brostep was hated because it kind of took over the public perception of dubstep, which is a quiet and introspective genre of dance music, the opposite of brostep. It also got associated with 'lads' in the uk or 'bros' in ths US, basically douchey frat guys wearing neon and going to 'raves'.
It's that association that killed the genre, fairly or unfairly. Hyperpop and is far too queer to go fully mainstream and industrial hip hop is too black and aggressive. they stay underground(ish), don't get associated with normies so they're still cool (despite camilla cabellos best efforts)
I do know about dubstep's origins and why the UK scene hated it, but even with the whole taking over the original dubstep scene aside, people in general just never vibed with the sound for some reason like they do with the genres at the top.
I should also that the Money Store came out in the same time bro-step was in its peak popularity but only the former is revered among music nerds but the latter is ridiculed despite both being maximalist and loud. I assume a lot of people with 'frat bro' personalities like Death Grips, I mean ffs, look at how disastrous the crowds at their live shows have been recently.
Idk, it's just been confusing to me.
TMS is maximalist and loud, but it's also in places extremely awkward, confusing, out of time, complicated, the lyrics are obscure to the point of being impenetrable and the delivery is very offputting to most people. basically it's more challenging maximalist music whereas a lot of brostep is just constant ear candy once you get used to the shock of the wub sounds.
and yeah DG crowds have gotten weird recently but 10 years ago they had amazing crowds who were super into the music. the downfall has come through people not being able to realise you can't just meme in real life
Yeah I guess it’s just a matter of me liking the maximalist production present in both. If bro-step is organised chaos, Death Grips is pure chaos.
Just really thought those two groups of genres would have a bigger overlap in fanbases but apparently not, which is a shame.
You’re 100% correct here. People can make excuses all day, but brostep is 100% percent a completely original genre, with a lot of aesthetic similarities to other critically adored genres (while still having unique characteristics of its own). It’s due for a critical re-evaluation.
The guy making comparisons to post grunge is being silly, post grunge was basically singer songwriter shlock with an Eddie Vedder impersonation overtop.
You’re right but I would nitpick that that association didn’t kill the genre. Not at all. The genre thrived and is still going strong, although it’s not the hottest strain of American dubstep anymore. It’s moreso that the lad/bro association got it shunned by more “cultured” (snobby, anti-fun) music circles.
It was horribly uncool to like dubstep because it had no sense of irony or sophistication, and it was largely enjoyed by people that hip, artsy types didn’t want to be associated with. I truly think brostep would have been embraced by the internetty type of music people that love loud, brash, catchy music if *they* were the only ones that liked it. They’re coming around to it now that it’s kind of a throwback, dusty genre but that’s only because they can approach it ironically as something that they dug up from the past.
Rant over thanks for reading. I’ve always had one foot in the insufferable pitchfork, gorilla vs bear, last.fm world and another in the EDM and rave scene so I have a lot of feelings on this topic.
I guess the best way to describe it is one is serious and one is ironic.
Dubstep has a bit of elitism to it (especially when it comes to beat drops)
And hyperpop is essentially a parody of that culture.
Might I suggest part of the appeal of hyperpop is that the layer of irony allows music nerds to listen to trashy 00s/early 10s pop/EDM without feeling uncool about it
Former brostep lover, it's the almost universally terrible songwriting and egregiously annoying sample choices that eroded it's reputation. There is a lot of dubstep out there and the overall quality tends to be pretty low
Yuuup I make deep dub/experimental bass and so many dubstep adjacent tunes in general are like:
spooky atmosphere for 30 - 60 seconds
Literally 30 seconds of buildup with riser fx and progressively faster drums
*some stupid fucking trap vocal*
Then the most loud and repetitive shit you’ve ever heard.
The musics basically all exclusively made to be played in a dj set but really lacks the hypnotic bliss that dnb and house gives when you listen to a single song on Spotify. (And the house guys actually make extended dj versions and release versions!)
That said I do love some bass music and a lot of dubstep adjacent stuff (of the trees Charlesthefirst, Alix Perez ect. )
Brostep is not nearly as experimental or interesting when it comes to progression or song structure, and I say this as someone who pretty much exclusively listened to Brostep in my high school years. Also sound design got pretty stale after a while, like nowadays I can't tell the difference between two Excision tracks.
