In the late 2000s, artists like Ke$ha and duo 3!OH3, were on the rise with their heavy, electronic dance music. 808s, a booming bass sound that gained traction in mainstream music, dominated their tracks.
But when British producer and songwriter, SOPHIE, released her single BIPP in 2013, she only exaggerated a style of music that had started gaining global attention.
By harnessing electronic sound and creating music that sounded texturized, the young artist created something never heard before––pushing the boundaries on what pop could be.
While once predominantly influenced by male musicians, the genre of hyperpop and electronic dance has become somewhat of an even playing field.
With the rise of popular and up-and-coming artists from this scene, electronic-pop has transformed into a production of music that accepts femininity, while in the same breath, rejects societal norms.
Charli XCX, who’d go on to have her own significant moment in pop culture, released her fully produced 2016 EP, Vroom Vroom, with the help of SOPHIE.
Now recognizable through the recent cultural shifts, the developing genre continued growing following SOPHIE’s 2018 release of OIL OF EVERY PEARLS UN-INSIDES.
From then on, pop artists suddenly played around with their signature sound and took on the electronic style popularized by the female artist.
However, hyperpop didn’t become nearly as mainstream as it did in 2020.
The COVID-19 pandemic brought isolation along with it, and people had to stay at home and find creative ways to channel their feelings into something.
In this reflection of having lost the art of human connection, there was more time to be nostalgic for the past.
And what better condition for hyperpop to really kick off?
The nature of hyperpop, a glitchy-distorted textured EDM, reminded people of the 2000s, especially Generation Z, as they reminisced on a past they either missed or were too young to enjoy.
MySpace profiles, old VHS tapes and CDs all had the same quality to them which caused them to be ‘imperfect.’ Hyperpop reinvented that maximalist aesthetic through its synth and eclectic sound.
Though they had been producing music for years before, artists like Arca, Underscores, Kim Petras and Slayyyter, started moving to the forefront.
Soon enough, newer artists entered the stage like Jane Remover, Frost Children, Tiffany Day and Ninajirachi, as they produced their own art through this lively interpretation of music.
The excitement around the genre was amplified when Charli XCX released Brat in 2024.
Not only did it serve as a cultural shift, the album, filled with autotune and themes of messy authenticity, introduced more listeners to hyper/electro-pop.
Songs of female friendship and insecurity resonated with listeners as Charli XCX portrayed a popstar’s vulnerability over perfection. As a global phenomenon, Brat served to be a testament to how the bold music style built community.
In years following, the genre continues growing. Just last year, Ninajirachi released I Love My Computer, with mentions of older devices like iPods, and the signature EDM sound.
The distorted or ‘out-of-the-norm’ nature of hyperpop, is largely equated with queerness. Like drag, which aims to magnify and play on gender roles and fashion, the genre does just that.
SOPHIE herself was a trans woman, as are many of the hyperpop artists commanding the scene now.
The genre stands out as so appealing to trans and queer female artists because of what it represents: a creative, original, “unconventional” and loud way to represent your identity.
And while SOPHIE tragically passed away in 2021, her impact is still evident within the artistry of current hyperpop musicians.
In a historically male-dominated industry, it’s a refreshing change to see women and queer artists leading a culturally defining genre.
