#cim401.1

In the process of researching a topic, sometimes a random thought will come into my head. Often, they are flights of fancy, a random rabbit hole that will distract from my work. Alongside this though, they occasionally add some extra context or a new way of understanding that I keep in the back of my mind while I work. This is one such flight of fancy. 

Jean Michael Basquiat is an African American artist who rose to popularity at the forefront of the neo-expressionism movement. 100 gecs are a music duo who rose to popularity at the forefront of the hyperpop movement. 

Image 1: Basquiat painting In Switzerland, 1983

Image 2: 100 gecs on stage in Wisconsin, 2020

Neo-expressionism was an art movement that arose at the start of the 20th century, depicting real and recognisable subjects (like heads and bodies) ways that rejected traditional standards of composition and design, were brittle in emotional tone – reflecting the world in which they were created, and an inherent tension between fun playful presentation of objects with a sense of inner disturbance, tension, ambiguity and alienation. (Britannica, 2019) 

Hyperpop is a genre that arose in the early parts of the 21st century, using real and recognisable forms (pop hooks, 808 drums, love songs) in ways that reject the traditional standards of composition and production, are extreme in emotional tone – reflecting the world in which they were created, and an inherent tension between fun playful presentation of lyrics with a sense of disturbance, tension, ambiguity and alienation. Or at least I think it is. Listening to the music I hear so many things I recognise and am familiar with like samples from well-known and niche TV shows and video games. I also hear songs that I understand and resonate with, more so than in other genres. I hear songs about love, loss, victory, rock bottom, drugs, sobriety, partying, crying, friends and isolation. I hear something that I can resonate with. Obviously while the genre is rooted in pop the production and construction of the songs is far from any ‘normal’ pop I have come across. A reviewer for pitchfork described the music as genre blending, a stacking of genres and sounds at their peak and extreme in it relatability, nostalgia and hookiness. (Patel, 2020). The nature of this taking elements from elsewhere at their peak results in a sound that in some way is always peaking, even in the quiet moments the auto tune or 808s are usually there or there is an unnaturally fast rhythm in some percussion which is reflective of the world we live in now. Content is getting shorter, tik tok and Facebook memes are the primary way we not only get entertainment but learn about more longform entertainment and so every second of a hyperpop track can in theory be in that small clip because it’s all so full of energy. The inherent tension is the most interesting part for me, while the production and musicality and performance and general feeling of the songs is often a party at the end of the world, the lyrics and stories being told are often at the extremes of emotion, a place I think all can acknowledge is not a healthy place to be all the time. While the songs feel light and fun and funny some of the lyrics are so infused with passion or anger or sadness that the two can almost exist in a harmony, one extreme balancing and highlighting the other. 

Looking specifically at Basquiat I learned that he took much inspiration from the things he was fascinated with as a child, comic books, textbooks, walking around museums, all of which he carried with him mentally and physically to use as reference for his work. In one video of the artist his work was describes as a cutting up and remixing of materials, informed by his current circumstance. (Saggese, 2019)

100 gecs described themselves in an interview as archivist fans, (Patel, 2020) fans who take all the pop culture and references that they like and cut them up and put them in their music. From the genre shift to hardcore at the end of ‘Money Machine’ to the use of a guitar riff from another popular tik tok song (Scotty Doesn’t Know – Lustara) the sounds and inspirations heard in a single 100 gecs track tells a story about the artists and their experiences. 

In closing this thought experiment, seeing hyperpop as the neo-expressionism of the 2020s, I can’t help but look at what happened to neo-expressionism after its rise in popularity. I found a newspaper article from 1986 declaring the death of neo-expressionism. Essentially what it came down to was an oversaturation of the market and many practitioners were seen to be trying to cash in on the popular media of the day. (Brenson, 1986) I think that the same worries could be held about hyperpop today. Now more than ever we see major labels and corporations trying to cash in on the hot sound of the moment and as a result many young producers are trying to make music to get on the right playlist and get signed. At the same time there are producers who are just making the music they like and trying to find communities of people who like what they do. Basquiat once said “I don’t think about art when I’m working I try to think about life.” (Saggese, 2019) and Laura from 100 gecs said “What we try to do is be honest, give ourselves to the thing that we're doing and not feel like we have a persona as much as just being ourselves.” (Moen, 2020) 

While the same dangers of commercialisation and oversaturation exist, I choose to remain hopeful. That while in the current, late-stage capitalist, internet age, commercialisation is unavoidable, but that doesn’t discredit the art that is being made because it is a honest reflection of the artist’s lives. 

References:

Britannica, T. Editors of Encyclopaedia (2019, November 7). Neo-Expressionism. Encyclopedia Britannica. https://www.britannica.com/art/Neo-Expressionism

Moen, M. (2020, June 24). Skrillex Interviews 100 gecs About the Future of Music. Paper. https://www.papermag.com/100-gecs-skrillex-pride-2646244919.html?rebelltitem=140#rebelltitem140

Patel, P. (Interviewer). (2020, November). Pitchfork Review: 100 Gecs and the Mystery of Hyperpop. [Audio Podcast]. Get Wired. https://open.spotify.com/episode/1UnB4gNxTsInfjur0iVXEP?si=NXGfknGtTqSId4z-XhKNeg&dl_branch=1

Saggese, J., M. [TED-Ed]. (2019, March 1). The Chaotic Brilliance of artist Jean-Michael Basquiat – Jordana Moore Saggese. [video]. YouTube. https://www.youtube.com/watch?v=JX02QQXfb_o

Images:

Image 1: Basquiat in Switzerland, 1983  https://www.smithsonianmag.com/smart-news/see-jean-michel-basquiat-masterpieces-close-online-exhibit-180975416/

When I first found songs with the tag “hyperpop” on tik tok I wrote it off. I didn’t get it, and just assumed it was a generational thing. For eighteen months I thought that the genre was stupid, childish and simple. I was a smart musician, I have degrees and have done years of formal training and know how to use a ii-V-I, hyperpop was beneath me. I came around via remix surfing on sound cloud. Going through the ‘low-fi’ tag, as I started doing because I started making jazz blended low-fi hip-hop remixes of emo songs, I found a remix of a 100gecs song. I wish I could remember what it was, but I just heard it, thought it was interesting and moved on. But there was a seed planted. Alongside this I heard artists I liked like Dorian Electra and Charlie XCX beginning to be tagged as hyperpop artists. I decided it was time to get to the bottom of this, so I went to the 100 gecs Spotify and played their most popular song. 

“Money Machine”