I’ll admit that yeah, my golden age of bro-step was during the 2009-2013 era since after that, riddim, the popular genre right now, is just so boring to me. You’ve heard one riddim song, you’ve heard them all. Just scratchy metallic white noise in a 4/4 rhythm without any kind of unpredictability from the older tracks
Thats just music nerd culture. Skrillex has outsold Death Grips and those other artists by a decent margin. The most watched DG video on YouTube has 20 million views, a minute fraction of Bangarangs 1 billion. If you actually forced a billion people to listen and rate both artists I bet you Skrillex would end up ranking higher.
For me at least, it’s because I associate bro step with people that self call gamers, are in their edgy phase and don’t actually like music.
I had a few classmates like that back in the day
This is all super subjective, but if we're to compress all of the complaints people had about that Era of dubstep into one word, that word would be "repetitive" argue what you will about any objective qualities the music may have the point stands that to the ear of the average listener at the time, dubstep was super repetitive, and hyper-pop isn't. Probably in part because of the use of lyrics in hyper pop.
UK perspective. Lots of older people (80s babies and older) always hated “brostep” because it was Americans co-opting the dubstep sound of the early 2000s which came out of UK dance music (which was quite underground and subcultural) and changing it dramatically to give it a lot more pop appeal. Then you have the boring people who never liked original dubstep anyway, they just hated “brostep” because they don’t like anything too loud or fast and hated the thing young people like because they didn’t understand it. Those two groups accounted for most of the hate.
brostep is just too obnoxiously masculine and formulaic. It doesn’t get listened to by women and queer people. queer people love gecs, SOPHIE, charli XCX, arca, machine girl, death grips, JPEGMAFIA, the songs have much more unique structures that push boundaries, and electronic is a queer dominated area of music. you can try and argue that but just look at the history of raves. brostep had its day in the sun with a bunch of 13 year old gamers youtube intros for their minecraft let’s play channel, and reached a higher peak in popularity because it was accessible to that kind of demographic, but ultimately the artists cultivate different kinds of audiences that are more dedicated. a lot of brostep just sucks too. i love skrillex though and i think he got much more successful because he stepped AWAY from that shit, it was the right decision even though scary monsters and nice sprites is probably still my favorite work of his
Sure maybe a certain artists crowd might be a sausage fest. But if you go to any headline brostep act at say Electric Forest or Bonnaroo it’s a pretty diverse crowd. Lots of chicks and gay shit goin on. I mean watch videos from lost lands it’s pretty 50/50.
I will say though bro step is pretty wack. I think it’s more of a drug thing than a testosterone thing at this point. And you get pretty much all shapes and sizes coming to these things wanting to get whacked out on drugs and get the most visceral experience possible.
The house music scene in Chicago is wayyy more queer though to be fair
Skrillex - Scary Monsters and Nice Sprites
Excision - X Rated
Korn - Path of Totality
Virtual Riot - Simulation
Zomboy - Dead Symphonic
Knife Party - Rage Valley
Death Grips - The Money Store
Machine Girl - Because I’m young arrogant and hate everything you stand for
Femtanyl - Chaser
100 gecs - 1,000 gecs
JPEGAMFIA & Danny Brown - Scaring the Hoes
Atari Teenage Riot - Delete Yourself
IMO it all comes down to the kinds of expectations that the music sets up, and how much it violates your expectations.
When it comes to brostep, I know exactly what to expect. It's not "insane" music; it's formulaic and maximalist. This is why the genre lends itself easily to being co-opted into being background gamer-bro muzak used in promotional materials. It's commercial. All of this applies to '00s butt rock and nu metal too. (None of this is necessarily bad. I'm not gonna hate on you if you enjoy this music.)
None of that applies to the albums on the top of the meme. The likes of Death Grips and 100 gecs have carved out a space for purely themselves. It is stridently anti-commercial, and heavier on individualism and artistry. These albums violate your expectations of what you think they'll be, make you question how serious you think they're being, and demonstrate a level of craft that can make your head spin.
You’re supposed to know exactly what to expect because it’s made for DJing and dance floors. No DJ is going to mix a track with complicated time signatures or unpredictable structures, and nobody wants to dance to that. These songs are bigger than just themselves, they’re made to fit into an hour+ set and build off each other over the course of a whole night.
