2 Tone (or Two-Tone ) was a music genre and subculture that emerged in the United Kingdom in the late 1970s. The movement was a second-wave revival of Jamaican Ska, fusing its energetic rhythms with the raw energy of punk rock and the stylistic sensibilities of new wave .

It was characterized by its multiracial bands, its socially conscious lyrics addressing issues of racism and unemployment, and its distinct visual style, which was a revival of the 1960s Rude Boy look. The movement's name comes from 2 Tone Records, the influential record label founded by Jerry Dammers of The Specials, which served as the cultural and musical hub of the scene.

The 2 Tone movement began in Coventry in the late 1970s, a period of significant social and racial tension in the UK. Bands like The Specials, The Selecter, and later Madness and The Beat, began playing a faster, more aggressive version of the Ska music that had been brought to Britain by Jamaican immigrants in the 1960s.

The central philosophy of the 2 Tone movement was racial unity. In a direct challenge to the racial divisions being stoked by far-right groups at the time, 2 Tone bands were proudly multiracial, featuring both Black and white members. This message of unity was famously symbolized by the black-and-white checkerboard pattern, which was repurposed from Mod culture and became the defining visual motif of the scene. The lyrics of 2 Tone songs were often political, offering sharp social commentary on Thatcher-era Britain, with tracks like The Specials' "Ghost Town" becoming an anthem for urban decay and youth unemployment.

The movement was relatively short-lived, with the 2 Tone Records label becoming defunct by 1985, but its influence was profound. It successfully revitalized Ska for a new generation and laid the groundwork for the third wave of Ska and Ska-Punk that would emerge in the United States in the late 1980s and 1990s.

The visual identity of the 2 Tone movement is defined by a few key symbols, the most prominent being the black-and-white checkerboard pattern. This motif, which appeared on record sleeves, clothing, and posters, was repurposed from the 1960s British Mod subculture by Jerry Dammers of The Specials. In the context of 2 Tone, the contrasting squares served as a direct and potent symbol of racial unity, reflecting the multiracial lineups of the bands and the movement's core anti-racist message.

Another central image is the 2 Tone Records logo, a stylized Rude Boy character nicknamed "Walt Jabsco." Designed by John Sims and based on a photograph of Peter Tosh, the character is depicted in a black suit, white shirt, thin black tie, and a pork pie hat. This figure, often shown in a "skanking" dance pose, became an emblem for the fans and the sound itself, visually linking the British revival back to its Jamaican Ska and Rude Boy roots.

The fashion of the 2 Tone subculture was a direct revival and reinterpretation of the 1960s Jamaican Rude Boy look, blended with elements of the British Mod and Skinhead styles. The look was sharp and clean, consisting of two-tone suits, thin ties, button-down shirts, and pork pie hats. This was often paired with classic Mod staples like Fred Perry polo shirts and Dr. Martens boots or loafers. The black-and-white color scheme was prevalent, reflecting the movement's message of racial integration.

2 Tone is a music genre that originated in the United Kingdom in the late 1970s, defined by its fusion of 1960s Jamaican ska with the energy and social commentary of punk rock and new wave. The style is characterized by faster tempos and a more guitar-driven sound than its Jamaican predecessor. The lyrics of 2 Tone songs often addressed the social and political issues of the time, including racism, unemployment, and urban decay, all from a working-class perspective.

The name "2 Tone" comes from 2 Tone Records, a label founded in 1979 by Jerry Dammers of The Specials, which became the cultural and musical center of the movement. The label's multiracial band lineups were a political statement, promoting a message of racial unity that became a core tenet of the subculture.80s Workout refers to a fitness trend and an associated fashion aesthetic that gained immense popularity throughout the 1980s. The movement transformed exercise from a private or athletic-focused activity into a mainstream cultural phenomenon that was social, fun, and highly stylized. Driven by the rise of aerobics and celebrity fitness personalities, the aesthetic is defined by its vibrant, colorful, and form-fitting attire, which has since become an iconic and nostalgic symbol of the decade.

The 1980s fitness craze was largely ignited by the popularization of aerobics, a form of rhythmic exercise set to music. Actress Jane Fonda became the face of this movement with the release of her wildly successful Jane Fonda's Workout home video in 1982. Her accessible routines and eye-catching workout wear made her a household name and set the standard for fitness fashion. The aesthetic was further cemented in popular culture by media like the 1981 music video for Olivia Newton-John's song " Physical " and the 1983 film Flashdance , both of which showcased dance-inspired fitness attire.

This era marked a shift in how exercise was perceived. It was no longer just about health but also about being seen, making the gym or aerobics class a social venue. The fashion was designed to be noticed, emphasizing energy and self-expression. While Jane Fonda was the primary female icon, fitness guru Richard Simmons became a prominent male figure, known for his flamboyant and cheerful persona, and his signature look of short shorts and graphic tank tops.

The 80s Workout fashion is characterized by its bright colors and layered, body-conscious silhouettes. The centerpiece of the typical female outfit was the high-cut leotard, which was often worn over shiny spandex tights or leggings. Leg warmers, originally a functional item for dancers, became a ubiquitous fashion accessory worn scrunched down over the ankles. Essential accessories included matching sweatbands for the forehead and wrists.

The color palette was dominated by bold neon hues of pink, green, yellow, and blue, frequently combined in high-contrast patterns. Paint-splatter designs and pastel combinations were also common. For footwear, high-top aerobic sneakers, usually in white, were the standard. Hairstyles were often styled for activity, with high side ponytails held in place by scrunchies being a popular choice.

Music was the driving force of the 80s workout, providing the high-energy beat for aerobic routines. The playlists of the era were filled with upbeat pop, dance-pop, new wave , and rock tracks that were motivating and fun. The songs were characterized by strong rhythms and catchy choruses that were easy to follow during a class. Quintessential workout tracks from the decade include " Physical " by Olivia Newton-John, " I Wanna Dance with Somebody " by Whitney Houston, and " Jump " by Van Halen. In 2018, MGMT released their song " She Works Out Too Much ," which can be seen as a retro interpretation of this aesthetic.Acid Design is a graphic design style characterized by psychedelic visuals, distorted typography, and futuristic textures. Its origins are rooted in the flyer art of the 1990s Acid House and rave movements. The style experienced a significant revival in the mid-2010s, primarily on social media platforms like Instagram, where this new wave became widely known as Acidgrafix . It is commonly found in electronic music cover art, event flyers, and branding for fashion and music labels. The aesthetic combines a dark, often black, background with highly saturated neon colors, complex compositions, and motifs drawn from technology and counter-culture.

The visual language of Acid Design first developed in the 1990s alongside the rise of acid house music and the broader European rave scene. Flyers and posters from this era used psychedelic imagery, futuristic fonts, and symbols like the smiley face to capture the energy of the music and culture. This initial wave established the core palette of dark backgrounds contrasted with bright, fluorescent colors and the use of technological and abstract motifs.

Beginning in the mid-2010s, the style saw a major resurgence, gaining new life and a new name, Acidgrafix, through online design communities, particularly on Instagram. This revival was propelled by a new generation of graphic designers who reinterpreted the 90s aesthetic for a contemporary audience. Key figures in this movement include David Rudnick, known for his work with musical artists (collaborators include Katy Perry, Oneohtrix Point Never, Black Midi and Nicolás Jaar); Jonathan Castro, who designed the Boiler Room logo; and the Japanese designer GUCCIMAZE. This modern iteration retains the core elements of its predecessor but often incorporates a more ironic, darkly humorous, or cynical worldview, reflecting contemporary anxieties and digital culture.

Acid Design is defined by its use of "colorful black," a technique where a dark or black base is used to make highly saturated, fluorescent colors appear more vibrant. Compositions are typically complex and dense, often appearing random or chaotic. This approach utilizes overlapping and fragmented geometric patterns, creating a sense of dynamic disorder and visual flow that fills the entire space, a principle sometimes referred to as horror vacui (fear of empty space).

Typography is a central element of the aesthetic. Fonts are often experimental, featuring geometric, jagged, or distorted letterforms. A signature of the modern Acidgrafix revival is the use of liquid metal, chrome, and iridescent textures applied to text, giving it a futuristic and tactile quality. This is complemented by other futuristic materials and effects, such as wireframe models, lasers, and renderings of glass and plastic.

The aesthetic employs a range of recurring motifs that blend retro and futuristic themes. These include psychedelic and Op-Art patterns like checkerboards and warped stripes, technological symbols, world globes, and iconography from 90s rave culture like the smiley face. The overall mood is often anti-utopian or dystopian, using visual dissonance and confusion to express subjective emotions and a sense of unique, individualized identity.Acid House is a subgenre of house music that originated in Chicago in the mid-1980s, defined by the deep, squelching basslines produced by the Roland TB-303 synthesizer. While pioneered by Chicago artists like Phuture, the genre became the catalyst for a massive youth counterculture movement in the United Kingdom during the "Second Summer of Love" of 1988–1989.

This movement was centered around illegal warehouse parties and influential clubs like Manchester's The Haçienda, where the music's hypnotic and psychedelic sound, often combined with the use of the drug MDMA, fostered a sense of euphoric unity among attendees. In Belgium, Acid House crossed over with the Electronic Body Music (EBM) scene, resulting in the homegrown New Beat movement.

The associated fashion of the Acid House scene was loose, baggy, and utilitarian, featuring dungarees, brightly colored t-shirts, and bucket hats. The most iconic visual element of the subculture was the yellow smiley face, which became a universal symbol of the scene's hedonistic and carefree ethos. Acid House was instrumental in bringing electronic dance music to a mainstream audience in Europe and laid the foundation for the global rave culture of the 1990s.

Before the term "acid house" became established, a form of bassline-driven electronic music known as "Hi-NRG" (high energy) existed, tracing its origins to disco . Giorgio Moroder's productions for Donna Summer exemplify this early style, which stripped away funk elements. The earliest recorded examples of acid house are subject to debate. Sleezy D's " I've Lost Control ," released on vinyl in 1986, is a significant early record, though its precise creation date remains unknown. Charanjit Singh's 1982 album " Synthesizing: Ten Ragas to a Disco Beat " has gained attention in the 21st century, featuring Indian ragas fused with disco. The album prominently utilizes the Roland TB-303, making Singh an early adopter of the instrument for commercial releases. This record predates Phuture's " Acid Tracks " by five years. Initially a commercial failure in India, it was later rediscovered and re-released in the 2010s, causing comparisons to acid house and suggestions that it might be the style's first example. Suns of Arqa's " Ark of the Arqans " (1985) also influenced early acid house.

The initial acid house records were produced in Chicago, Illinois. Phuture, consisting of Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with the first use of the TB-303 in house music. Prior uses of the TB-303 include Charanjit Singh's 1982 album, hi-NRG productions, and Alexander Robotnick's 1983 work. Phuture's 12-minute track " Acid Tracks " was recorded and played by DJ Ron Hardy at the Music Box. Hardy's repeated plays of the track contributed to its popularity. Chicago's house music scene faced police crackdowns on parties and events, leading to a decline in record sales by 1988. Simultaneously, acid house was gaining popularity in Britain.

London's Shoom club, opened in November 1987 by Danny and Jenny Rampling, was among the first to introduce acid house to the UK. The club's atmosphere, characterized by fog and dreamy ambiance, contributed to its exclusivity. This period marked the beginning of the "Second Summer of Love," a movement associated with a decrease in football hooliganism. Nicky Holloway opened Trip in June 1988 at the Astoria, catering specifically to the acid house scene. Trip was known for its late hours and frequent police attention. Due to anti-club laws, after-hours clubbing was illegal in London, leading to the emergence of raves in warehouses and other secret venues. Groups such as Sunrise and Revolution in Progress (RIP) organized these events. Sunrise held large outdoor events, while RIP was known for its warehouse parties. Promoters also moved raves into established clubs, continuing the scene.

Sunrise's large acid house raves attracted significant press attention, particularly regarding drug use. The association of acid house with drugs like ecstasy and LSD became prominent in the UK and Ibiza. This connection was also noted in New York City by late 1988. Mainstream press coverage increasingly focused on this association, despite differing accounts.

Acid house also became popular in Manchester. The Thunderdome was a central venue, giving rise to acts like A Guy Called Gerald and 808 State. Peter Ford and Richard Salt's " Oochy Koochy ," released as " Oochy Koochy (FU Baby Yeah Yeah) " by Baby Ford, is considered the first British acid house track. The genre was popular among football hooligans, providing a space for rival gangs to mix peacefully. The " Madchester " movement saw acid house influence the Manchester rock scene, with bands like the Stone Roses and Happy Mondays incorporating elements of the genre.

