daniel Lopatin, and Ramona Xavier under various pseudonyms.[18] A circle of online producers were particularly inspired by Xavier's Floral Shoppe (2011), which established a blueprint for the genre. The movement subsequently built an audience on sites Last.fm, Reddit, and 4chan while a flood of new acts, many operating under online pseudonyms, turned to Bandcamp for distribution. Following the wider exposure of vaporwave in 2012, a wealth of subgenres and offshoots emerged, such as future funk, mallsoft, and hardvapour.

Characteristics

Building on the experimental and ironic tendencies of genres such as chillwave and hypnagogic pop,[8] vaporwave is an Internet-based microgenre that draws primarily on musical and cultural sources from the 1980s and early 1990s, while also being associated with an ambiguous or satirical take on consumer capitalism and technoculture.[3] Early incarnations of vaporwave relied on the sampling of sources such as smooth jazz, retro elevator music, R&B, lounge music, and dance music from the 1980s and 1990s,[6] with the music made of "brief, cut-up sketches", cleanly produced, and composed almost entirely from samples,[3] along with the application of slowed-down chopped and screwed techniques, looping, and other effects.[5][3][10] Critic Adam Trainer notes the style's predilection for "music made less for enjoyment than for the regulation of mood," such as corporate stock music for infomercials and product demonstrations.[19] Writer Adam Harper described the typical vaporwave track as "a wholly synthesised or heavily processed chunk of corporate mood music, bright and earnest or slow and sultry, often beautiful, either looped out of sync and beyond the point of functionality."[3]

...imagine taking bits of 80's Muzak, late-night infomercials, smooth jazz, and that tinny tune receptionists play when they put you on hold, then chopping that up, pitching it down, and scrambling it to the point where you've got saxophone goo dripping out of a cheap plastic valve. That's vaporwave.

—Michelle Lhooq of Vice Media, 2014[9]

The style's visual aesthetic (often stylized as "ＡＥＳＴＨＥＴＩＣＳ", with fullwidth characters)[20] incorporates early Internet imagery, late 1990s web design, glitch art, and cyberpunk tropes,[9] as well as anime, Greco-Roman statues, and 3D-rendered objects.[21] VHS degradation is another common effect seen in vaporwave art. Generally, artists limit their source material between Japan's economic flourishment in the 1980s and the September 11 attacks or dot-com bubble burst of 2001 (some albums, including Floral Shoppe, depict the intact Twin Towers on their covers).[22]

History

Origins and early scene

See also: Chillwave, Hypnagogic pop, and Seapunk

Vaporwave originated on the Internet as an ironic variant of chillwave,[17] drawing on the retro style's "analog nostalgia"[6] as well as the work of hypnagogic pop artists such as Ariel Pink and James Ferraro, who were also characterized by the invocation of retro popular culture.[23] "Hypnagogic pop" was coined by Wire journalist David Keenan in August 2009, only a few weeks after "chillwave", to describe a host of new underground acts who were inspired by the memories of their childhoods in the 1980s. The two terms were often used interchangeably with each other and "vaporwave".[24] According to Vice, vaporwave was one of several short-lived internet genres to emerge during the era: "there was chillwave, witch house, seapunk, shitgaze, vaporwave, cloud rap, and countless other niche sounds with gimmicky names. As soon as one microgenre flamed out, another would take its place, and with it a whole new set of beats, buzz artists, and fashion trends."[25] Ash Becks of The Essential notes that sites like Pitchfork and Drowned in Sound "seemingly refused to touch vaporwave throughout the genre’s two-year 'peak'."[12]

"A1" from Eccojams Vol. 1 (2010)
A track from Daniel Lopatin's Eccojams, an album which pitch-shifts and distorts 1980s pop music. The sample in this excerpt is "Africa" by Toto.[26]
Problems playing this file? See media help.

The template for vaporwave came from the albums Chuck Person's Eccojams Vol. 1 (Daniel Lopatin as "Chuck Person", August 2010) and Far Side Virtual (Ferraro, October 2011).[27][12][22] Eccojams featured chopped and screwed variations on popular 1980s pop songs with album artwork that resembled the packaging of the 1992 video game Ecco the Dolphin,[5] while Far Side Virtual drew primarily on "the grainy and bombastic beeps" of 2000s media such as Skype and the Nintendo Wii.[22] According to Stereogum's Miles Bowe, vaporwave was a fusion between Lopatin's "chopped and screwed plunderphonics" and the "nihilistic easy-listening of James Ferraro’s Muzak-hellscapes".[8] A 2013 post on a music blog presented those albums, along with Skeleton's Holograms (November 2010), as "proto vaporwave".[28]