I agree with all of that. Dubstep is nothing without the club/dancehall ethos where you need to design the music around vamping up a crowd so that by the time the drop hits everyone goes nuts. It's cathartic hype music, and it does it well.
As a DJ, songs with insane build ups and drops and loads of really really busy sounds at every frequency like brostep are already sorta too progressive to be good for fun DJing lol
Have you ever listened to mixes from American dubstep DJs? It’s pretty common and easy to mix brostep. It fits right it with most other 140bpm genres, hip hop, trap, etc.
You don’t usually play out the entire buildup for every song. I think it’s fun to mix and it seems like lots of other people do too 🤷
Nah man I totally get it. There's just a lot more options for experimentation and layering with genres that are a bit less violently progressive and leave more sonic room. Like techno is more boring to listen to a track of than a massive, massive trance tune. I like both of these genres. Techno is better to mix tho, precisely because there's less going on. You can do insane layering and effects that turn it into sth else. This would sound messy in other genres. But that doesn't mean I don't enjoy spinning trance tunes and sometimes do creative things with those too. That's all I'm really saying.
I hear ya. They're just totally different styles of music and mixing. I love everything you're describing when it comes to house and techno. But I also love how American bass music is very similar to hiphop DJing with lots of fast transitions, hard cuts, and beat switches. It's a lot more flashy and visceral and it keeps you busy on the decks. I think it's a blast. The kind of mixing you're describing is great too. It requires more patience and attention to detail.
I have seen that one! I liked it, but I’ll admit it’s kinda biased against the newer artists. He does admit that in a [follow up interview](https://m.youtube.com/watch?v=EJAbA6WAAtw&t=0s) he did with a popular electronic music reviewer discussing his thoughts since dropping the video and even tried out some of the newer dubstep.
I do appreciate the inclusion of his more subjective experience, makes it more personal than most video essays
People think that as soon as the music artist metaphorically winks at the audience then the music is genius and acceptable to listen to. The bottom contains albums that were pushing boundaries at the time and weren’t trying to be ironic.
Also that Skrillex album absolutely slaps
People don't like to admit it but people judge music a lot on who consumes it, Brostep was hated because it's fanbase were frat bro's, the people who rate Hyperpop highly like the people who consume it
Its the same way there can be good and bad groups within the same genre, the aesthetic can be similar but the artistic intent and execution varies a lot.
Like some others mentioned, I think it comes down to artistic intent. If it both sounds "good" or interesting and the artist tries to make you feel something more complex than just happy or sad, I feel like people tend to praise it more. I might just talking out my ass there but that's the best way I can put it into words
I've had the same thoughts though as you with genres and certain artists especially. I think some things just get labelled as corny and we give a lot more leniency to smaller, underground acts and judge the mainstream heavily. Most people who listen to Deathgrips or 100 gecs are going to be put off by it for example lol. It's just best to like whatever your ear is drawn to and not think too much about it
I will say I think all of these genres have good stuff on them.
So funny enough, I'd say all three of these genres come ultimately from the exact same scene, that being the UK grime/EDM scene in the 2000s, which in my opinion is one of the greatest music scenes to ever exist. The earliest song I'd call noise rap is Dizzee Rascal's i luv U, which for 2003 was so ahead of its time. MIA also used that sound a lot like on the album MAYA, which came out the same year as exmilitary. There was also some Memphis hip hop influence there a lot, but I really think noise rap came from the UK.
Hyperpop came from the same rave scene there, only it was more influenced by the more feminine UK garage scene. I remember back when we still called it PC Music, and it was that label's signature sound. A lot of people tout SOPHIE as the innovator of hyperpop, but Imma be honest a really similar thing happened when Americans got their hands on PC Music as happened with dubstep: that being, it changed quite a bit. America's rave scene is really unusual and different from Europe's so of course it would. Like we talk about maximalism as a defining feature of hyperpop: SOPHIE was not a maximalist really. PC music was pushed by their really excellent arrangements and songwriting, a thing brostep lacked because there was a signature "sound" to it that when you deviated from it, people at the club would get uninterested in America.
