Top 10 Rising Hyperpop Artists
Written By Noah Simon
Hyperpop is having its moment, and it’s happening fast. In an incredibly short span of time, the genre has pivoted to and begun to focus on a new wave of young, predominantly Soundcloud-based artists. With a certain Spotify playlist’s help--which has brought both awareness and confusion to hyperpop with its diverse inclusions--the genre’s parameters have fundamentally changed and expanded. Now, nearing the end of 2020, hyperpop has been solidified as more of an amorphous subcultural movement than a definitive sound with set conventions.
Hyperpop’s history is fascinating, and its broad lineage maps a story of cultural and aesthetic coalescence. In the early 2010s, underground dance scenes started making noise in the UK. This tight-knit community of extreme rave styles led to the experimental sounds of PC Music and other Internet-based (and heavily LGBTQ+) labels/radio shows, resulting in different takes on deconstructed pop and electronic music now associated with the hyperpop name.
Around 2016, popstar Charli XCX started incorporating this bubbly, often abrasive aesthetic into her more conventional pop songwriting and vocals--which, in my mind (and this is certainly up for contention), bulldozed the sound open and created a larger platform for other experimental-leaning pop artists. Somewhere around then and towards the end of the decade was the meteoric rise of Sweden’s Drain Gang and, of course, 100 gecs, arguably the two biggest inspirations on this current era of genre-bending, trap-infused pop--or, if you prefer, “hyperpop.”
The scene is morphing, and its narrative is developing in real-time. Hyperpop is still heavily associated with the LGBTQ+ community, and remains an inclusive artistic space for people of all types to come in and make colorful, vibrant pop music. Its influences are still rooted in various electronic music genres, and it’s still fixated on the Internet and online-community building. But the genre is without question growing larger and more popular every week, its connective tissues becoming harder to identify. To try and make sense of it all, I’ve made a list of ten of my favorite artists working in hyperpop right now-- artists who I feel best represent the genre’s core sensibilities and are re-characterizing it for a new generation of fans. Let’s get into it.
*NOTE: This list only includes artists that are still (relatively) new and on the rise--not artists with more established names*
Honorable Mentions: Ericdoa, Wubz, i9bonsai, Kuru, Funeral, Aldn, Sg Lily, Oaf1, Glaive, Shyburial
#10. Midwxst
There are a vast number of collectives that comprise the contemporary hyperpop scene, making it somewhat difficult to keep track of who and what. A few groups have clearly risen to the top, though, and Indiana rapper Midwxst has found no issue finding a home amongst the best. The 17-year-old rapper is a member of both NOVAGANG and Helix Tears, two of the most prominent collectives in hyperpop, and it’s not difficult to see why. Take his song “Troops”, for example: its harsh synths, heavy vocal manipulation, and glitchy, blown-out beat reflect a lot of what this new generation is about. But he’s multi-faceted as well. On his debut project, Secrets, he displayed his skills as a pop craftsman and expert emo-crooner. The song “Useless,” produced by prominent hyperpop beat makers ThisLandIs and Elxnce, shows Midwxst flowing over one of 2020’s most fun and inventive instrumentals. Meanwhile, songs like “By Your Side” and “Backseat” produce pretty, elegant hyperpop balladry. The scene is still young with more faces popping up every day, but Midwxst has already singled himself out from the rest.
#9. angelus
French artist and producer angelus (also a member of NOVAGANG) is one of the most beloved figures in the hyperpop community, and for good reason. She’s made beats for countless artists in the scene, helping push the sound in its current direction. In her own work, she displays a wondrous sense of play and invention; her tracks, like many in hyperpop, never exceed much longer than two minutes, and it’s always a shock to see how many elements can be packed into such a small time-frame. Her song “Texts” is a wonderful array of bouncing sounds and vocal stutters that transition to kaleidoscope-filtered indie rock in its final minute. “Revenge,” produced by underrated hyperpop contributor Fortune Swan, displays uncommon patience in its build-up, making the proceeding half of the song that much sweeter (and more vindictive). On “Dysphoria,” self-produced with Delto, angelus sings about her gender and sexual identity with a level of transparency and clarity rarely embraced in mainstream pop culture. And as a vocalist and producer on the posse-cut “what now,” she effortlessly exudes the characteristics that make her so fun to listen to: she’s energetic, loose, and has that no-bull-shit demeanor.