The cover artwork for Floral Shoppe (2011) by Macintosh Plus features elements that would come to exemplify the vaporwave aesthetic, including retro computer imagery, Japanese lettering, and pixelated graphics.[15]

Inspired by Lopatin's ideas, suburban teens and young adults used Eccojams as a starting point for what would become vaporwave[5] while drawing on the postmodern, surreal themes explored by Far Side Virtual and Eccojams.[29] Vaporwave artists were "mysterious and often nameless entities that lurk the internet," academic Adam Harper noted, "often behind a pseudo-corporate name or web façade, and whose music is typically free to download through Mediafire, Last FM, Soundcloud or Bandcamp."[3] According to Metallic Ghosts (Chaz Allen), the original vaporwave scene came out of an online circle formulated on the site Turntable.fm. This circle included individuals known as Internet Club (Robin Burnett), Veracom, Luxury Elite, Infinite Frequencies, Transmuteo (Jonathan Dean), Coolmemoryz, and Prismcorp. Following the release of Ramona Xavier's New Dreams Ltd. (credited to "Laserdisc Visions", July 2011), a number of producers took inspiration from the style, and Burnett used "vaporwave" to tie the disparate group together.[30] Xavier's Floral Shoppe (credited to "Macintosh Plus", December 2011) was the first album to be properly considered of the genre, containing all of the style's core elements.[15]

Popularity and further developments

Vaporwave found wider appeal over the middle of 2012, building an audience on sites like Last.fm, Reddit, and 4chan.[30] After a flood of new acts turned to Bandcamp for distribution, various online music publications such as Tiny Mix Tapes, Dummy and Sputnikmusic began covering the movement.[12] In September 2012, Blank Banshee released his debut album, Blank Banshee 0, which reflected a trend of vaporwave producers who were more influenced by trap music and less concerned with conveying political undertones.[15] Bandwagon called it a "progressive record" that, along with Floral Shoppe, "signaled the end of the first wave of sample-heavy music, and ... reconfigured what it means to make vaporwave music."[5]

Subgenres with names like "vaportrap," "vaporgoth," and "vapornoise" have soared to subcultural popularity, only to rapidly twist into new forms that are further removed from the style's original features. This rapid proliferation of subgenres has itself become part of the "vaporwave" punchline, gesturing at the absurdity of the genre itself even as it sees artists using it as a springboard for innovation.

—Rob Arcand, Vice[13]

Following the initial wave, a wealth of new terms for subgenres were invented, some of which deliberately gesture at the genre's non-seriousness. These include future funk, which expands upon the disco/house elements of the genre and mallsoft, which magnifies the lounge influences.[13] Future funk takes a more energetic approach than vaporwave. It incorporates elements of French house, albeit produced in the same sample based manner as vaporwave.[31] Dylan Kilby of Sunbleach Media stated that "[t]he origins of mallsoft lie in the earliest explorations of vaporwave, where the concept of malls as large, soulless spaces of consumerism were evoked in some practitioner's utilization of vaporwave as a means for exploring the social ramifications of capitalism and globalization", and said that such an approach "has largely petered out in the last few years in favor of pure sonic exploration/expression".[32]

In 2015, Rolling Stone published a list that included vaporwave act 2814 as one of "10 artists you need to know", citing their album Atarashii Hi no Tanjō (新しい日の誕生, "Birth of a New Day").[33] That same year, the album I'll Try Living Like This by Death's Dynamic Shroud.wmv was featured at number fifteen on the Fact list "The 50 Best Albums of 2015",[34] and on the same day MTV International introduced a rebrand heavily inspired by vaporwave and seapunk,[35] Tumblr launched a GIF viewer named Tumblr TV, with an explicitly MTV-styled visual spin.[36] Hip-hop artist Drake's single "Hotline Bling", released on July 31, also became popular with vaporwave producers, inspiring both humorous and serious remixes of the tune.[5]

Hardvapour emerged in late 2015[37] as a reimagination of the genre with darker themes, faster tempos, and heavier sounds.[13] It is influenced by speedcore and gabber, and is viewed as oppositional to the vaporwave aesthetic.[37] According to Vice's Rob Arcand, the genre lies somewhere between vaporwave and distroid, writing that hardvapour uses similar music software tools "not out of any special fixation with them, but simply because they're now the cheapest and most accessible tools around."[13]