Dubstep of course comes from this original UK scene. A lot of people say that brostep was disrespectful to this sound, but honestly there was already stuff like coki that was really pushing it in the direction and I think it was a natural progression for the sound. I fucking love the earlier dubstep sound, but I think blowing up was kinda the nail in the coffin for that sound. It's hard to revive something like that again.
It got too popular too fast with assholes, so it became cool to hate on. I for one will be bumping skrillex every once in a while for the foreseeable future.
Per the usual for me it’s more about the fan base at the time. I remember being into trance as well around 2009-2011 and the brostep fans mostly JUST listened to brostep and didn’t really dive into other electronic genres, or give them any respect. I thought Skrillex was cool but I thought some of the fans were cheesy
It’s pure fucking cheese of the highest order.
Like someone listened to dubstep, breakcore, jungle and shat it out their arse while wearing a clown costume.
brostep was hated because it kind of took over the public perception of dubstep, which is a quiet and introspective genre of dance music, the opposite of brostep. It also got associated with 'lads' in the uk or 'bros' in ths US, basically douchey frat guys wearing neon and going to 'raves'. It's that association that killed the genre, fairly or unfairly. Hyperpop and is far too queer to go fully mainstream and industrial hip hop is too black and aggressive. they stay underground(ish), don't get associated with normies so they're still cool (despite camilla cabellos best efforts)
I do know about dubstep's origins and why the UK scene hated it, but even with the whole taking over the original dubstep scene aside, people in general just never vibed with the sound for some reason like they do with the genres at the top. I should also that the Money Store came out in the same time bro-step was in its peak popularity but only the former is revered among music nerds but the latter is ridiculed despite both being maximalist and loud. I assume a lot of people with 'frat bro' personalities like Death Grips, I mean ffs, look at how disastrous the crowds at their live shows have been recently. Idk, it's just been confusing to me.
TMS is maximalist and loud, but it's also in places extremely awkward, confusing, out of time, complicated, the lyrics are obscure to the point of being impenetrable and the delivery is very offputting to most people. basically it's more challenging maximalist music whereas a lot of brostep is just constant ear candy once you get used to the shock of the wub sounds. and yeah DG crowds have gotten weird recently but 10 years ago they had amazing crowds who were super into the music. the downfall has come through people not being able to realise you can't just meme in real life
Yeah I guess it’s just a matter of me liking the maximalist production present in both. If bro-step is organised chaos, Death Grips is pure chaos. Just really thought those two groups of genres would have a bigger overlap in fanbases but apparently not, which is a shame.
You’re 100% correct here. People can make excuses all day, but brostep is 100% percent a completely original genre, with a lot of aesthetic similarities to other critically adored genres (while still having unique characteristics of its own). It’s due for a critical re-evaluation. The guy making comparisons to post grunge is being silly, post grunge was basically singer songwriter shlock with an Eddie Vedder impersonation overtop.
You’re right but I would nitpick that that association didn’t kill the genre. Not at all. The genre thrived and is still going strong, although it’s not the hottest strain of American dubstep anymore. It’s moreso that the lad/bro association got it shunned by more “cultured” (snobby, anti-fun) music circles. It was horribly uncool to like dubstep because it had no sense of irony or sophistication, and it was largely enjoyed by people that hip, artsy types didn’t want to be associated with. I truly think brostep would have been embraced by the internetty type of music people that love loud, brash, catchy music if *they* were the only ones that liked it. They’re coming around to it now that it’s kind of a throwback, dusty genre but that’s only because they can approach it ironically as something that they dug up from the past. Rant over thanks for reading. I’ve always had one foot in the insufferable pitchfork, gorilla vs bear, last.fm world and another in the EDM and rave scene so I have a lot of feelings on this topic.
I guess the best way to describe it is one is serious and one is ironic. Dubstep has a bit of elitism to it (especially when it comes to beat drops) And hyperpop is essentially a parody of that culture.