British news media devoted increasing coverage to the acid house scene, initially with positive promotion. However, coverage shifted to a negative viewpoint, focusing on the association with drugs. The Sun's coverage exemplified this shift, from promoting acid house to sensationalizing its connection to ecstasy. This coverage led to a crackdown on clubs and venues playing acid house. Records mentioning "acid," such as D Mob's " We Call It Acieed ," were removed from radio and television playlists. Despite this, " Stakker Humanoid " by Brian Dougans achieved mainstream success, reaching number 17 in the UK charts.

Acid house parties, typically held in abandoned warehouses, featured acid house and acid techno music, characterized by the Roland TB-303's sound. Promoters like Energy, Biology, Genesis'88, Sunrise, and Weekend World organized these events. Information about the parties was spread through flyers and word of mouth. Entry fees were kept low, and some parties were opened for free when police intervened. The music featured the "squelching" bass of the TB-303 and repetitive beats. Notable tracks include " French Kiss " by Lil Louis and " I've Lost Control " by Sleezy D. The catchphrase "Can you feel it?" was common among partygoers.

The Second Summer of Love, beginning in 1988, saw the rise of acid house music and unlicensed raves. It was associated with outdoor gatherings and the underground club scene. Five DJs were inspired to start these events after visiting Ibiza in 1987. The smiley face became a symbol of the period. Baggy clothing and the provision of water and Lucozade were common features. Acid house and hip house were typical of the era. Pirate radio stations promoted the music. Ecstasy was the primary drug used, contributing to feelings of euphoria and reducing violence. Media coverage shifted from positive promotion to sensationalizing the association with drugs.

Acid house visuals were defined by distinctive flyers and the ubiquitous smiley face symbol. In 1988, Danny Rampling commissioned George Georgiou to design a flyer for his club night Shoom, stipulating the inclusion of a smiley face. Georgiou modified the symbol, rendering it three-dimensional and altering its expression, which was then interpreted as an allusion to the drug Ecstasy. Shoom is considered one of the first acid house club nights in Britain.

Flyers served as essential promotional tools in the pre-internet era, featuring basic designs with club names and addresses, or imagery taken from comic books. Genesis, a promoter of large-scale raves, used flyers to convey an appearance of legitimacy, despite their events being largely illegal. Paul Oakenfold's Spectrum night introduced full-color flyers, designed by Dave Little, incorporating elements of 1960s psychedelia . These flyers are now considered collectible, serving as tangible pieces of history of rave culture.

The flyers were integral to the acid house scene, facilitating communication about events and locations, especially for illegal raves. They acted as guides to parties in warehouses and other unconventional venues, and were often distributed at clubs or passed among attendees. Collectors like Dave of Phatmedia amassed extensive collections, recognizing the flyers' artistic and historical value. The designs varied widely, from futuristic landscapes to bold typography. The flyers documented the evolution of the scene, from small gatherings to large-scale events, and are seen as artifacts of a significant cultural movement.

Acid house fashion, which reached its peak popularity in the late 1980s and early 1990s, was characterized by a distinct style reflecting the era's music and culture. Key elements included the widespread use of the smiley face, symbolizing the movement's focus on happiness and euphoria. This symbol, popularized by clubs like Shoom, appeared on clothing and accessories. Bandanas and bucket hats were common accessories, with bandanas possibly linked to an association with an outlaw image. Dungarees, worn oversized, were a staple garment, often paired with baggy T-shirts. Clothing featuring the words "trip" or "acid" was also prevalent, reflecting the culture's connection to psychedelic experiences. Bright colors and patterns, including neon and tie-dye, were common, mirroring the music's style. Sunglasses were frequently worn, possibly due to the intense lighting at raves and the tendency for events to last until sunrise.

The fashion was not merely aesthetic; it served as a means of nonverbal communication among participants. Comfortable, loose-fitting clothing was preferred, allowing for ease of movement during extended periods of dancing. European labels like Chipie, Lacoste, and Naf Naf gained popularity, followed by American sportswear brands such as Russel Athletic and Champion. Trainers, including Adidas Torsions and Nike Cortez, became a central part of the attire. The inclusive nature of the acid house scene contributed to the breakdown of traditional sartorial barriers.

The influence of acid house fashion extended beyond the immediate era, contributing to a lasting shift in fashion norms. The relaxed, sportswear-influenced style that emerged became a lasting trend, influencing subsequent generations. The casualization of dress codes, including the acceptance of trainers and sportswear in various settings, is attributed in part to the cultural impact of acid house.

Acid house music is characterized by repetitive basslines generated by the Roland TB-303 synthesizer. The TB-303's sound is achieved through modulation of the filter cutoff frequency at high resonance, often with added distortion, producing a "squelching" sound. This sound is paired with a four-on-the-floor beat, typically from the Roland TR-808 drum machine.Aesthetic Rap is a microgenre of Hip-Hop that originated in the early 2020s, finding its primary popularity on the social media platform TikTok. Musically, it is defined by the fusion of "lo-fi" production elements (such as jazz samples, violin loops, and soft percussion) with aggressive trap drums and a distinct vocal delivery that oscillates between whispering and deep-voiced, monotone rapping.

Visually, the aesthetic is heavily associated with 1990s and 2000s anime imagery, the " E-Girl / E-Boy " fashion subculture, and a romanticized depiction of digital loneliness and infatuation.

Unlike the "SoundCloud Rap" era that preceded it, which was characterized by raw distortion and punk energy, Aesthetic Rap prioritizes a clean, polished, and atmospheric "vibe" designed specifically for short-form video content.

The genre traces its sonic roots to the "Cloud Rap" of the 2010s (e.g., Yung Lean) and the explosion of Lo-Fi Hip Hop channels (e.g., ChilledCow), which popularized the use of nostalgic, jazz-inspired instrumentals. However, Aesthetic Rap transformed this background music into a foreground identity by adding vocals that focused on romantic pursuit and "flexing."

The aesthetic solidified as a distinct movement around 2020–2021, coinciding with the rise of TikTok as a primary music discovery engine. The genre's short song structures, heavy bass drops, and "quotable" lyrics were engineered to accompany 15-second video edits. Artists like 1nonly and Ciscaux became the icons of this movement, utilizing viral marketing strategies that leveraged anime visuals to build a fanbase independent of traditional industry support.

During its peak between 2020 and 2022, the genre became the soundtrack for the " E-Boy " and " E-Girl " subcultures. It fostered a specific style of video editing known as the "Visual Drop," where the beat drop of a song (such as 1nonly's " Stay With Me ") would synchronize with a rapid montage of anime clips or fashion transitions. This era also saw the crossover of " Meme Rap " elements, with artists like Lil Bubblegum and Savage Ga$p incorporating humor and internet references into their lyrics to maximize shareability.

The visual language of Aesthetic Rap is inextricably linked to the consumption habits of the "Scroll Era." It relies on high-contrast, moody imagery that captures attention on small smartphone screens.

The most dominant visual motif is the Anime Music Video (AMV) . The aesthetic canonized specific anime series that matched the "moody" or "cool" atmosphere of the music. Clips from Cowboy Bebop , Initial D , and Sailor Moon are frequently looped with VHS filters and purple color grading. These visuals serve to project "Main Character Energy," allowing the listener to self-insert into a stylized animated narrative.

Cover art and promotional material frequently feature " E-Girls "; women styled with heavy eyeliner, dyed hair, and alternative fashion. A recurring and controversial motif involves the juxtaposition of "cute" elements (such as Hello Kitty stickers, butterflies, or pink filters) with dangerous iconography (firearms, knives). This imagery plays into the lyrical themes of "toxic romance" and "down bad" culture, a slang term referring to an obsessive, desperate infatuation.

The production of Aesthetic Rap is characterized by "atmospheric and moody beats". Producers frequently sample classical instruments, particularly violins and trumpets, or obscure retro-pop and bossa nova tracks, pitching them down to create a nostalgic atmosphere. These soft melodies are contrasted with hard-hitting, distorted 808 basslines typical of modern Trap music.

Vocally, the genre introduced the "whisper rap" technique, where artists deliver lyrics in a hushed, close-to-the-mic tone to create a sense of intimacy or ASMR-like texture. Alternatively, some artists employ a forced deep voice to project masculinity and "coolness".

Lyrically, the genre focuses on surface-level topics designed for mass appeal. Common themes include:

The Aesthetic Rap genre has faced criticism for its perceived lack of authenticity. Critics argue that the music is often "formulaic," relying on recycled samples and "forced deep voices" to mask a lack of lyrical substance. The community has also been criticized for promoting objectification of women, specifically e-girls.Afropunk is a cultural movement and music genre encompassing the involvement of Black individuals in punk and alternative subcultures. While participation dates back to the origins of punk in the 1970s, the term itself gained prominence following the 2003 documentary Afro-Punk by James Spooner and Matthew Morgan.

The movement is notable for its presence in the United States and the United Kingdom, and it has expanded globally through various artistic expressions and events. Key elements often include punk rock and alternative music styles, distinctive fashion, and a focus on social and political themes relevant to the Black experience.

A significant manifestation of the movement is the annual Afropunk Festival, founded in 2005, which serves as a gathering point for the community and a platform for diverse artistic expression.

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The genre is characterized as an aggressive evolution of Electronic Body Music (EBM), merging harsh 4/4 beats and fast tempos with influences from Techno, Trance, and Power Noise. The name is a combination of "aggressive" and "techno" (or technology) and was coined by the San Francisco industrial club "Aggrotech" in 1990.

Mexican band Hocico is regarded as a pioneer, blending aggressive rhythmic beats with distorted vocal effects. During the mid-2000s, the genre reached its underground peak alongside the rise of Cybergoth , popularized by acts like Combichrist, Aesthetic Perfection, and Suicide Commando.

In contrast to the vibrant and rave -influenced neon colors typical of standard Cybergoth , the visual aesthetic of Aggrotech is defined by a significantly more aggressive and apocalyptic tone. The aesthetic relies heavily on tactical and military themes, frequently incorporating urban warfare imagery and heavy machinery into its artwork. This is often paired with extensive biohazard motifs, such as radiation symbols and the pervasive use of gas masks, to evoke an "end of the world" atmosphere. Furthermore, Aggrotech cover art is characterized by its exploration of taboo and disturbing subjects, ranging from medical horror and misanthropy to stylized depictions of violence.

The genre's philosophical intent is rooted in a performative misanthropy and techno-nihilism. The lyrics and imagery frequently explore themes of hate, violence, societal collapse, and the darker side of human nature. Unlike Punk , which is often politically motivated, Aggrotech's aggression is typically theatrical and apolitical, aiming for shock value and catharsis rather than a specific political agenda. It embraces the concept of the "technological apocalypse," viewing the fusion of man and machine as a horrifying inevitability rather than a utopian future.

The musical structure relies on fast, danceable 4/4 rhythms (typically 110–140 BPM) influenced by Techno and Trance. The defining characteristic is the "harsh" vocal processing, where lyrics are screamed through heavy distortion and pitch-shifting effects to sound robotic or demonic. Synthesizers are aggressive, utilizing "supersaw" waves and heavy compression.

Aggrotech is often confused with its parent genre (EBM) and the subculture that frequently listens to it ( Cybergoth ). The following table outlines the key differences between these three distinct concepts:Alternative (often shortened to Alt ) is a terminological and relational umbrella used to describe subcultures, music, fashion styles, and lifestyles that operate on the margins of or in deliberate contrast to dominant societal norms. Rather than representing a singular, cohesive aesthetic with a fixed color palette or specific motifs, "alternative" is defined by its opposition to the "mainstream" or "popular" culture of a given era.

As a cultural category, it encompasses a wide range of subcultures (ranging from Punk and Goth to digital-native aesthetics like Webcore ) that prioritize autonomy, non-conformity, and a critique of consumerism. Because the term is defined by what it is not, the definition of "alternative" shifts over time; as underground styles are co-opted by commercial interests, new "alternative" movements emerge to reclaim the fringe.

The roots of alternative culture lie in late 18th-century Romanticism , which rejected Enlightenment rationalism in favor of individualism and emotion. This evolved into 19th-century Bohemianism in Paris, where artists and writers adopted unconventional lifestyles that defied bourgeois conventions of work and materialism.

In the mid-20th century, the Beat Generation provided a precursor to modern "alt" culture by rejecting postwar American conformity. This was followed by the mass-mobilization of the 1960s Counterculture, which popularized communal living and anti-authoritarianism. By the mid-1970s, the fragmentation of these movements led to the birth of Punk , which codified the DIY (Do-It-Yourself) ethos that remains the foundational value of alternative culture today.