Simpsonwave was a YouTube phenomenon made popular by the user Lucien Hughes.[38][39][20][40] It mainly consists of videos with scenes from the American animated television series The Simpsons set to various vaporwave songs. Clips are often put together out of context and edited with VHS-esque distortion effects and surreal visuals, giving them a "hallucinatory and transportive" feel.[41]

Fashwave (a portmanteau of "fascist" and "synthwave"[42]), is a largely instrumental subgenre of vaporwave and synthwave[14] that originated on YouTube circa 2015.[43] With political track titles and occasional soundbites,[14] the genre combines Nazi symbolism with the visuals associated with vaporwave and synthwave.[44] In 2017, Vice's Penn Bullock and Eli Penn reported on the phenomenon of self-identified fascists and alt-right members appropriating vaporwave music and aesthetics, describing fashwave as "the first fascist music that is easy enough on the ears to have mainstream appeal".[14] One offshoot, Trumpwave, focuses on Donald Trump. Vice writes that Trumpwave exploits vaporwave's perceived ambivalence towards the corporate culture it engages with, allowing it to recast Trump as "the modern-day inheritor of the mythologized 80s, a decade that is taken to stand for racial purity and unleashed capitalism".[14] The Guardian's Michael Hann notes that the movement is not unprecedented; similar offshoots occurred in punk rock in the 1980s and black metal in the 1990s. Like those genres, Hann believes there is little chance fashwave will ever "impinge on the mainstream".[42]

Critical interpretations

It initiates a lot of important conversations about power and money in the industry. Or... everything just sounds good slowed down with reverb?

—Aaran David Ross of Gatekeeper[45]

Vaporwave was one of several short-lived microgenres spawned in the early 2010s.[46] Pitchfork contributor Jonny Coleman defines vaporwave as residing in "the uncanny genre valley" that lies "between a real genre that sounds fake and a fake genre that could be real."[17] Also from Pitchfork, Patrick St. Michel calls vaporwave a "niche corner of Internet music populated by Westerners goofing around with Japanese music, samples, and language".[47] Michelle Lhooq of Vice wrote that "according to commenters in various music forums, it's 'chillwave for Marxists,' 'post-elevator music,' "corporate smooth jazz Windows 95 pop". She explained that "parodying commercial taste isn't exactly the goal. Vaporwave doesn't just recreate corporate lounge music – it plumps it up into something sexier and more synthetic."[9]

Hypnagogic pop and vaporwave both like to manipulate their material to defamiliarise it and give it a sense of the uncanny [...and...] have an eerie tendency now and again to turn trash, something shallow and determinedly throw away, into something sacred or mystical.

—Adam Harper[3]

Music writer Adam Harper of Dummy Mag describes vaporwave as having an ambiguous or accelerationist relationship to consumer capitalism, writing that "these musicians can be read as sarcastic anti-capitalists revealing the lies and slippages of modern techno-culture and its representations, or as its willing facilitators, shivering with delight upon each new wave of delicious sound." He noted that the name itself was both a nod to vaporware, a name for products that are introduced but never released, and the idea of libidinal energy being subjected to relentless sublimation under capitalism.[3] Music educator Grafton Tanner wrote, "vaporwave is one artistic style that seeks to rearrange our relationship with electronic media by forcing us to recognize the unfamiliarity of ubiquitous technology ... vaporwave is the music of 'non-times' and 'non-places' because it is sceptical of what consumer culture has done to time and space".[48]

Speaking on the adoption of a vaporwave and seapunk-inspired rebrand by MTV International, Jordan Pearson of Motherboard, Vice's technology website, noted how "the cynical impulse that animated vaporwave and its associated Tumblr-based aesthetics is co-opted and erased on both sides—where its source material originates and where it lives".[36] Critic Simon Reynolds characterized Daniel Lopatin's Chuck Person project as "relat[ing] to cultural memory and the buried utopianism within capitalist commodities, especially those related to consumer technology in the computing and audio/video entertainment area".[49] Xavier described her 2012 album "Contemporary Sapporo" (札幌コンテンポラリー) as "a brief glimpse into the new possibilities of international communication" and "a parody of American hypercontextualization of e-Asia circa 1995".[50]

The Brooklyn Rail's Scott Beauchamp proposes a parallel between punk's "No Future" stance and its active "raw energy of dissatisfaction" deriving from the historical lineage of Dada dystopia, and vaporwave's preoccupation with "political failure and social anomie".[44] Vaporwave's stance is more focused on loss, the notion of lassitude, and passive acquiescence.[44] Beauchamp writes that "vaporwave was the first musical genre to live its entire life from birth to death completely online".[44] Cultural theorist Dominic Pettman, professor of Culture and Media at the New School for Social Research, notes that the internet causes users to have micro-experiences of "hypermodulation".[51] Beauchamp suggests that expressions of hypermodulation inspired both the development and downfall of vaporwave.[44]