#8. D0llywood1
This popular style of effect-laden, rap-inspired hyperpop is commonly referred to as “glitchcore,” a term often used interchangeably with hyperpop. With obvious influence drawn from the distorted, aggressive instrumental style of rappers from the mid-2010s, glitchcore artists have pioneered a semi-rebirth of underground Soundcloud hip-hop. But these young artists are pushing the style forward by shaping it for a new decade. They completely obliterate genre boundaries, thus fitting their sound squarely into the hyperpop canon. Glitchcore artists tend to mix the glossy, melodic synth-pop/trap of Bladee, the blown-out, rock-infused pop maxiiliamism of 100 gecs, and various styles of dance music (as well as, perhaps to a lesser extent, the raw, dark experimentation of Sybyr and the Anti-World crew). It’s all very, well---glitchy. And no one glitches more than D0llywood1. It is remarkable how the Helix Tears artist (who also goes by Dolly) can simultaneously exist in so many sonic worlds. Listening to “ihonestlymightjustgiveup” is a roller-coaster experience that shouldn’t work. It’s an insane concoction of high-pitched synth leads, autotune, and 808 bass hits. But when you listen you get sucked into their world-- a story that begets even more clarity when observing the artist’s interrelated, unspaced song titles. D0llywood1 is a great vocalist, with their piercing despair sticking through the robotic facade. They also simply know how to make a banger, as seen on “Imgonnagetmyrevenge.” But you really hear their powers and aesthetic range on “I Recently Realized How Bad I Hurt You,” a haunting, minimalist song that showcases their vocals solely alongside an acoustic guitar. Earlier this year, hyperpop star Dorian Electra firmly recognized Dolly’s talent by placing them on their new album---a triumphant symbol of glitchcore’s absorption into the hyperpop universe.
#7. Blackwinterwells
Blackwinterwells, the Helix Tears leader and Bloodhounds vet, is everywhere. In a musical movement defined by collaboration, Wells is the glue-factor--an ethereal name that mystically reappears as you spiral down a Soundcloud rabbit hole. But the Hamilton, Ontario artist isn’t merely a guiding hand; she’s also spread her eccentric production style and vocal delivery over a large body of solo-work. Her most recent album, Stone Ocean, is a transporting collection of cold, icy pop soundscapes, with her distinct, airy vocals being a ghostly constant. When all is said and done, her song “IRIS” might go down as a defining song of this generation of hyperpop--a fitting conclusion for an artist who has arguably pushed the sound more than anyone.
#6. 8485
Hyperpop naturally lends itself to chaotic amalgamations of abrasive, industrial noise, thus redefining our notions of what pop music is supposed to be and sound like. But for Toronto singer 8485--one of the preeminent vocalists in the scene right now--it’s all about shimmering pop bliss, with her impeccable vocal chops and melodic sensibilities shining directly through the electronic clutter. WIth “Skins,” the Helix Tears artist made one of the best songs of 2020, a gorgeous, emotional trap-pop ballad with an instantly sticky hook. And on songs like “1:15” and “4real,” the latter of which is produced by Umru, she shows her ability to ride more aggressive instrumentals. Combining her nostalgic affection for 2000s emo music with a synth-heavy production style (as well as a conceptual undercurrent of the reality/unreality of pop stardom), 8485 is like a Hannah Diamond for the new decade. But don’t get it twisted: she is a singular artist, and we are lucky to have her.
#5. Food House, Fraxiom and Gupi
Food House's style hues closer to the sound most people associated with hyperpop before 2020: bright experimental electro-pop combined with underground, maximlaist dance aesthetics (bubblegum bass, nightcore, future bass, hardstyle, hardcore, etc). That’s not to say this new gen of glitchcore artists don’t incorporate these sounds. It’s just that for Food House, the duo consisting of vocalist Fraxiom and electronic producer Gupi, they are at the forefront. And this would make sense: the group has more direct links to progenitor hyperpop aesthetics than most people on this list (Fraxiom was making future bass music as a part of the Hyperpop label as far back as 2016). The duo’s first high-profile collaboration was the song “Thos Moser,” a bonkers electro-house-pop banger which came out on Gupi’s solo album, Modest. More recently, Food House released a self-titled debut album, a splendid collection of songs that oscillate between biting wit and sincere emotional vulnerability. On “55129,” the instrumental’s pent-up energy combined with Fraxiom’s tender melodies exude a striking poiginancy. Fraxiom, one of the most underrated lyricists in the game, knows how to write a compelling line: “I know the silence and the time limits and small cerebral riots are the perfect storm,” they sing. The duo’s personality shines just as bright on “Ride,” a soaring pop masterpiece with some of the most cutting and wry lyrics you’ll hear this year. Food House, who are signed to Dylan Brady’s Dog Show Records, strive to display the limitless nature of hyperpop: songs like “One You Know,” “Pharmacy,” and “Metal” are loud, distorted, in-your-face, and oh-so-genre-blending. They can do it all.
#4. Alice Gas
If there is a divide between hyperpop realms (and I don’t think it’s so much a divide as it is a beneficial coexistence), then Alice Gas is the bridge between them. A frantic artist and producer, Alice Gas can be described by the characteristic that ties together many of her influences: speed. Her song “Ferrari"-- her most popular track--is a fast, delirious pop experience whose instrumental combines breakbeat and happy hardcore in a delightful mix. Her song “PULLINGALLMYHAIROUT” uses similar elements but with an industrial trap beat. Alice Gas is clearly a big fan of nightcore and various rave dance styles (as many hyperpop artists are). But she also exudes a raw, distinctly DIY aesthetic that incorporates hip-hop and 100 Gecs-style drums and distortion. This mixture makes her an apparent connector between the old and the new, as she manifests an almost matriarchal aura over the current gen of rising hyperpop artists.