Alternative culture is primarily defined by an explicit rejection of standardized consumption and materialistic pursuits. In place of mass-market acquisition, adherents prioritize voluntary simplicity and self-sufficiency, often as a response to perceived alienation within affluent societies. This manifests in the cultivation of distinct aesthetics and rituals, such as punk 's anti-establishment attire or beatnik literary experimentation, that invert mainstream expectations of social climbing and uniformity. Sociological frameworks, such as those proposed by Albert Cohen, suggest these subcultural formations emerge when people create inverted value systems that prioritize rebellion over social assimilation.

This oppositional stance is frequently accompanied by a skepticism toward centralized institutions and hierarchical apparatuses. Alternative variants typically favor decentralized communal structures, independent media, and grassroots innovation. Historically, these groups have acted as catalysts for social shifts, including the promotion of organic agriculture, environmentalism, and pacifism. Alternative cultures promote environments for ideological experimentation that challenge the stability and predictability emphasized by the mainstream by positioning themselves at the periphery of the hegemonic norm.

On the Aesthetics Wiki, "Alternative" functions as an umbrella term to categorize specific aesthetics rather than acting as an aesthetic itself. These are often divided into distinct lineages based on their historical or medium-specific origins.

A recurring theme in alternative culture is the tension between authenticity and co-optation. The "rebel sell" describes the process by which mainstream corporations appropriate alternative symbols (such as ripped denim, safety pins, or flannel) to sell "rebellion" as a commodity. This process frequently dilutes the original political or social critique of the movement, turning a lifestyle of resistance into a mass-market trend.

The community also faces internal conflicts regarding gatekeeping and social dynamics. Participants are often required to prove their knowledge of subcultural history to be deemed "authentic," a practice that frequently targets women or younger participants. Furthermore, while the scene promotes liberation, it can also amplify personal instability or isolation if the subcultural reinforcement of deviance leads to harmful behaviors. These complexities underscore the causal tension between maintaining fringe authenticity and the inevitable pull of broader societal integration.

While the "alternative" label is frequently associated with darker "edgy" themes in Western media, the term encompasses any subcultural movement that intentionally deviates from societal expectations of normalcy. This includes "maximalist" or "hyper-feminine" styles that, while visually bright, are functionally countercultural due to their rejection of conventional beauty standards and social roles.

In Japan, for example, the Lolita fashion subculture emerged as an alternative to the expectations of traditional womanhood and the "sexy" trends of the 1990s. By adopting an elaborate doll-like aesthetic rooted in Victorian and Rococo styles, Lolitas prioritize personal fantasy and community standards over the "male gaze" or mainstream efficiency. Similarly, Decora serves as an alternative to Japanese social pressure toward conformity and minimalism; its practitioners utilize an extreme accumulation of colorful accessories and toys to reclaim a sense of childhood playfulness in adulthood.

These styles show that "alternative" is a structural position within culture rather than a specific visual vibe. Whether a style is dark like Cybergoth or bright like Fairy Kei , it remains alternative as long as it maintains a DIY ethos, a niche community, and a clear distance from the commercialized mainstream.

In the mid-2020s, a trend surfaced on TikTok under the label "Naturally Alternative." The premise of the trend suggested that certain people possess inherent physical characteristics, such as pale skin, prominent dark circles under the eyes, or naturally "messy" hair, that predispose them to an alternative identity regardless of their participation in a subculture.

From a sociological and historical perspective, this trend is considered a "category error." Alternative culture is defined by intentionality and agency; the active choice to engage in specific artistic practices, political ideologies, or DIY fashion to distance oneself from the mainstream. The trend strips the term "Alternative" of its countercultural substance by attempting to rebrand genetic traits or physiological markers as an "aesthetic."Anarcho-Punk is one of the main subcultures within the punk movement, defined by a shared ideology of anarchism and a commitment to direct political action. Emerging in the late 1970s in the United Kingdom, the movement was pioneered by bands like Crass, who combined aggressive punk rock with explicitly anarchist and pacifist messaging. The subculture is characterized by a strong Do-It-Yourself (DIY) ethos , which manifests in self-published zines, independent record labels, and a distinct fashion style that often involves modifying clothing with hand-painted slogans, patches, and political symbols.

Visually, the aesthetic is typically stark and utilitarian, favoring a black-and-white or black-and-red color palette to emphasize its serious political intent, setting it apart from the more colorful and nihilistic stylings of other punk factions.

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Under ConstructionAnti-Fashion is an umbrella term for various styles of dress which are explicitly contrary to the fashion of the day. Anti-fashion styles may represent an attitude of indifference or may arise from political or practical goals which make fashion a secondary priority.

Anti-Fashion dates back to the 19th century, but these "anti-fashion" outfits were worn for functional reasons like riding a bicycle or swimming. More and more anti-fashion trends arose in the 20th century, accompanying the birth of new forms of music, media, and dance from America - this was exemplified in the Beatnik , Pachuco , and Greaser subcultures of the 1940s and 1950s. Hippie fashion marked a significant turning point in popular culture, as people started to dress more exotically, informally, and individualistically. Trends of the late 20th century saw the advent of various anti-fashion subcultures like Punk and Grunge , as well as the advent of the Hip-Hop , Skater and Raver looks accompanying new genres of dance music - all played into ideas of anti-fashion going into the 21st century. Popular designers in the Anti-Fashion world include Betsey Johnson {assisted various hippy styles into the mainstream), Vivienne Westwood (the mother of Punk fashion herself), Issey Miyaki, Rei Kawakubo, Yohji Yamamoto (helped inspire the explosion of Japanese street style), Christian Francis Roth, Anna Sui, Marc Jacobs (the commercializers of Grunge and 'Kinderwhore'), Ann Demeulemeester, Maison Martin Margiela and Raf Simons.

Anti-Fashion visuals often carry an air of rebellion and a rejection of the status quo of the particular time period it comes from.  Even in the era of "fast fashion" that we currently live in, there are people rejecting the current fashion norms by going in opposite directions (be it through thrifting, buying through independent clothing brands online, or some mixture of the two).

Anti-Fashion applies to many trends, but anything in the trend made avant-garde or misused can work. The feel of the trend without the effort usually involves some element of drugs or carelessness.  Anti-Fashion is, more of then than not, done to completely go against established fashion trends until the fashion world, eventually, co-opts the fashions of the Anti-Fashion world and attempt to make it trendy and cool, which inevitably forces the Anti-Fashion world to evolve and change.Artcore (アートコア), also referred to as Renaissance Hardcore , is a Japanese electronic music genre that emerged from the dōjin scene during the early 2000s. The style functions as a technical hybrid, integrating high-BPM electronic frameworks, specifically drum and bass and hardcore techno, with classical instrumentation. The musical structure relies on the juxtaposition of rapid electronic breakbeats against melodic piano leads and orchestral string sections. Artcore is a standard audio-visual component of the Japanese rhythm game industry, utilized as a primary theme in titles such as Arcaea , KALPA , and Stellights . The genre's development is linked to the expansion of independent music distribution at events like Comiket and M3.

The conceptual origins of Artcore can be traced to the Japanese rhythm game series BEMANI . In the late 1990s and early 2000s, producer dj TAKA released tracks under the alias DJ Amuro, which he described as "Renaissance Hardcore." These songs combined high-tempo electronic beats with instruments like harpsichords and violins, creating a sound reminiscent of Baroque and Renaissance music (often fictionalized).

The genre began to coalesce into a distinct style with the work of producer Onoken. His 2002 track " felys " is widely considered by the genre's fanbase to be the first true Artcore song. It established Artcore's core template of progressive piano melodies layered over fast, intricate drum and bass rhythms. The term "Artcore" was first officially used in the game Beatmania IIDX to describe the 2006 track " Narcissus At Oasis " by Ryu☆.

From there, the genre flourished within the Dōjin scene and through its continued presence in rhythm games. Labels like Diverse System became important hubs for Artcore producers, and the style began to spread internationally in the early 2010s through the internet, finding a small but dedicated global fanbase.

The visual aesthetic of Artcore, seen primarily in album art and the user interfaces and design choices of rhythm games, is heavily influenced by fantasy and historical European art. The visuals often feature anime-styled characters, frequently depicted as angels, fairies, or cyborgs, and dressed in clothing reminiscent of Gothic Lolita fashion.

The settings are typically grand and dramatic, incorporating elements of Gothic and Baroque architecture, such as cathedrals and ornate halls. Common visual motifs include shimmering crystals, shattered glass, angel feathers, and flourishing flowers, all rendered in a cool, high-contrast color palette dominated by shades of blue, purple, and white. This creates an ethereal and elegant atmosphere that complements the dramatic and emotional nature of the music.

Artcore music is characterized by its synthesis of classical composition and high-energy dance rhythms. A portmanteau of "Art" and "Hardcore," the genre's songs typically feature a high BPM, intricate piano arpeggios, and dramatic, emotional chord progressions reminiscent of classical music. These melodic elements are layered over complex and fast-paced breakbeats derived from drum and bass. The result is a sound that smoothly merges acoustic and electronic textures, creating a style that is seen by its fans as more focused on beauty and emotional depth than the purely rave-oriented energy of mainstream J-core.Avant Apocalypse is a fashion aesthetic characterized by neutral maximalism, deconstruction, and wearing pieces in unconventional ways. Coined by trend forecaster Mandy Lee on TikTok in 2021, it evolved from the subversive basics movement, incorporating elements of Plaguecore and Post-Apocalyptic styles. The aesthetic emphasizes layering, asymmetry, and the use of neutral tones to create complex silhouettes. Avant Apocalypse reclaims the body through cut-outs, sheer fabrics, and unconventional shapes. It often involves upcycling and repurposing existing garments, reflecting a growing awareness of sustainability within fashion. The style draws inspiration from dystopian media, such as Mad Max and Dune , and the rebellious ethos of punk .

The term "Avant Apocalypse" was coined in 2021 by trend forecaster Mandy Lee on TikTok, where the aesthetic gained popularity. It emerged as an evolution of the subversive basics movement, which featured minimal wardrobe staples like tank tops and blazers updated with asymmetric cuts, exposed skin, and strategic layering. Subversive basics focused on reclaiming the body through deconstructed garments and unconventional silhouettes.

The Avant Apocalypse aesthetic took hold on social media and through do-it-yourself fashion, but also due to the contributions of designers such as Nensi Dojaka, DIDU, Auné, and Mugler. These designers presented architecturally structured and revealing designs that aligned with the emerging trend.

The rise of Avant Apocalypse is influenced by several factors. After the COVID-19 pandemic, there was a desire for greater freedom and self-expression, leading to a focus on body-conscious silhouettes. The aesthetic also reflects a response to collective anxieties stemming from the pandemic and climate concerns, manifesting as a new form of "protection" in dressing. Historically, apocalyptic-leaning styles gained traction in the 1970s and 1980s as a response to economic instability and a desire to rebel against conventional values. The 2022 incarnation of Avant Apocalypse embodies both coverage and powerful self-revelation. It integrates elements of " dopamine dressing " and maximalism . Designers like Ottolinger, Elena Velez, and Schiaparelli's Daniel Roseberry have contributed to the aesthetic, incorporating sculptural elements, metal details, and protective, armor-like forms, often drawing inspiration from science fiction and dystopian narratives.

Avant Apocalypse is characterized by neutral maximalism and the unconventional wear of garments. The aesthetic emphasizes deconstruction, where standard outfits are modified through cutting, shredding, and repurposing. Asymmetry and off-kilter pieces are prominent, featuring off-shoulder or one-sided designs. Layers are a crucial element, with lightweight clothing, sheer fabrics, and different textures often combined to create new silhouettes and cut-outs. This layering allows for body-conscious expression, revealing skin through strategic placements and curve-hugging fabrics.

The color palette primarily consists of neutral tones, including earth tones, beige, white, and grey, though unusual color combinations may also appear. The aesthetic encourages creativity and thrifting, allowing individuals to modify existing items. Common garments include upcycled tank tops, suit trousers, blazers, and wool sweaters.

Footwear typically aligns with the deconstructed and unconventional nature of the aesthetic. Examples include El Dantes Boots, New Rock Boots, Gordon Jack Platforms, Swear Alternative, Destroy, Shelley's, Demonia, Buffalo, The ART Company, El Naturalista, Sella, Madfish, Roxy, Maison Margiela distressed sneakers, and Alternative Vintage Platforms.

Designers contributing to the Avant Apocalypse aesthetic include Nensi Dojaka, DIDU, Auné, Ottolinger, Oriens, and Ai Mei Li. These designers showcase architecturally structured basics, pieces with negative space, sculptural wire elements, and metal embellishments, often evoking a sense of glamorous dystopianism or "aftermath industries." Daniel Roseberry for Schiaparelli has also contributed with armor-like bodices and protective, bejeweled arm coverings.The B-Boy (Break-Boy) and B-Girl (Break-Girl) aesthetic defines the practitioner of Breaking , the original street dance style developed as one of the four foundational pillars of Hip-Hop culture (alongside MCing, DJing, and Graffiti). Originating in the marginalized Afro-Caribbean and African American communities of The Bronx, New York City, during the 1970s, B-Boying quickly became a kinetic, expressive art form centered on technical prowess and individuality. The term "Breakdancing" is largely considered an obsolete and commercialized term coined by the media in the mid-1980s.

