Vaporwave, pandering, and emotional connection in a dead medium
If you haven’t listened to vaporwave yet, please do, in fact start with this song (sup - Waterfront Dining) because it’s what I want to talk about.
Alright, I hope you liked it, cause I love it and what it tells me. Let’s take a minute and talk vaporwave and mostly what it means to me.
Vaporwave, to me, is a form of art built on top of what wasn’t supposed to last.
Think of it this way, take a Chevrolet Chevette and look at that thing. It was supposed to be cheap and disposable, disposed of when time came to upgrade or replace, unremembered and unremarkable. Nothing about it was innovative, it sat on the lot to provide transportation at a cheap cost and was (to be generous) good enough. Some people liked them and I’m sure there’s some people that absolutely love these, but most bought them, ran them into the ground, and sold them to some teen for less than two grand. But find a pristine one, and you’ll stop and say “What is this? This can’t be Chevette, it’s too nice, too cared for.” But it is and it’ll show you what they saw when it came out, a nice (ish) vehicle for very little money relatively.
This is what vaporwave artificially does, but with music.
Vaporwave twists, chops, screws, and rearranges everything in a song from twenty to forty years ago to bring you something new and more modern but still packaged in a classic wrapper and still giving you the vibe that people from that era would’ve felt when it came out.
While the car analogy mostly works, vaporwave takes one more step and that is to add depth. Music from those times (specifically those chosen for vaporwave remixes) were vapid, surface level, and produced to make money. Simple songs about love, loss, and sometimes money. Think the modern country music scene, disingenuous, repetitive, and bland.
We’ll take sup as our first example of making a song modern yet still hanging out in its era. This one is simple, it’s You’re the one (You’re my Number One) by Katie Kissoon from 1983, but slowed down and chopped of all it’s substance. It’s another thing vaporwave loves to do, accentuate what the original feeling of the era was, in this case vapidness and a lack of depth. Although the original had other lyrics, it mimicked the eighties sensationalism and commercialism to a T. So what does Waterfront Dining do? Rip out the rest of the lyrics and put the chorus on display as the main point of the song. It also slows it down and halves the length. Bring the beat down and focusing on every piece of it brings a much deeper meaning to the song rather then the original’s fast beat which just says get this intro the hell out of the way so we can stick the lyrics down people’s throats. Listen to it again and see that it mimics life and our thoughts or simply how we feel or rather want to.
It starts off easy then delves into the meat of the beat, it’s all very exciting which life is but we have to settle down and have expectations. That’s where the base line comes in, it’s familiar and we can tell that the lyrics are coming and life should be settling in, we know what to expect (or we think we do) and we get ready. What could happen but her, she comes into your life, the lyric explodes out and we can only see her and we can only think about her
You’re the one, you’re the only one
The beat is exciting and bashing around instantly, but it eventually settles. It’s still exciting and she’s the only one on your mind. Whether that’s true or not depends on you. But it eases out of sound gently and you arrive at the next track which stays on theme.
I would say that’s enough of my rambling though, but I’d like to talk about the next track some time, bottles on the wall, which continues to show the immense duality this album can have depending on your mood and how you look at it. It can be a surprise take on life, very upbeat and feel good, or it can show the wretched side of people we’d like to think we could never become, but showing the exact steps of how we could, if we put in the effort.