#3. That Kid
Hyperpop has a strong history of nostalgazing late-90s and 2000s pop music. Artists like Slayyyter, LIZ, Rina Sawyama, and Dorian Electra have all reappropriated various strands of Y2K pop sounds for the current age. One of the best young artists attached to this brand of hyperpop is That Kid, a Denver singer who blends and filters bubblegum pop and 2000s R&B aesthetics through a distinctly 2020 lens. I don’t want to mince words: That Kid is special. He’s collaborated multiple times with the likes of Slayyyter and Ayesha Erotica, and started getting attention with his break-out single “Dial Tone” in 2018, making him somewhat of a hyperpop vet compared to some of the artists on this list. But that pedigree only reinforces his still underrated status in 2020--his biggest year to date. In March, he released his debut mixtape Crush, one of this year’s most fun and infectious projects. The highlights off that tape---bangers like “Taco Bell,” “Go Fast,” “Spells On You” (one of my favorites of the year), and, of course, “Kiss Me Thru The Phone,” a glorious interpolation of Souja Boy’s classic hit---all signal a star in the making. And that’s before even mentioning his underscores- produced double single, which included “Skater Boy” and “Look At Me.” Both songs are great--but “Skater Boy” in particular displays all the characteristics that make hyperpop so special to its fans: the song is, above all else, catchy, maximalist, and stupendously strange.
#2. Petal Supply
For many, PC Music’s rise in the early to mid 2010s marks a more-or-less definitive origin to what we now think of as hyperpop. In this current era, though, the label/collective’s influence is harder to identify, as it is blended in with countless other sounds and genres. But Petal Supply, the Victoria, BC artist and producer, is a direct offspring of the experimental club and pop aesthetic that A.G. Cook and co. helped popularize. Her songs are bouncy and weird, incorporating trance synths and hardstyle beats with high pitched, heavily-manipulated vocals and unexpected sound design. The “pop” is often obfuscated by the colorful chaos surrounding it, but if that isn’t what hyperpop’s all about then I don't know what is. Her breakout single, “Make It Real,” is an almost 6-minute dance-pop bonanza of luminescent synth tones, pounding beats, and fractured, disembodied vocals. For Petal Supply, every sound choice is an opportunity to percolate her sonic vision, manifesting and uniting her musical universe from its many dislocated elements. This is most evident on her recently released EP, Hey, where songs like “Time” and “It’s U," the latter of which features the amazing Himera, all begin to take the shape of their apparent PC Music and SOPHIE influences before molding themselves into truly diacritic forms. Even with such a small output thus far, Petal Supply, who is affiliated with 909 Worldwide, already has one of the most fully-developed and actualized hyperpop sounds out of her peers. This is Petal Supply’s world, we are all just living in it.
#1. osquinn
If you've even remotely been following the scene in 2020, then this one probably isn't much of a surprise. Every osquinn song is an event: anytime their name appears on a track, the hyperpop world stops and listens. That's a lot of power. And osquinn, through their immense talent and popularity, has undoubtedly shifted hyperpop's sound and narrative. With one of the best and most distinct rap voices in the genre, osquinn (fka p4rkr) perfectly encapsulates and executes this new aesthetic blend of rap and experimental, distorted electronic music production. For a genre known for its bubbly nature, the slowsilver03 member has dragged the movement into decidedly darker territory with their tone and thematic content. Hyperpop, historically, has been defined by community, love, and interconnectedness--and osquinn uses the experimental sensibilities that had once tied the subculture together for their stories of alienation and disconnection. No wonder they resonated so strongly this year. Their breakout song, 2019's "i don't want that many friends in the first place," will be seen as a definitive moment in the scene: with its already iconic chord progression, blown-out beat, and impeccable flow, it is one of the best examples of an artist mixing emo, pop, and trap into "hyperpop." Don't take osquinn's sense of melody for granted either---their ability to write a sticky phrase, seemingly at whim, elevates their songs to a whole new level. Their versatility is also impressive: songs "i hate it here," "friend of the enemy," and "bad idea," all tackle slightly different stylistic and tonal corners of the current hyperpop canon, but all to great effect. Songs like "fml" and "maybe tomorrow" take on a gentler bedroom-pop style that's contrasted by their bleak lyrics. I could go on and on; each of their songs, from the most raw and experimental expressions, to their most fully-fleshed out pop-tunes, is worth paying close attention to. This is an artist speaking directly from the soul into their music, re-defining an entire movement in the process. Even if the content can be grim, they allowed hyperpop to continue to be a space for connection in a year defined by detachment. Hyperpop has become a go-to genre for alienated youths, and osquinn has been their voice.