The B-Boy subculture was pioneered in the 1970s by figures known as the "Holy Trinity" of Hip-Hop : DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash. They developed the musical foundation for Breaking by using over-dubbing and mixing instrumental parts of songs, known as breakbeats, into continuous dance loops. Early B-Boys, such as the members of the iconic Rock Steady Crew, transformed street conflict into dance battles, providing one of the most groundbreaking and innovative artistic forms of the time.

The subculture functioned as a counterculture, offering liberation and empowerment to youth facing societal marginalization. By the mid-1980s, films such as Wild Style and Flashdance propelled Breaking onto the global mainstream stage, leading to the globalization of the art form, with international popularity soaring across South Korea, Brazil, and Europe. Today, Breaking remains highly relevant, having been included in the Paris 2024 Olympics.

Under ConstructionBarber Beats is a subgenre of Vaporwave that emerged in the late 2010s and gained popularity in the early 2020s. The style is defined by a more sincere, less ironic take on the Vaporwave ethos, trading the genre's characteristic reverb-heavy and warbled sound for a cleaner, downtempo, and more organic soundscape. Musically, it draws heavy influence from genres like trip-hop, nu-jazz, and instrumental hip-hop, creating a sound that is often described as suave, luxurious, and melancholic. The genre is also characterized by a distinct visual style that sets it apart from other Vaporwave trends, featuring sleek, elegant album art that often depicts heavily edited classical sculptures and mythological figures.

The Barber Beats sound was pioneered by the anonymous artist Haircuts for Men, who began releasing music in the mid-2010s. The term itself was coined by the independent record label Aloe City Wrld to describe Haircuts for Men's specific downtempo production style.

The genre's popularity exploded in the early 2020s, with a massive proliferation of artists and releases on platforms like YouTube and Bandcamp. Artists like Macroblank and Modest by Default became key figures in the scene, carrying the torch from Haircuts for Men and further solidifying the genre's sound and aesthetic. The rise of Barber Beats has been seen by some as a reaction to the perceived stagnation of the mainstream Vaporwave scene, offering a more mature and less meme-focused evolution of the sound.

Barber Beats has a unified and distinct visual style that differs from the neon, glitchy, and often cluttered look of traditional Vaporwave . The album art is typically minimalist and elegant, often featuring heavily edited images of classical or mythological sculptures set against a solid color or simple pattern. The aesthetic has been described as a "stripped-down kind of elegance" and has been linked to the graphic design style known as " Acid Graphics ." Album covers often incorporate vinyl-inspired framing and design elements, and many artists use Japanese characters in their track titles and album art, a practice inherited from Vaporwave.

The sound of Barber Beats is a departure from the "melted tape" quality of classic Vaporwave. It is characterized by a cleaner production style with a heavy emphasis on bass and a melodic, rather than chaotic, structure. The genre is almost entirely sample-based, drawing from a wide variety of sources including downtempo, trip-hop, nu-jazz, lounge music, and world music. The samples are often slowed down but are typically not as heavily distorted or saturated with reverb as in other Vaporwave subgenres, resulting in a more organic and accessible sound. The overall mood is sophisticated and relaxing, often compared to the background music of a high-end lounge or a late-night drive.

The primary criticism of Barber Beats from within the Vaporwave community centers on its creation process. Many producers in the genre use long, often unedited or minimally edited samples from other artists, sometimes even sampling and re-mixing entire tracks from older Vaporwave releases. This has led to debates about whether the genre is "low effort" and whether it is ethical for artists to sell physical releases (such as vinyl records and cassettes) of what is essentially a curated mixtape of other people's music. Proponents of the genre argue that this is simply an extension of the plunderphonics and DJ culture that has always been a part of Vaporwave, and that the curation and recontextualization of the samples is an art form in itself.Bardcore is a music microgenre that involves arranging modern pop songs to sound medieval or "old-timey." This is primarily achieved through the use of instruments commonly associated with the Middle Ages , such as lutes, harps, flutes, and various forms of drums. Some adaptations also feature rewritten lyrics that incorporate archaism and Old English phrasing to enhance the medieval authenticity.

Prior to 2020, isolated medieval adaptations of popular music existed on platforms like YouTube. However, Bardcore emerged as a distinct and widespread trend on April 20, 2020, during the COVID-19 pandemic lockdowns. This date is largely attributed to German YouTuber Cornelius Link, who released " Astronomia (Medieval Style) ," an instrumental remake of Tony Igy's electronic dance track " Astronomia ." This particular song had recently gained widespread attention as the soundtrack to the "coffin dance meme," and Link's adaptation quickly went viral.

Following this, Link produced a medieval-style instrumental version of Foster the People's " Pumped Up Kicks ." Canadian YouTuber Hildegard von Blingin' then added medieval-style vocals to this track, using adapted lyrics, which further amplified the trend's popularity. Other YouTubers like Graywyck, Constantine, and Samus Ordicus joined the movement. The appeal of Bardcore is often linked to a blend of nostalgia, escapism, and the existential humor prevalent among younger generations, providing a unique reinterpretation of contemporary music through a historical lens. The genre is largely an online phenomenon, with hundreds of medieval-style covers available on video-sharing platforms.

The emergence of Bardcore as a distinct musical trend in 2020 was preceded by earlier, isolated instances of medieval adaptations of modern popular music. Notably, LjB0's remix of the " Halo Theme " and Algal the Bard's medieval rendition of System of a Down's " Toxicity ," published in December 2017, had already garnered millions of listeners on platforms like YouTube.

The genre solidified as a recognizable phenomenon on April 20, 2020, during the early phase of the COVID-19 pandemic lockdowns. This date marks the release of " Astronomia (Medieval Style) " by Cornelius Link, a German YouTuber. This track was an instrumental adaptation of Tony Igy's 2010 electronic dance song "Astronomia," which had recently gained global prominence as the soundtrack for the "coffin dance meme." Link's medieval version quickly achieved widespread attention.

Weeks after his initial success, Link released a medieval-style instrumental of Foster the People's " Pumped Up Kicks ." This was subsequently re-released with added vocals by Canadian YouTuber Hildegard von Blingin', whose name is a play on the medieval composer Hildegard von Bingen. Hildegard von Blingin' provided a medieval-style adaptation of the original lyrics, and by the end of June 2020, both versions had accumulated approximately 4 million views. She further contributed to the genre by covering numerous other popular songs, including Lady Gaga's " Bad Romance ," Radiohead's " Creep ," Dolly Parton's " Jolene ," and Gotye's " Somebody That I Used to Know ," altering their rhythms and lyrics to fit the medieval aesthetic.

The trend rapidly expanded across YouTube, attracting other creators such as Graywyck, Constantine, and Samus Ordicus. This appeal was partly attributed to a resonance with Generation Z's existential humor and long-standing internet memes related to the medieval era, as suggested by Elmira Tanatarova in i-D. By September 2020, hundreds of songs had been adapted into the Bardcore style.

The genre also received notable mainstream recognition. The Wu-Tang Clan publicly endorsed Bardcore by reposting Beedle the Bardcore's cover of their track " C.R.E.A.M ." on their official YouTube channel. In October 2020, BBC Radio 1's Scott Mills featured tracks by prominent Bardcore artists like Beedle The Bardcore, Hildegard Von Blingin', and Stantough on his prime-time show.

The Bardcore aesthetic is characterized by imagery that directly evokes medieval fantasy , drawing heavily from historical art styles and contemporary interpretations of the past. Visuals commonly associated with the genre feature medieval musical instruments such as lutes, harps, flutes, and various types of drums, often presented in rustic or natural settings.

Illustrations frequently mimic the style of medieval manuscripts, tapestries, or woodcuts, sometimes incorporating modern elements in a humorous or anachronistic way. Peasant wear and other forms of historical or fantasy-inspired garb are often depicted. The color palette typically consists of muted yellows, blues, reds, and neutral tones, contributing to an aged or period-appropriate feel. Many visual representations utilize sepia-like filters or textures to further enhance the perception of antiquity. These visual elements collectively create a sense of nostalgia for a fictionalized past and complement the musical reinterpretation of modern songs. The Old English font is widely used in cover art.

Fashion's direct connection to Bardcore is more niche, primarily manifesting in costuming, performance attire, and merchandise on TikTok and Pinterest rather than as a widespread street style. Individuals engaging with the Bardcore aesthetic often adopt clothing inspired by medieval peasant wear, fantasy garb, or historical reenactment apparel.

This can include rustic fabrics, simple tunics, cloaks, and functional footwear. Accessories like leather pouches, belts, and headwear reminiscent of historical periods are also utilized. The emphasis is on comfort and a somewhat rugged, earthy appearance, reflecting the pastoral and often unpolished themes associated with medieval life. In the context of online content creators and performers, the fashion serves to enhance the thematic immersion of their musical adaptations, providing a visual complement to the reinterpreted songs.The term Beatnik emerged in the 1950s as a media stereotype associated with the Beat Generation, a literary movement that gained prominence in the mid-1950s. While the Beat Generation, which included writers like Jack Kerouac, Allen Ginsberg, and William S. Burroughs, used the term "beat" to describe themselves, "beatnik" was coined by San Francisco Chronicle columnist Herb Caen in 1958. Caen's term was a portmanteau of "Beat" and " Sputnik ," intended to be a satirical and somewhat derogatory label that implied a connection between the Beat Generation and perceived communist or "space-brained" ideas.

Elements of the beatnik trope included pseudo-intellectualism, drug use, and a cartoonish depiction of real-life people along with the spiritual quest of Jack Kerouac's autobiographical fiction.

The term quickly gained popularity in the media, often used to depict a superficial image of the Beat Generation, focusing on aspects like bohemian fashion and perceived nonconformity. This stereotype often contrasted with the actual artistic and philosophical pursuits of the Beat Generation writers. Many Beat scholars and figures, including Jack Kerouac and Allen Ginsberg, initially expressed disdain for the term "beatnik," viewing it as a misrepresentation of their work and values. While "beat" became associated with the literary movement, "beatnik" remains linked to the popularized stereotype of the 1950s counterculture.

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The "beatnik" stereotype, popularized in the late 1950s, was associated with a distinct fashion style, often seen as a rebellion against the prevailing conformity of the post-World War II era. This style, though often a simplified representation, drew inspiration from the Beat Generation's rejection of mainstream values. While the Beat Generation focused on artistic expression, the "beatnik" image emphasized a specific mode of dress.

Key elements of "beatnik" fashion included turtlenecks, which were shirts or sweaters, typically in dark colors and with a slim fit, serving as a prominent feature that departed from conventional menswear. Relaxed, wide-leg trousers were adopted as a more casual and unconventional alternative to the standard tailored suits. Black leather jackets or pea coats, often form-fitting, were associated with a rebellious and artistic persona. Though more prevalent later, slim-fitting dark-wash denim jeans were sometimes included in the "beatnik" look, seen as a contrast to looser styles. Black-and-white striped shirts, both short-sleeved and long-sleeved, were an iconic piece of "beatnik" attire, conveying a straightforward yet distinctive appearance. Black berets were a common accessory, adding to the artistic and bohemian image. Chunky, dark-rimmed glasses, including wayfarer styles and cat-eye eyeglasses, were worn as a statement. Simple black loafers were a typical footwear choice, offering a practical and understated alternative to more formal shoes.

Even though these items were associated with the "beatnik" stereotype, the Beat Generation's personal styles varied. The "beatnik" fashion, however, became a recognizable visual shorthand for the countercultural attitudes attributed to the movement.

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Under ConstructionBelgian Popcorn , commonly known as Popcorn or Oldies Popcorn , was an underground musical and dance subculture that originated in Belgium during the late 1960s and peaked in the 1970s. It is defined by an eclectic curation of obscure American and British R&B, soul, ska, jazz, and pop music records from the 1950s and 1960s, played at a distinctly slow or medium tempo to accommodate a unique dance style.

The movement has been described as Europe's last truly underground subcultural scene due to its relative obscurity outside Belgium and lack of commercialization. Though similar in timeline to Britain's Northern Soul , Popcorn is differentiated by its slower pace, its focus on "slow swing" dancing, and its association with beer consumption rather than amphetamines. The movement is regarded as the cultural predecessor to the Belgian New Beat movement of the 1980s.