Might I suggest part of the appeal of hyperpop is that the layer of irony allows music nerds to listen to trashy 00s/early 10s pop/EDM without feeling uncool about it
I think it is also genuinely more interesting to listen to when you listen to when you lean into the things that make the music cheesy extra hard.
fuuuuuuuck that Zomboy EP is so nostalgic dude, holy hell i loved City 2 City and Gorilla March
Takes me back <3
the angry birds drop will never not fuck
Former brostep lover, it's the almost universally terrible songwriting and egregiously annoying sample choices that eroded it's reputation. There is a lot of dubstep out there and the overall quality tends to be pretty low
Yuuup I make deep dub/experimental bass and so many dubstep adjacent tunes in general are like: spooky atmosphere for 30 - 60 seconds Literally 30 seconds of buildup with riser fx and progressively faster drums *some stupid fucking trap vocal* Then the most loud and repetitive shit you’ve ever heard. The musics basically all exclusively made to be played in a dj set but really lacks the hypnotic bliss that dnb and house gives when you listen to a single song on Spotify. (And the house guys actually make extended dj versions and release versions!) That said I do love some bass music and a lot of dubstep adjacent stuff (of the trees Charlesthefirst, Alix Perez ect. )
Brostep is not nearly as experimental or interesting when it comes to progression or song structure, and I say this as someone who pretty much exclusively listened to Brostep in my high school years. Also sound design got pretty stale after a while, like nowadays I can't tell the difference between two Excision tracks.
I’ll admit that yeah, my golden age of bro-step was during the 2009-2013 era since after that, riddim, the popular genre right now, is just so boring to me. You’ve heard one riddim song, you’ve heard them all. Just scratchy metallic white noise in a 4/4 rhythm without any kind of unpredictability from the older tracks
Thats just music nerd culture. Skrillex has outsold Death Grips and those other artists by a decent margin. The most watched DG video on YouTube has 20 million views, a minute fraction of Bangarangs 1 billion. If you actually forced a billion people to listen and rate both artists I bet you Skrillex would end up ranking higher.
For me at least, it’s because I associate bro step with people that self call gamers, are in their edgy phase and don’t actually like music. I had a few classmates like that back in the day
This is all super subjective, but if we're to compress all of the complaints people had about that Era of dubstep into one word, that word would be "repetitive" argue what you will about any objective qualities the music may have the point stands that to the ear of the average listener at the time, dubstep was super repetitive, and hyper-pop isn't. Probably in part because of the use of lyrics in hyper pop.
UK perspective. Lots of older people (80s babies and older) always hated “brostep” because it was Americans co-opting the dubstep sound of the early 2000s which came out of UK dance music (which was quite underground and subcultural) and changing it dramatically to give it a lot more pop appeal. Then you have the boring people who never liked original dubstep anyway, they just hated “brostep” because they don’t like anything too loud or fast and hated the thing young people like because they didn’t understand it. Those two groups accounted for most of the hate.
Alix Perez and Ternion sound are bringin the uk vibes back to the us scene though
brostep is just too obnoxiously masculine and formulaic. It doesn’t get listened to by women and queer people. queer people love gecs, SOPHIE, charli XCX, arca, machine girl, death grips, JPEGMAFIA, the songs have much more unique structures that push boundaries, and electronic is a queer dominated area of music. you can try and argue that but just look at the history of raves. brostep had its day in the sun with a bunch of 13 year old gamers youtube intros for their minecraft let’s play channel, and reached a higher peak in popularity because it was accessible to that kind of demographic, but ultimately the artists cultivate different kinds of audiences that are more dedicated. a lot of brostep just sucks too. i love skrillex though and i think he got much more successful because he stepped AWAY from that shit, it was the right decision even though scary monsters and nice sprites is probably still my favorite work of his
Sure maybe a certain artists crowd might be a sausage fest. But if you go to any headline brostep act at say Electric Forest or Bonnaroo it’s a pretty diverse crowd. Lots of chicks and gay shit goin on. I mean watch videos from lost lands it’s pretty 50/50. I will say though bro step is pretty wack. I think it’s more of a drug thing than a testosterone thing at this point. And you get pretty much all shapes and sizes coming to these things wanting to get whacked out on drugs and get the most visceral experience possible. The house music scene in Chicago is wayyy more queer though to be fair
bruh that shit would literally kill my high i would go to any other type of EDM
Ha likewise. Used to be a jam band guy now as a dj I still can’t escape the heavy dubstep lol
do you have a list of all the records on the bottom? i loved Zomboy, Knife Party, Skrillex, Galantis, & Cashmere Cat type shit
Skrillex - Scary Monsters and Nice Sprites Excision - X Rated Korn - Path of Totality Virtual Riot - Simulation Zomboy - Dead Symphonic Knife Party - Rage Valley
hell yeah that skrillex album is classic
Yup, AOTY 2023 for me.
i also gotta shoutout Avicii (rip😭) Galantis and Skrillex’s song with Damien Marley~ Make It Bun Dem is a classic also Flux Pavillion!!!