Notable artists

See also

References

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  2. ^ Tanner 2016, p. 3.
  3. ^ a b c d e f g h i Harper, Adam (December 7, 2012). "Comment: Vaporwave and the pop-art of the virtual plaza". Dummy. Archived from the original on April 1, 2015. Retrieved February 8, 2014. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  4. ^ a b c Harper, Adam (December 5, 2013). "Pattern Recognition Vol. 8.5: The Year in Vaporwave". Electronic Beats. Archived from the original on February 23, 2014. Retrieved February 8, 2014.
  5. ^ a b c d e f g h i j Han, Sean Francis; Peters, Daniel (May 18, 2016). "Vaporwave: subversive dream music for the post-Internet age". Bandwagon.asia. Archived from the original on December 30, 2016. Retrieved January 7, 2017. {{cite news}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  6. ^ a b c d Schilling, Dave (September 18, 2015). "Songs of the Week: Skylar Spence, Vampire Weekend's Chris Baio, and the Return of Chillwave". Grantland. Archived from the original on November 19, 2015. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  7. ^ Aux, Staff. "AUX". Aux. Aux Music Network. Archived from the original on September 23, 2015. Retrieved January 2, 2016. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  8. ^ a b c Bowe, Miles. "Band To Watch: Saint Pepsi". Stereogum. Archived from the original on July 21, 2016. Retrieved June 26, 2016. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  9. ^ a b c d e f g h Lhooq, Michelle (December 27, 2013). "Is Vaporwave The Next Seapunk?". Vice. Archived from the original on April 26, 2014. Retrieved April 10, 2014. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  10. ^ a b Gahil, Leor. "Infinity Frequencies: Computer Death". Chicago Reader. Archived from the original on April 6, 2017. Retrieved April 6, 2017. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  11. ^ Trainer 2016, p. 419. sfn error: multiple targets (2×): CITEREFTrainer2016 (help)
  12. ^ a b c d Beks, Ash. "Vaporwave is not dead". The Essential. The Essential. Archived from the original on December 10, 2015. Retrieved December 8, 2015. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
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  16. ^ For early 2010s microgenre of electronic music, see Tanner 2016, p. 3. For Internet meme, see:
  17. ^ a b c Coleman, Jonny (May 1, 2015). "Quiz: Is This A Real Genre". Pitchfork. Archived from the original on July 30, 2017. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  18. ^ Britton, Luke Morgan (September 26, 2016). "Music Genres Are A Joke That You're Not In On". Vice. Archived from the original on March 31, 2017. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  19. ^ Trainer, Adam (2016). "From Hypnagogia to Distroid: Postironic Musical Renderings of Personal Memory". The Oxford Handbook of Music and Virtuality. Oxford University Press. ISBN 978-0-19-932128-5. Archived from the original on March 31, 2017. {{cite book}}: Invalid |ref=harv (help); Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
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  21. ^ Jurgens, Genista (July 29, 2016). "Why Won't Vaporwave Die?". Format. Archived from the original on January 3, 2018. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  22. ^ a b c Colton, Stefan (April 15, 2017). "Love in the Time of VHS: Making Sense of Vaporwave". The Poltiic.
  23. ^ Trainer 2016, p. 416. sfn error: multiple targets (2×): CITEREFTrainer2016 (help)
  24. ^ Trainer 2016, p. 409. sfn error: multiple targets (2×): CITEREFTrainer2016 (help)
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  28. ^ Trainer 2016, p. 420. sfn error: multiple targets (2×): CITEREFTrainer2016 (help)
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  32. ^ Kilby, Dylan (August 7, 2016). "Disconscious - Hologram Plaza - Sunbleach". Sunbleach Media. Archived from the original on September 1, 2016. Retrieved August 7, 2016. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  33. ^ a b "2814". Rolling Stone. 10 New Artists You Need to Know. November 25, 2015. Archived from the original on July 3, 2016. Retrieved June 27, 2016. The next-level gambit paid off with second album 新しい日の誕生, an unparalleled success within a small, passionate pocket of the internet. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  34. ^ "The 50 Best Albums of 2015". Fact. The Vinyl Factory. December 9, 2015. Archived from the original on January 30, 2016. Retrieved December 11, 2015. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
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  49. ^ Reynolds 2011.
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Bibliography

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