The scene's origins are traced to the region of Antwerp and East Flanders. In the late 1960s, a café named De Oude Hoeve opened in a converted farm barn in the village of Vrasene, where it began holding popular dance competitions on Sunday afternoons.

The music played was primarily soul and funk, but DJ Gilbert Govaert quickly developed an idiosyncratic style, favoring records with a "drowsy feel" to match the local slow swing dance. The venue was eventually renamed The Popcorn —after the 1968 James Brown hit " The Popcorn "—and the phrase "Dancing the Popcorn in Vrasene" became the common name for the entire musical trend. The atmosphere was notoriously decadent and euphoric, with patrons often cheering, dancing on bars, and occasionally stripping to the music.

By the mid-1970s, the scene had spread beyond the Antwerp area, with other major clubs like The Festival (Antwerp), The Gatsby (Vliermaal), and The Versailles (Ostend) playing the sound.

The aesthetic is largely defined by the contrasts it presents: sensuous music in a decadent environment, and European formality combined with raw American records.

The visual style is characterized by the formal attire of the dancers, which is a conscious rejection of the casual dress codes found in many contemporary clubs. The clothing is generally clean and stylish, aligning with a desire for self-discipline and pride despite the music having no hard-and-fast dress code.

Popcorn's existence went largely unnoticed outside Belgium until the internet age opened the scene to outsiders in the 2000s, leading to dedicated nights in the UK, Italy, and the US. It is now celebrated as a unique form of cultural preservation that informed the musical tastes of an entire nation, paving the way for the development of later Belgian electronic music.

The purity of Belgian Popcorn lies in its impurity. It is defined not by any single genre, but by its unique criteria for selection and speed.

The musical repertoire is an eclectic mix of "rare grooves" and obscure singles, generally pulled from 1950s and 1960s American and British R&B and pop. However, the selection often broadened to include unexpected genres, such as Broadway show tunes (" Whatever Lola Wants "), tangos, lounge instrumentals, early British pop stars, and Phil Spector-esque girl groups. DJs often achieved the required "slow swing" tempo by deliberately playing 45 rpm singles at the slower 33 rpm speed.

The preferred dance style is a highly stylized, formal "slow swing" or mid-tempo jive. It is distinguished from the acrobatic Northern Soul dance by being less chaotic and more controlled, where men and women (or men with men in the club's liberated, open environment) danced together in complicated steps and whirls. The atmosphere is often described as dark and opulent, lending a sophisticated but sometimes surreal mood to the packed, beer-sodden dance floors.Black Metal is a subgenre of heavy metal that originated in Northern Europe in the early 1980s. Bands like Venom and Bathory are credited with its inception. Venom's sound, closer to thrash metal, laid the groundwork, while Bathory established the characteristic aspects of the black metal sound.

The early period (approximately 1981-1987), known as the first wave of black metal, primarily consisted of thrash and speed metal with satanic or anti-Christian themes. The main musical distinction was lower production quality. In 1984, Bathory popularized shrieked vocals, a key element of the genre. Other notable first-wave bands include Celtic Frost, Hellhammer, and Mercyful Fate.

The late 1980s to mid/late 1990s saw the emergence of Norwegian bands that revolutionized the genre, establishing black metal as a distinct subgenre. This period, known as the second wave (approximately 1987-1997), was spearheaded by bands like Mayhem, whose 1987 album "Deathcrush" was an early example. The second wave sound is characterized by shrieked vocals, tremolo-picked guitars, and blast beats. Visuals include corpse paint, leather jackets, all-black clothing, long hair, beards (particularly goatees), black and white photography, and forest imagery. Notable second-wave bands include Mayhem, Darkthrone, Burzum, Satyricon, Emperor, and Ulver.

Atmospheric Black Metal originated from the second wave in the early 1990s. The band credited for creating atmospheric black metal is the one-man band Burzum. The subgenre is a black metal with influence from dark ambient. Aesthetically, atmospheric black metal isn't as evil or satanic as traditional black metal. And focuses more on building soundscapes and atmosphere with themes of mainly nature, mysticism, and spirituality. Visually, this aesthetic includes a lot of imagery of forests (specifically in Scandinavia) as well as animals that live in the forest.

If you are trying to get into black metal, atmospheric black metal is a great gateway into the genre because it isn't as harsh or evil as traditional black metal. I'd recommend listening to The Mantle by Agalloch or Primordial Arcana by Wolves in the Throne Room as your first black metal albums. And if you separate art from the artist, I would recommend listening to Filosofem by Burzum . (Warning: The man behind the band Burzum, Varg Vikernes, is a murderer, church arsonist, racist, and a political extremist). Other notable bands include Ulver and Mgła.

Blackgaze and Post-Black Metal were put under the same section due to the similarities between the subgenres and the very thin line between them. Blackgaze is a fusion genre that combines Black Metal with shoegaze. The genre is influenced by the atmospheric black metal of the 90s and emerged in the early to mid 2000s. Examples of blackgaze would include Alcest and Deafheaven ,

Post-Black Metal is music rooted in black metal that breaks the boundaries of the genre and often has influence from post-rock. A lot of the aggression from black metal is taken out of the genre, which makes some people skeptical if the genre can actually be considered metal. This subgenre also got the nickname "Hipster Black Metal". Bands would include Sadness , Deafheaven , An Autumn for Crippled Children , and Woods of Desolation . A lot of post-black metal bands are also depressive suicidal black metal (DSBM), which will be explained in the next section.

WARNING: This section contains subject matter relating to self harm, depression, and suicide. If you are sensitive to topics of that nature, then please skip over this section and move to the next one.

Depressive Suicidal Black Metal or DSBM is a subgenre of black metal with doom metal influence that emerged in the mid to late 90s and is audibly slow, repetitive, and dreadful with themes and lyrics about depression, suicide, self harm, and death. Most artists of the subgenre use it as a coping mechanism to deal with and express the problems that they experience. The vocals are usually made to sound like the singer is suffering and in intense pain. The genre is meant to create a feel of hopelessness and dread. Some artists of this genre would include Austere , Silencer , Xasthur , and Thy Light .

Unblack metal is a subgenre of black metal that originated during the second wave of the black metal. Audibly, this genre sounds identical to traditional black metal with the main difference being the themes. Unlike traditional black metal, Unblack metal is anti-satanic and pro-christian. Visually, this subgenre features crosses and other christian imagery. Such artists would include Antestor , Crimson Moonlight , and Horde .

main article: Dungeon Synth

While dungeon synth technically isn't black metal, or even metal, it's roots came from the black metal scene. The genre itself originated in the 1990s and the name wasn't coined until 2011. Dungeon synth is a subgenre of ambient and focuses on medieval and fantasy soundscapes. A pioneer of the genre was Mortiis, who was the bassist of the band Emperor at the time. He is considered to be one of the first artists of the genre and released albums such as "The Stargate" and "Crypt of the Wizard". Another pioneer of the genre is Varg Vikernes, or his one-man band Burzum . After he was arrested in 1993, he released a series of albums from prison (these were known as his "prison albums"). These albums were completely made with a keyboard, because that was the only instrument he was allowed to use in prison.Bloghouse (also known as Blog House , Bloghaus , or Dirty Electro House ) is a loosely defined microgenre of Electro House music, party scene, and a fashion trend that was prevalent on the Internet in the mid-late 2000s.

It is named that way because artists and listeners discovered music and supported each other through internet blogs such as Hype Machine and Gorilla vs. Bear . They used platforms like MySpace to connect and share MP3s. Musically, it features influences from French house, electroclash , eurodisco, nu-disco, and nu-rave.

Bloghouse is a retrospective term, coined in 2008 right when its popularity began to decline. This means that people who participated in this online subculture most likely called it another more generic term such as "electro house" or simply "house." It is considered a predecessor to the Indie Sleaze aesthetic, which was coined in 2021.

The term "Bloghouse" is a retrospective label, not one that was used by those involved during its peak back in the mid-2000s. It's believed to have originated in the American "blogosphere," with music blogs like Big Stereo and Missing Toof shaping the scene. The term was coined by Carles, the writer of the Hipster Runoff blog, in an article he published in July 2008. His article explains that if these blogs featured an artist in 2006 or early 2007, they were likely considered part of the Bloghouse movement, whether intentionally or not. Its American origin is reflected in the term itself, which, despite seeming somewhat nonsensical, does capture the genre's rise through online music sharing. These blogs, along with others like Hype Machine, exposed listeners to new artists and sounds, especially Electro House music.

According to Lina Abascal, the most important defining characteristic of Bloghouse is that the artists became popularized through a network of independent blogs . Obviously, this occurred in a digital enviroment very distinct from today , way before music streaming services and mainstream social media. Bloghouse evolved from the pre-existing Electroclash genre, pioneered by DJs such as Miss Kittin. Her detached yet sharp vocals were exactly what musicians such as Uffie were trying to emulate. Two other major influences were Detroit Techno acts such as Dopplereffekt and Cybotron, both of whom used irony and opulence in their music.

Bloghouse's DIY ethos well extended to music discovery. In the early 2000s, distinctions between mainstream and indie music blurred. File-sharing allowed internet users to listen to any song at any time, which led to eclecticism (crossovers of many different genres and subcultures). This coincided with the rise of MP3 blogs and the Hype Machine aggregator, platforms that allowed listeners to discover new music outside the traditional channels of radio and record labels. The "bloghouse" was diverse, encompassing forms of French house and electro to chiptune and nu-rave, unified by its online origins and a certain DIY aesthetic.

MySpace was the hub of the Bloghouse scene. It provided a platform for artists and fans to connect with each other, share their music, and control their marketing. MySpace effectively democratized music promotion, turning fans into "publicists" and bypassing traditional gatekeepers like record labels and the music press.

One of the most influential people in the Bloghouse and Indie Sleaze aesthetics is the photographer Mark Hunter, also known as The Cobrasnake. He attended parties and clubs populated by celebrities and people who would later be considered "it" in order to document this culture. His use of flash photography and candid shots made his website ( thecobrasnake.com ) become viral online, and later influenced the way others shot their photos.

However, this era of file-sharing was relatively short-lived. Facebook replaced MySpace, file-hosting services like MediaFire became stricter, and platforms specifically dedicated to music such as Soundcloud or Spotify were created. The remix culture that defined Bloghouse became difficult to sustain. By the end of the 2000s, the Bloghouse scene had largely faded away.

In the 2020s, there has been renewed interest in the Bloghouse and Indie Sleaze aesthetics and the idea of "reviving" them. Author Lina Abascal published a book about the subculture titled Never Be Alone Again: How Bloghouse United the Internet and the Dancefloor in 2021.

Bloghouse reflects the gritty, hyper-saturated energy of late-2000s internet culture and nightlife. It’s characterized by neon lighting, flash photography, and chaotic party imagery, often capturing crowds dancing in dark clubs, drinking, and posing with reckless confidence. Photos typically feature the glossy glare of cheap digital cameras and early iPhone flashes, producing that distinct, overexposed “MySpace-era” look.

Graphic design tied to the scene (flyers, blog headers, and album art) often uses bold, distorted typography, MS Paint-style edits, and acidic color palettes (pinks, greens, and metallic silvers) evoking both DIY irreverence and cyber-club glamour. Visually, it sits somewhere between rave culture, electroclash, and Y2K digital grime: messy but confident, trashy yet stylish.

Other visuals from this era frequently showcase hipster streetwear, shutter shades, neon leggings, leather jackets, and American Apparel basics, photographed against stark flash backgrounds or urban club interiors. The aesthetic celebrates imperfection and immediacy, the feeling of being caught mid-movement, sweat-glazed under strobe lights, as someone uploads the picture straight to Tumblr or MySpace before dawn.

Bloghouse has also retrospectively faced criticism for its lack of originality and over-reliance on remixes. More recently, some people who were once involved in the scene pointed out the negative treatment of women and the exploitation of young girls within party culture. As Lina Abascal, author of Never Be Alone Again , notes, " There was some shit at the moment that I didn't know about... And now, if you look at these photos and you look at some of these dynamics, it’s not cute. It’s actually a big problem. " This commentary is important because it serves as a reminder that not all things of the past were as good as one remembers them.

Bloghouse music is a hybrid of electro-house, indie rock, and dance-punk. It is characterized by high-gain distortion, compressed drums, and the frequent use of "maximalist" sidechaining. The genre's development was technically dependent on MP3 blogs (e.g., Fluokids, Palms Out Sounds, Missingtoames) which facilitated the rapid distribution of unreleased remixes and bootlegs.