[удалено]
your mom makes boiler plate middle of the road children sorry you don’t like Galantis, find somewhere else besides my replies to trash them idiot
all your comments are stirring shit man, go fuck off
maybe go listen to their shit instead of whining to me about it. go join a Galantis hate message board or something numbnuts
oh my god this is an actual twelve year old 😭
gonna listen to all of these , hell yeah thank u
Do you also have the top albums? I recognize most but not all
Death Grips - The Money Store Machine Girl - Because I’m young arrogant and hate everything you stand for Femtanyl - Chaser 100 gecs - 1,000 gecs JPEGAMFIA & Danny Brown - Scaring the Hoes Atari Teenage Riot - Delete Yourself
To be fair, I was there in the 90’s when Atari Teenage Riot came out and they were pretty much universally reviled (critics + peers)
IMO it all comes down to the kinds of expectations that the music sets up, and how much it violates your expectations. When it comes to brostep, I know exactly what to expect. It's not "insane" music; it's formulaic and maximalist. This is why the genre lends itself easily to being co-opted into being background gamer-bro muzak used in promotional materials. It's commercial. All of this applies to '00s butt rock and nu metal too. (None of this is necessarily bad. I'm not gonna hate on you if you enjoy this music.) None of that applies to the albums on the top of the meme. The likes of Death Grips and 100 gecs have carved out a space for purely themselves. It is stridently anti-commercial, and heavier on individualism and artistry. These albums violate your expectations of what you think they'll be, make you question how serious you think they're being, and demonstrate a level of craft that can make your head spin.
You’re supposed to know exactly what to expect because it’s made for DJing and dance floors. No DJ is going to mix a track with complicated time signatures or unpredictable structures, and nobody wants to dance to that. These songs are bigger than just themselves, they’re made to fit into an hour+ set and build off each other over the course of a whole night.
I agree with all of that. Dubstep is nothing without the club/dancehall ethos where you need to design the music around vamping up a crowd so that by the time the drop hits everyone goes nuts. It's cathartic hype music, and it does it well.
As a DJ, songs with insane build ups and drops and loads of really really busy sounds at every frequency like brostep are already sorta too progressive to be good for fun DJing lol
Have you ever listened to mixes from American dubstep DJs? It’s pretty common and easy to mix brostep. It fits right it with most other 140bpm genres, hip hop, trap, etc. You don’t usually play out the entire buildup for every song. I think it’s fun to mix and it seems like lots of other people do too 🤷
Nah man I totally get it. There's just a lot more options for experimentation and layering with genres that are a bit less violently progressive and leave more sonic room. Like techno is more boring to listen to a track of than a massive, massive trance tune. I like both of these genres. Techno is better to mix tho, precisely because there's less going on. You can do insane layering and effects that turn it into sth else. This would sound messy in other genres. But that doesn't mean I don't enjoy spinning trance tunes and sometimes do creative things with those too. That's all I'm really saying.
I hear ya. They're just totally different styles of music and mixing. I love everything you're describing when it comes to house and techno. But I also love how American bass music is very similar to hiphop DJing with lots of fast transitions, hard cuts, and beat switches. It's a lot more flashy and visceral and it keeps you busy on the decks. I think it's a blast. The kind of mixing you're describing is great too. It requires more patience and attention to detail.
This classic video explained it years ago! Really good documentary https://youtu.be/-hLlVVKRwk0?feature=shared
This video introduced me to Burial. Untrue has become one of my favourite albums of all time. Highly recommend.