Notable songs include:The Blogspot Scene was an online-driven music scene that emerged in the early 2000s through members of the American post-noise underground. The style was associated with a distinct visual aesthetic, often featuring surrealist and psychedelic printed collage artwork on Dr/Am CDs and cassettes. Releases were made on independent net labels such as New Age Tapes, Pacific City Sound Visions, Housecraft Recordings and Ekhein.Botswana Metalheads , locally known as Marok (Rock), are a localized subculture that emerged in Botswana during the late 1990s and early 2000s. This subculture is characterized by a passionate dedication to death metal and heavy metal music, combined with a unique fashion style that fuses global metalhead codes with elements of local Southern African cattle culture and Spaghetti Western iconography.

The local scene, sometimes referred to as Hellbangers or Metal Cowboys , grew organically as an authentic DIY subculture largely uncorrupted by outside commercial influence. The music serves as a rebellious movement against authority and a means to express social conditions and emotional honesty.

The Botswana metal scene emerged gradually, influenced by cassettes and magazines brought back by people schooled overseas. Key bands like Nosey Road (classic rock) inspired the first generation, while Metal Orizon pushed the community toward a heavier direction.

The subculture's existence was cemented by the formation of bands like Overthrust in 2008, who deliver death metal music with a passion comparable to the genre's US forefathers (e.g., Obituary and Death). They, along with bands like Wrust, Vitrified, and Skinflint, perform at localized festivals like the Vulture Thrust Metal Fest (held in villages like Rakops), which serve are key gatherings for the community.

The subculture frequently faces prejudice from conservative and religious leaders who equate the dark aesthetic, loud music, and themes of defiance with being "anti-God" or Satanic. This has led to attempts to cancel metal shows. However, the community actively works to counter these misconceptions by emphasizing their non-violent temperament, artistic freedom, and use of music to speak about social struggles and the hardcore nature of love.

The Marok aesthetic is a hybridization that transforms the international Metalhead uniform into a localized symbol of a warrior spirit and desert survival. The style consciously blends the dark imagery of heavy metal with clothing associated with Botswana's long-standing tradition of cattle culture:

Members of the subculture often adopt dramatic "metal names" such as Vulture, Gunsmoke, Dawg Thrust, and Suicide Torment, which emphasize their self-perceived role as social justice advocates, guardians, and poets rather than the typical aggressive stereotypes. The aesthetic is a visual symbol of belonging to a cohesive "metal family," which finds expression in community events like festivals and organized, single-file "metal parades" intended to counteract local misconceptions of metalheads as Satanists.

The subculture has been widely documented in photography, which can be found in the following articles:Brazilian Phonk is a music genre and internet aesthetic that fuses the sound of American phonk with Brazilian funk carioca (also known as baile funk ). Emerging in the late 2010s and popularized on platforms like SoundCloud and TikTok, the genre is defined by an aggressive, distorted, and percussion-heavy sound.

The music is inextricably linked to a distinct visual style that has become a dominant aesthetic in the genre. This visual identity is characterized by edgy, powerful characters from anime and manga, illuminated by a saturated neon glow against a dark background.

Brazilian Phonk is a fusion genre with two distinct parent styles. The first is phonk, a subgenre of hip-hop that originated in the Southern US in the 1990s, characterized by its use of samples from 90s Memphis rap, often slowed-down and distorted (a technique known as "chopped and screwed"). The second is funk carioca, a form of dance music that emerged from the favelas of Rio de Janeiro in the 1980s, defined by its syncopated, Afro-Brazilian drum machine beats.

In the late 2010s, as the " Drift Phonk " subgenre gained popularity online with its heavy bass and use of the TR-808 cowbell, producers began to merge this aggressive sound with the driving, percussive rhythms of Funk Carioca, creating the hybrid genre that is now known as Brazilian Phonk.

The visual style of Brazilian Phonk is a primary part of its appeal and is instantly recognizable. It is primarily used for the cover art of songs and playlists on Spotify and YouTube, as well as in the visuals for TikTok edits. The central focus of the aesthetic is almost always an edgy, powerful, or brooding male character sourced from popular anime, manga, or video games. Characters known for their aggression or anti-hero status, such as Sukuna from Jujutsu Kaisen or characters from Dragon Ball Z , are common choices. The aesthetic is built on a stark contrast between a dark or black background and a highly saturated, electric neon "glow" or "aura" surrounding the character. The most common colors for this glow are purple, acid green, magenta, and bright blue.

Brazilian Phonk is a polarizing genre and aesthetic, both within and outside the broader phonk community.

A major point of debate is whether Brazilian Phonk should be classified as "phonk" at all. Purists of the original Memphis-rap-inspired sound argue that the high-BPM, EDM-influenced style of Drift Phonk and its Brazilian variant are a completely different genre that has simply co-opted the name due to its popularity on TikTok. Many argue it is more accurately a subgenre of Brazilian Funk.

The aesthetic is often criticized by listeners as being "cringe" and unoriginal. The visual formula of a glowing, angry anime character has become so prevalent that many feel the scene has become creatively stagnant, with countless producers using near-identical cover art for songs that also sound very similar. This critique also extends to the use of AI-generated imagery, which has become increasingly common on YouTube uploads.Britpop was a British music and cultural movement that emerged in the early 1990s and dominated UK popular culture during the mid-1990s. Musically, it produced bright, catchy alternative rock that deliberately referenced British pop music of the 1960s (like The Kinks and The Beatles) as a direct reaction to the dour themes and dominance of American-led grunge .

The aesthetic, which became a key part of the larger cultural moment known as Cool Britannia , was defined by a strong emphasis on British national identity and working-class pride. Britpop translated its sonic reverence for the past into a distinctly British style that merged elements of Mod culture, casuals , and punk -derived irreverence.

The term "Britpop" was coined by the media and became part of a larger British cultural movement known as " Cool Britannia ," which aimed to celebrate British culture and creativity. This period saw a major resurgence of interest in British fashion, art, and politics, with the music scene being at the forefront of this revival.

The most prominent bands associated with Britpop were Oasis, Blur, Suede, and Pulp, often referred to as the “big four” of the movement. While each band maintained a unique style, they shared common traits such as catchy melodies, sharp lyrics, and a deep reverence for past British pop sounds. For instance, Oasis drew heavily from The Beatles, while Blur was influenced by The Kinks and the Mod subculture.

The peak of Britpop is often marked by the famous chart battle between Blur and Oasis in 1995, which the media dubbed “The Battle of Britpop.” This rivalry received extensive coverage and was symbolic of the movement's large-scale cultural and musical impact, making it a defining feature of 1990s British pop culture.

Britpop as a whole largely fizzled out around 1997–98 due to several significant cultural and musical events: Blur released Blur (1997), marking a departure toward alternative rock; Radiohead’s OK Computer (1997) shifted the scene toward a more futuristic and experimental sound; Oasis's highly anticipated Be Here Now (1997) was widely criticized as overproduced; the death of Princess Diana in August 1997 marked a cultural turning point; and the Spice Girls debut in 1996 recaptured pop's supremacy on UK radio. Pulp's final album, This Is Hardcore (1998), was often seen as representing a "comedown" from the Britpop party.

This decline led to the emergence of successor movements:

The Britpop aesthetic was defined by accessible, everyday pieces that elevated British heritage brands and subcultural uniforms. This "Mod-ual" (Mod + Casual) look was championed by the "big four" bands: Oasis, Blur, Suede, and Pulp.

The look was driven by a blend of working-class street style and 1960s Mod Revival fashion, resulting in a cohesive aesthetic that became synonymous with the era's " lad culture ":

The genre was defined by its reverence for past British pop sounds and its distinct sonic approach. The four most prominent acts associated with the genre were Oasis, Blur, Suede, and Pulp (often referred to as the "big four").

Oasis famously drew heavily from The Beatles, while Blur was influenced by the Kinks and mod subculture. The sound was generally guitar-based, characterized by catchy hooks, sharp lyrics that often referenced British life and culture, and a distinct lack of the dour themes that dominated American alternative rock at the time.Brostep is a high-energy, aggressive subgenre of dubstep that exploded in popularity in the United States approximately between 2010 and 2015. While it originated from the deep and meditative sounds of UK Dubstep, Brostep mutated the genre into a louder, mid-range-heavy spectacle characterized by robotic bass noises, "face-melting" drops, and a culture deeply intertwined with American frat life, energy drinks, and competitive gaming.

Although the term was originally coined as a pejorative insult by purists who felt the style had been "ruined" by " bros ," it was eventually reclaimed by the community to describe the specific era of maximalist North American electronic dance music (EDM) popularized by artists like Skrillex and Excision.

The lineage of Brostep begins with the original Dubstep sound emerging from South London in the early 2000s. Artists like Skream and Benga pioneered a sound focused on sub-bass frequencies; low-end vibrations meant to be felt physically in a club rather than just heard. However, as the genre traveled across the Atlantic, it began to change.

The transition point is often attributed to the UK producer Rusko around 2010. His album O.M.G.! and tracks like " Woo Boost " introduced a snappier, louder production style that moved away from atmospheric dub toward pure energy. This shift laid the groundwork for the American explosion.

The defining moment for Brostep arrived with the release of Skrillex's Scary Monsters and Nice Sprites in late 2010. The EP was a massive departure from traditional dubstep, featuring dirty production, vocal chops, and a distinct lack of the original genre's subtlety. It became a cultural phenomenon, effectively serving as the "big bang" for the genre. Following this, the aesthetic became the dominant sound of the American festival circuit, with producers like Excision and Datsik pushing the sound to become even heavier and more metallic, often described as "robots fighting" or " Transformers sex."

The visual aesthetic of Brostep (primarily seen in album art and unofficial YouTube music uploads) was just as loud and aggressive as the music. It embraced a "toxic" or industrial -inspired aesthetic that mirrored the jagged mechanical sounds of the bass. The imagery was heavily influenced by sci-fi, horror, and gamer culture.

The color palette was dominated by neon green (often referred to as "Monster Energy Green" due to its association with energy drink marketing), deep blacks, electric blues, and purples. Key motifs included gas masks, biohazard symbols, skulls, shattered glass, and dystopian machinery. The "toxic" aesthetic was ubiquitous; album covers often featured radioactive warning signs or monster-like characters wearing tactical gear and respirators, creating a visual shorthand for the music's "filthy" sound.

A specific visual trope of the era was the "Dubstep Joker." Images of the Joker from The Dark Knight , heavily edited with high contrast and neon effects, became the de facto mascot for YouTube dubstep compilations, symbolizing the chaotic and destructive nature of the "drop." In the 2020s, this image was revived and turned into the "Jonkler" brainrot meme.

Brostep was not just a music genre but a convergence of media cultures. It served as the soundtrack for what has been described as the "Military Entertainment Complex" (MEC), where hyper-masculine entertainment in the form of first-person shooter video games and action movies intersected with music.

The genre became inextricably linked to the " MLG " (Major League Gaming) era of the internet. During the early 2010s, gaming montages (specifically for Call of Duty ) almost exclusively used Brostep tracks. The aggressive and stuttering rhythm of the music matched the fast-paced adrenaline-fueled gameplay of shooters, creating a permanent association between a heavy bass drop and a "headshot" or "killstreak" in the minds of a generation.

This era also marked a shift in how crowds interacted with electronic music. Unlike the sway-and-bob dance style of traditional dubstep, Brostep crowds engaged in "mosh pits" and "raging," behaviors borrowed from heavy metal and hardcore punk shows. This physical aggression aligned with the " Bro " demographic, consisting of predominantly young men in fraternities or gaming circles who treated the music as an endurance test of loudness and intensity.

The rise of Brostep created a massive schism in the electronic music world. "Old school" fans of UK Dubstep viewed Brostep as a bastardization of the genre. The primary criticism was sonic: where original dubstep focused on sub-bass (frequencies below 60Hz that rattle the chest), Brostep shifted the focus to the mid-range (wobbling, screeching sounds that assault the ears).

Critics argued that Brostep lacked groove and space, replacing the meditative qualities of the original sound with a "sugar rush" of noise. Rusko, despite being credited with birthing the "aggressive" dubstep style, criticized the direction the genre took, stating that the new wave was just "someone screaming in your face for an hour" and that the fans simply wanted the "most disgusting, hard, dirty, distorted music possible" rather than the nuance of the original sound.

The term "Brostep" itself was an insult used to mock the "frat bro" audience that Skrillex and Excision attracted, implying that the music had been dumbed down for a mainstream, hyper-masculine American audience that didn't understand the roots of UK rave culture.Bubblegum Bling is an aesthetic that emerged in the late 2010s as a revival and reinterpretation of the McBling style of the mid-to-late 2000s. It is a prominent part of the broader Neo-Y2K movement and is heavily influenced by the sound and visuals of the Hyperpop and PC Music scenes. The aesthetic is highly popular on social media platforms like TikTok and Instagram, where it is frequently mislabeled as "Y2K." The name, coined by researcher tranquility2099, is a portmanteau of " Bubblegum Bass ," a music genre pioneered by artists like SOPHIE, and "McBling," the aesthetic it revives.