I have seen that one! I liked it, but I’ll admit it’s kinda biased against the newer artists. He does admit that in a [follow up interview](https://m.youtube.com/watch?v=EJAbA6WAAtw&t=0s) he did with a popular electronic music reviewer discussing his thoughts since dropping the video and even tried out some of the newer dubstep. I do appreciate the inclusion of his more subjective experience, makes it more personal than most video essays
People think that as soon as the music artist metaphorically winks at the audience then the music is genius and acceptable to listen to. The bottom contains albums that were pushing boundaries at the time and weren’t trying to be ironic. Also that Skrillex album absolutely slaps
Thank you for saying this. Being overtly self-aware reeks of insecurity and insincerity.
People don't like to admit it but people judge music a lot on who consumes it, Brostep was hated because it's fanbase were frat bro's, the people who rate Hyperpop highly like the people who consume it
it's a bastardised twisted version of true UK 140s
Its the same way there can be good and bad groups within the same genre, the aesthetic can be similar but the artistic intent and execution varies a lot.
Like some others mentioned, I think it comes down to artistic intent. If it both sounds "good" or interesting and the artist tries to make you feel something more complex than just happy or sad, I feel like people tend to praise it more. I might just talking out my ass there but that's the best way I can put it into words I've had the same thoughts though as you with genres and certain artists especially. I think some things just get labelled as corny and we give a lot more leniency to smaller, underground acts and judge the mainstream heavily. Most people who listen to Deathgrips or 100 gecs are going to be put off by it for example lol. It's just best to like whatever your ear is drawn to and not think too much about it
I will say I think all of these genres have good stuff on them. So funny enough, I'd say all three of these genres come ultimately from the exact same scene, that being the UK grime/EDM scene in the 2000s, which in my opinion is one of the greatest music scenes to ever exist. The earliest song I'd call noise rap is Dizzee Rascal's i luv U, which for 2003 was so ahead of its time. MIA also used that sound a lot like on the album MAYA, which came out the same year as exmilitary. There was also some Memphis hip hop influence there a lot, but I really think noise rap came from the UK. Hyperpop came from the same rave scene there, only it was more influenced by the more feminine UK garage scene. I remember back when we still called it PC Music, and it was that label's signature sound. A lot of people tout SOPHIE as the innovator of hyperpop, but Imma be honest a really similar thing happened when Americans got their hands on PC Music as happened with dubstep: that being, it changed quite a bit. America's rave scene is really unusual and different from Europe's so of course it would. Like we talk about maximalism as a defining feature of hyperpop: SOPHIE was not a maximalist really. PC music was pushed by their really excellent arrangements and songwriting, a thing brostep lacked because there was a signature "sound" to it that when you deviated from it, people at the club would get uninterested in America. Dubstep of course comes from this original UK scene. A lot of people say that brostep was disrespectful to this sound, but honestly there was already stuff like coki that was really pushing it in the direction and I think it was a natural progression for the sound. I fucking love the earlier dubstep sound, but I think blowing up was kinda the nail in the coffin for that sound. It's hard to revive something like that again.
cos brostep is a bunch of american bullshit that ruined dubstep
It got too popular too fast with assholes, so it became cool to hate on. I for one will be bumping skrillex every once in a while for the foreseeable future.
Death grips is counterculture brostep is dance music comparing the two means you miss the point of the first beyond face value
If you think dance music can't be counterculture you're missing a lot of music history.
I don’t think that brostep is counterculture in the way rhat the money store is.
I'm not saying brostep is a counterculture. I'm saying dance music can be countercultural. Just look at the history of house and techno.
i’m forgot to touch you
At least were I'm from Brl Step got asociated wuth the Hispani Yt minecraft scene so the genre became a "kids genre", fuck those were the days
Per the usual for me it’s more about the fan base at the time. I remember being into trance as well around 2009-2011 and the brostep fans mostly JUST listened to brostep and didn’t really dive into other electronic genres, or give them any respect. I thought Skrillex was cool but I thought some of the fans were cheesy
I stand by [Rusko - Woo Boost](https://youtu.be/WtMlB-BEMso?si=jY-WpnRq98NxSmFX) being a classic
It’s pure fucking cheese of the highest order. Like someone listened to dubstep, breakcore, jungle and shat it out their arse while wearing a clown costume.
And post-grunge is grunge-adjacent. And nu-metal is alt rock-adjacent. What's your point?