Bubblegum Bling developed in the late 2010s, with foundational research on the aesthetic conducted by Evan Collins of the Consumer Aesthetics Research Institute (CARI). Its rise is inseparable from the emergence of the hyperpop music genre and the influential PC Music record label. The "bubblegum" in its name specifically references Bubblegum Bass, a style known for its experimental, high-gloss, and synthetic take on pop music. Artists like SOPHIE, Charli XCX, Kim Petras, and Slayyyter are central figures whose music and visual branding are archetypal of the Bubblegum Bling aesthetic.

The visual language of Bubblegum Bling is defined by a sleek, futuristic, and highly feminine look. It retains the focus on luxury and glamour from its McBling predecessor but updates it with a cleaner, more digitally-influenced sensibility. The aesthetic eschews some of the overt "party culture" aspects of McBling in favor of a style that, while still kitschy and stylish, can be more subdued.

Key visual elements include glossy, reflective surfaces, translucent or iridescent materials, and a color palette dominated by shades of pink, silver, and other pastels. Fashion often incorporates futuristic silhouettes, metallic fabrics, and glamorous accessories like rhinestones and chrome details.Bubblegum Dance is a subgenre of Eurodance music that flourished in Scandinavia (particularly Denmark and Sweden) during the late 1990s and early 2000s. Musically, it serves as a lighter, more pop-oriented evolution of traditional Eurodance, characterized by high-pitched female vocals, upbeat synthesizers, and lyrics that oscillate between childlike whimsy and adult innuendo.

The genre's aesthetic embraces artificiality. Artists frequently adopt the personas of living cartoons or dolls, utilizing plastic textures, neon rave gear, and exaggerated character costumes to create a "fantasy world" distinct from the grunge -dominated music industry of the early 1990s. Although musical critics and intellectuals often dismissed the genre as novelty music, its leading acts, such as Aqua, maintained strict creative control over their output, using the "plastic" aesthetic to deliver satirical commentary on pop culture and commercialism.

While the Italian project Whigfield is often credited with the first hit of the genre (" Saturday Night " in 1993), the sound developed largely in Scandinavia. Early pioneers like Me & My introduced the high-energy tempos that would define the era. The genre quickly splintered into various thematic sub-styles. The Danish band Cartoons, for example, pioneered a style they termed "Technobilly," which fused Eurodance production with 1950s Rockabilly aesthetics, creating a visual caricature of American rock and roll using '90s techno production.

The genre achieved global dominance in 1997 with the release of Aqua's " Barbie Girl ." The song and its accompanying video codified the genre's aesthetic: hyper-saturated colors, plastic set designs, and a deliberate blurring of the line between human and doll.

The song's satirical nature sparked a high-profile lawsuit from Mattel, who sued Aqua's label, MCA, for trademark infringement and defamation, claiming the song turned Barbie into a "bimbo." The legal battle lasted five years and reached the U.S. Court of Appeals, where Judge Alex Kozinski notably dismissed the case with the ruling: "The parties are advised to chill." Ironically, Mattel later licensed the song in 2009 for their own marketing, which cemented the genre's victory over the corporate image it parodied.

By the early 2000s, the traditional "duo" format of a female vocalist and male rapper waned in popularity, displaced by child-focused pop groups such as Ch!pz and Banaroo. While the genre faded from mainstream European charts, the genre's artificiality found a second life through internet communities and Asian markets.

This resurgence was initially driven by the Dancemania compilation series and rhythm games like Dance Dance Revolution. These platforms introduced Scandinavian acts to a Japanese audience, creating a cross-cultural feedback loop where European Bubblegum Dance became heavily linked to Otaku culture. This connection culminated when the Swedish group Caramell inadvertently spawned one of the internet's first massive viral memes. A sped-up "Nightcore" version of their track " Caramelldansen " became associated with a looping Flash animation (originally titled "ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL! ANIME LOL!") of anime characters, stripping the music of its original aesthetic and embedding it within anime fan culture.

The genre's prevalence in East Asia also led to its unauthorized integration into the Chinese manufacturing sector. Manufacturers of bootleg children's toys, also known as Shanzhai , frequently utilized low-bitrate loops of Bubblegum Dance tracks as built-in audio. The most prominent example is Smile.dk's " Butterfly ," which became the default sound chip for millions of "Butterfly Phones" and other plastic toys. This distribution method turned the song into a global cultural artifact of the pirate toy market, familiar to millions who had no knowledge of the original Swedish artists.

The Bubblegum Dance genre has experienced a revival through internet trends and nostalgic re-contextualization on TikTok, where it is frequently used for short-form video content, bringing tracks like Toy-Box’s " Superstar " and Bambee’s " Bumblebee " back into the public consciousness. This extends to regional hits, such as Loona's " Vamos a la playa ," which found renewed popularity as a viral audio snippet.

Contemporary artists have also begun integrating Bubblegum Dance motifs into modern pop and reggaeton. Spanish singer ROSALÍA sampled bootleg dog toys for her track " Bizcochito ," while Aitana interpolated Whigfield’s foundational hit " Saturday Night " for her single " Las Babys ." The aesthetic influences extend to internet styles as well, with Bimbocore and Barbiecore drawing directly from the genre's legacy of hyper-feminine and plasticized presentation. Internet-based electronic scenes have similarly embraced the sound; the Krushclub track " I like to pump it " by prodkaz, for example, constructs its hook around a slowed-down sample of Miss Papaya's " Hero ."

The Bubblegum Dance aesthetic centers on being a "living cartoon," rejecting the rebellion of 1990s grunge and alternative rock in favor of storybook and playset imagery. A common motif involves the styling of performers as "human toys," a look codified by Aqua's coordinated color-blocked wardrobes that mimicked the accessories of action figures and fashion dolls. This objectification was often self-conscious, with artists treating their physical appearance as a moldable plastic surface rather than a genuine expression of self.

This "toy" aesthetic frequently intersected with the optimistic futurism of the turn of the millennium. Acts like Smile.dk and Bubbles utilized a style heavily indebted to Y2K design, featuring album art with blue "cyber" backgrounds, hoverboards, and metallic fabrics. This contextualized traditional cultural symbols, such as Japanese geisha imagery, within a digitalized hyperspace environment.

The fashion and costumes also bridged the gap between pop performance and rave culture, with groups like Caramell utilizing spiked, dyed hair and UV-reactive neon textiles that mirrored the style of club kids . Costuming was rarely casual; it leaned into theatrical roleplay, with Me & My’s latex cat-suits exemplifying a campy, costume-party approach to sexuality that remained playful rather than explicitly erotic.

The "classic" Bubblegum sound relies on a rigid production formula designed to maximize earworm potential. The vocal arrangement typically features a contrast between high-pitched and digitally processed female vocals (mimicking a child-like or "chipmunk" tonality) and a gravelly-voiced male rapper. This dynamic, which was popularized by Aqua and Toy-Box, often casts the male vocalist as a specific character, such as a cowboy or Ken doll, while the female vocalist provides the melodic hook.

Lyrically, the genre is dual. While surface-level themes focus on candy, fairy tales, and fantasy adventures, the songwriting frequently employs adult double entendres. Tracks like Toy-Box's " Super-Duper-Man ," which asks "Can I touch your ting-a-ling?", or Aqua's " Lollipop (Candyman) ," utilize innocent imagery to mask sexual metaphors. This lyrical dissonance allowed the music to be successfully marketed to children while simultaneously entertaining adult audiences with irony and innuendo.

The genre has faced retrospective criticism for its reliance on ethnic caricatures, a byproduct of the 1990s "world music" trend which often manifested in Bubblegum Dance as artists donning costumes of other cultures for aesthetic novelty. For example, lyrics in songs like " Butterfly " by Smile.DK fetishized Asian stereotypes. Similarly, the character Dr. Bombay, performed by Swedish-Danish singer Jonny Jakobsen, adopted a brownface persona and a stereotypical Indian accent. While popular at the time, the character represents a form of minstrelsy that is widely considered offensive in a modern context. Cartoons utilized a " Witch Doctor " persona that drew upon Hollywood stereotypes of tribal cultures, blending them with 1950s rockabilly in a way that divorced the visuals from their cultural origins.Chicago Drill is a subgenre of hip-hop that originated in the South Side of Chicago in the early 2010s. Musically, it is a derivative of the trap music scene in Atlanta, sharing a propensity for dark, slow atmospheres and a lyrical focus on the dangers of criminal activity.

Visually and culturally, it established a gritty, unfiltered "documentary" style of music video and a distinct fashion aesthetic centered on designer denim and streetwear (particularly True Religion).

While the genre was initially defined by its hyper-local focus on Chicago gang culture, it rapidly expanded into a global phenomenon, influencing the development of UK Drill in London and Brooklyn Drill in New York.

The genre moved from the underground to the mainstream in 2012 with the rise of Chief Keef. His single " I Don’t Like " became a viral sensation, eventually catching the attention of Kanye West, who released a remix featuring Pusha-T and Jadakiss. This sparked a "gold rush" in the music industry, with major labels scrambling to sign Chicago artists such as Lil Reese, Lil Durk, and Fredo Santana.

This explosion coincided with a shift in Chicago's gang structure. The demolition of large housing projects like Cabrini-Green in the 2000s fractured the traditional gang hierarchies, creating a "balkanized" system of autonomous peer groups. This chaotic environment fueled the genre's lyrical content, which functioned as unemotional reportage of the violence in the South Side.

The rise of Drill drew the ire of the Chicago establishment, particularly Mayor Rahm Emanuel, who viewed the music as a public safety risk. The Chicago Police Department frequently targeted drill artists, shutting down concerts and pressuring venues to cancel bookings. In 2015, a benefit concert featuring a hologram of Chief Keef was aggressively shut down by police within minutes. Due to this lack of local opportunity and the threat of violence, many major figures (including Keef, Lil Durk, and G Herbo) eventually relocated to cities like Los Angeles and Atlanta.

Chicago Drill is responsible for birthing several global subgenres. The sound migrated to London, where it evolved into UK Drill , incorporating faster tempos and influences from Grime. This UK sound subsequently traveled back to the United States to influence Brooklyn Drill, popularized by artists like Pop Smoke. Modern stars such as Lil Uzi Vert and Lil Yachty have credited Chief Keef's melodic experimentation (such as on the track " Citgo ") as a blueprint for contemporary trap-pop.

The visual aesthetic of early Chicago Drill (specifically the "Glo Gang" era) has developed a cult following online. Artists like Sematary and the Haunted Mound collective have explicitly revived the 2013-era fashion (wearing True Religion denim and using deep-fried, chaotic editing styles) recontextualizing the Chicago look within the underground internet rap scene.

Fashion was a central component of the early Drill scene, heavily influenced by Chief Keef's personal style. In 2012, Keef proclaimed himself a "True Religion Fein" (fiend), cementing the denim brand True Religion as the uniform of the movement. The standard look involved baggy True Religion jeans, jean jackets, baseball shirts, and V-neck t-shirts.

This aesthetic was so influential that a decade later, Chief Keef officially collaborated with the brand to design a collection featuring flames, cartoon skulls, and bubble letters, solidifying the look's legacy. According to Keef, new generations of rappers continue to mimic this specific 2013 style of dress, wearing the same fits and jean jackets.

The visual aesthetic of Chicago Drill was influenced by videographers like A Zae and DGainz, who used YouTube to bypass traditional industry gatekeepers. These videos were often low-budget and filmed directly in the artists' neighborhoods, featuring large crowds of associates, firearms, and local landmarks, creating an aesthetic of "unfiltered reality" that contrasted with the polished visuals of mainstream hip-hop.

Chicago Drill production is characterized by a slow tempo, typically settling between 60 and 70 beats per minute (BPM). Producers like Young Chop and DJ L established a sound that uses heavy 808 drum machine beats, stripped-down composition, and "brooding menace".

Vocally, the genre is distinct for its "deadpan" delivery. Artists often rap in a monotone style that evokes an emotionally draining atmosphere, utilizing auto-tune not for melody, but to lend a cold and emotionless quality to the vocals. Lyrically, the genre eschews complex metaphors for blunt realism, often described as "unemotional reportage" of street life.The Club Kids were a youth subculture of artists, performers, and nightlife personalities active in New York City from the late 1980s through the mid-1990s. Led by figures like Michael Alig and James St. James, the movement was defined by its members' outrageous, DIY costumes, theatrical makeup, and a fluid approach to gender expression. The term was first coined in a 1988 New York Magazine cover story that brought the burgeoning scene into the public eye.

Emerging from the shadow of the 1980s AIDS crisis, the Club Kids created a hedonistic and inclusive community that celebrated flamboyant individualism. They treated nightlife as a form of performance art, using their self-made looks and audacious behavior to gain notoriety and media attention. The scene's prominence faded in the mid-1990s following a highly publicized murder within their inner circle and a city-wide crackdown on nightlife.

The Club Kids movement began to form in New York City in the mid-1980s with the arrival of its two central figures, James St. James and Michael Alig. In 1984, St. James moved to the city from Michigan, inspired by Andy Warhol's Popism, with ambitions of becoming a personality in the city's art scene. He quickly became immersed in New York's established nightlife culture. Around the same time, Michael Alig arrived from Indiana and began developing his skills as a party promoter.

Initially an outsider to the circles St. James was a part of, Alig cultivated his own following by creating unique parties and events. His talent for promotion and his flamboyant personality eventually drew the attention of St. James, and their partnership formed the nucleus of the Club Kids movement. By 1987, following the death of Andy Warhol, a cultural void was left in the city's avant-garde nightlife. Michael Alig and his growing group of "Club Kids" were perfectly positioned to fill this role, soon becoming the new center of New York's party scene.

The downfall of the original Club Kid movement was precipitated by two major factors in the mid-1990s. The first was the scene's increasing entanglement with hard drug use, particularly heroin, which began to take a toll on the community's creative energy.

The second and more definitive event was the murder of Club Kid and drug dealer Andre "Angel" Melendez in March 1996 by Michael Alig and his roommate, Robert "Freeze" Riggs. The crime and subsequent cover-up sent a shockwave through the community. Alig and Riggs were convicted of manslaughter in 1997, and the brutal nature of the event shattered the scene's playful, carefree image.

This occurred concurrently with a larger political shift in New York City. The election of Mayor Rudy Giuliani ushered in his "Quality of Life" initiatives, which enacted a severe crackdown on nightlife, drug use, and public gatherings. This aggressive policing of club culture effectively dismantled the environment in which the Club Kids had thrived, bringing the era to an end.

Despite its dramatic end, the Club Kids movement had a lasting impact on popular culture. They are often regarded as the last major subculture of the pre-internet, analog world. Their media-savvy approach to fame and identity is seen as a direct precursor to modern influencer culture and reality television. As one member, Walt Cassidy, noted, "We were using daytime talk shows the way people are using Instagram now... We had this understanding that our identities were a brand and that was a new idea."

The Club Kids' fluid and performative approach to gender is also cited as a significant influence on the "gender revolution" and contemporary queer expression. The scene provided a space of radical acceptance and self-invention that helped to mainstream ideas of gender fluidity. This legacy is most visibly carried on by former Club Kid RuPaul, whose show, RuPaul's Drag Race, has brought a modern version of the Club Kid ethos of creativity, self-branding, and performance to a global audience.

The Club Kid aesthetic was a form of anti-fashion , rejecting mainstream trends in favor of a radically individualistic and DIY approach. The style was androgynous, avant-garde, and intentionally shocking, with participants creating new personas for each night out. There was no single uniform; instead, the aesthetic was defined by its creative process, which involved deconstructing everyday objects and cultural symbols and reassembling them into elaborate costumes.

Looks were a surreal mix of science fiction, circus, and historical references, all filtered through a camp sensibility. This could include anything from clown makeup and monstrous accessories to baby dolls, gas masks, and found objects incorporated into outfits. The goal was to be as visually arresting and unique as possible, with the understanding that one's identity could be fluid and performative. This DIY spirit meant that fashion was accessible to anyone, regardless of income; creativity and audacity were valued far more than expensive brands.

The soundtrack to the Club Kids era was rooted in the burgeoning electronic dance music scene of the late 1980s and early 90s. The music drew heavily from the legacy of disco and the synth-pop sounds of the New Romantic movement, which had a similar emphasis on androgynous fashion and decadent nightlife.

As the scene progressed, the primary genres were House and early Techno. DJs played an eclectic mix of upbeat, high-energy tracks that fueled the hedonistic atmosphere of the clubs. Several Club Kids, including Superstar DJ Keoki and RuPaul, were also musicians who created music that became central to the scene.Communist Chic refers to the phenomenon of symbols and aesthetics associated with 20th-century communist states and movements being appropriated within Western fashion and media. This phenomenon includes the re-contextualization of imagery such as the hammer and sickle, red stars, and portraits of figures like Che Guevara and Vladimir Lenin. These symbols are often detached from their original political and historical contexts, used instead for counter-cultural, ironic, or purely aesthetic purposes. The trend is sometimes utilized for shock value , similar to Nazi Chic , and is a subject of significant controversy due to its association with regimes responsible for mass atrocities.

The origins of this appropriation can be traced to 1970s counterculture, particularly the Punk and Glam Rock scenes. In 1975, manager Malcolm McClaren restyled the pioneer band New York Dolls in red patent leather, using a hammer and sickle flag as a stage prop. McClaren's stated goal was to use this "Chinese stuff" for shock value and to generate a new image for the band, explicitly linking the symbols to fashion and profit rather than ideology.

The trend gained mainstream visibility in the 1990s and 2000s, following the dissolution of the Soviet Union. In 1998, the 150th anniversary of The Communist Manifesto was marked by a new edition marketed as an "upscale" fashion accessory. At the time, Simon Doonan, then creative director at Barneys, noted that "people are forgetting the Gulag and Stalin and the negative imagery," allowing it to "come back as pure style." This marked a shift from niche counterculture to broad commodification, where iconography once used for state propaganda was repurposed into merchandise.

This was further complexified in the 2010s by post-Soviet designers. Russian designer Gosha Rubchinskiy gained prominence for collections like "1984" which drew heavily on his own country's recent history, including Soviet symbols and Russian street fashion. Similarly, the Paris-based brand Vetements sparked controversy in 2016 for a red hoodie featuring the hammer and sickle symbol.

The fashion associated with Communist Chic is defined by its use of specific, high-impact symbols. Common elements include the hammer and sickle, solid red flags, and red or yellow five-pointed stars. These are applied to clothing like t-shirts, hoodies, and accessories. Another key motif is the ushanka, a type of Russian fur cap, often adorned with a Soviet badge. The aesthetics also frequently incorporate Faux Cyrillic , using the visual style of the alphabet, often nonsensically, for its stylistic effect. Finally, texts like The Communist Manifesto have been treated as physical accessories, valued for their cover design and cultural cachet rather than their content.

The primary irony of Communist Chic is that the aesthetic relies entirely on the capitalist system (specifically global e-commerce and fast-fashion manufacturing) to create and distribute its symbols. The performance of anti-capitalism is fueled by the very profit mechanism it opposes.

Common items mass-produced by the capitalist system and sold to consumers who wish to project a revolutionary image include:

The most ubiquitous manifestation is " Che Chic ", which revolves almost exclusively around the Guerrillero Heroico photograph of Che Guevara taken by Alberto Korda. As noted by sources like The Age, the image has become a global brand, appearing on t-shirts, bags, and countless other pieces of merchandise. Its popularity is often attributed to its public domain status and Guevara's ambiguous image as a symbol of rebellion. As noted by journalist Matthew Clayfield, many who wear the image are ignorant of Guevara's history of ordering summary executions, seeing him instead as a general anti-imperialist figure.

A more niche aesthetic is " Chekist Chic ", based on the uniform of the Cheka , the first Soviet secret police organization. This style is defined by black leather trench coats and peaked caps, as documented by a 2007 article in the New York Times and referenced by Robert Amsterdam. The look has been absorbed into popular culture, often used as a generic uniform for "goons and underlings" in spy films, though it originated with a specific organization known for human rights atrocities.

Certain public monuments have been cited as examples of Communist Chic due to their re-contextualization. A primary example is the Statue of Lenin in the Fremont neighborhood of Seattle, Washington. The statue was sculpted by Emil Venkov for the Czechoslovak Socialist Republic in 1988 but was brought to the United States in 1993 following the dissolution of the Soviet Union. It stands on public display, where it is frequently vandalized or ironically decorated by visitors. Critics argue its presence as a quirky local landmark overlooks the historical record of Lenin and the regimes he inspired, effectively treating a totalitarian figure as a piece of kitsch .

The term "Communist Chic" is often used pejoratively, and the aesthetic is the subject of intense criticism for its trivialization of history and the atrocities committed by 20th-century communist regimes.

Critics, such as Polish sociologist Sebastian Duda, argue that the trend is most popular among younger generations in the West who did not experience life under these regimes and "often don't understand it," indicating a decrease in historical awareness. This ignorance is central to the critique. As noted by Matthew Clayfield and Chris Berg, many who wear Che Guevara's face are unaware of his role in mass executions and driving the Cuban economy into the ground.

A frequent criticism is the perceived double standard in how Western culture treats communist symbols versus those of National Socialism (Nazism). While both are identified as forms of "totalitarian chic" reliant on shock value , symbols like the swastika are almost universally taboo. Critics, particularly from post-communist nations, argue that symbols like the hammer and sickle should be treated with the same condemnation, as they also represent a state ideology responsible for millions of deaths. This is reflected in the fact that communist symbols are illegal in several countries, including Poland, Lithuania, and Ukraine, where they are viewed as symbols of occupation and oppression.

The criticism is different in former Eastern Bloc countries. Journalists like Christine Esche argue that in places like Poland, the aesthetic is less popular and, if it appears, its limited appearance is rooted in a complex feeling often described as "post-communist nostalgia" (or specifically PRL Nostalgia in the Polish context)—a disappointment with modern capitalism rather than a genuine desire for the past regime. Furthermore, Western appropriations of styles like the Gopnik subculture are criticized for stereotyping and a shallow understanding of the complex social and economic conditions of post-Soviet nations.

The trend has been parodied in media, such as the sketch " The Pivot " from the " Alternatino with Arturo Castro " television series (Season 1, Episode 2, 2019). The sketch satirizes the commodification of revolutionary imagery by depicting Che Guevara time-traveling to 2019 and confronting the use of his face on capitalist merchandise.

The persona of American drag queen Katya Zamolodchikova (Brian Joseph McCook) is a prominent example of the aesthetic's use in popular culture. Her character, Yekaterina Petrovna Zamolodchikova, uses Soviet-era aesthetics and mannerisms in her comedy, and her associated merchandise lines, such as the "Red Scare Collection," have explicitly featured Communist Chic symbols like the hammer and sickle and references to the oppressive rule of communism for satirical and transgressive purposes.

Notable designers and brands associated with the trend include Gosha Rubchinskiy and Vetements.Cool Britannia was a mid-1990s cultural revival in the United Kingdom (roughly 1993–1997) characterized by renewed British pride, optimism, and youth culture. It aligned with the political rise of New Labour, the Britpop music scene, fashion innovation, and a resurgent creative energy rooted in British pop heritage.

Cool Britannia arose in the early-to-mid 1990s against a backdrop of economic recovery and political change in the UK. Following years of social and economic hardship, a new sense of national confidence emerged, one expressed through art, music (most notably Britpop ), fashion, and politics.

The term “Cool Britannia” itself has deeper roots. It was previously used in a 1967 song by the Bonzo Dog Doo-Dah Band. By the mid-1990s, the phrase was revived commercially; Ben & Jerry’s used it as a name for an ice cream flavour. Politically, the era coincided with the 1994 rise of New Labour and 1997 election of Tony Blair. Public figures and media embraced this revived British identity, combining youth culture with national pride.

Around 1997–98, Cool Britannia began to wane; Britpop was declining, Princess Diana died, and some critics argued that the “cool” nationalism and cultural optimism had become superficial or over-commercialized. Cool Britannia then segued into Y2K Futurism and Gen X Soft Club , as well as Post-Britpop .

Cool Britannia was defined by a renewed embrace of British national imagery, most notably the Union Jack. The flag became a prominent symbol of the era’s confident and playful cultural identity, appearing in fashion, pop performances, promotional photographs, and music videos. This was not a traditional or conservative nationalism but a youth-driven, pop-infused visual statement that blended irony with genuine pride.

Fashion during this period mixed influences from 1960s Mod style with contemporary 1990s streetwear. Designers and pop figures emphasized bold tailoring, bright colors, denim, and vintage-inspired silhouettes that recalled Swinging London. At the same time, Britpop bands adopted a casual, working-class aesthetic—track jackets, parkas, and graphic tees—that underscored the era’s emphasis on relatability and authenticity. This created a hybrid look that merged retro nostalgia with a distinctly modern British cool.

In graphic design and media, Cool Britannia embraced a glossy, high-contrast style influenced by tabloid visuals, magazine culture, and the rise of celebrity photography. Young British Artists (YBAs) added another layer to the era’s look with provocative installations, conceptual art, and clean modernist design motifs. Together, these elements formed a cultural landscape defined by bold color, streamlined layouts, and a sense of irreverent creativity.

Public figures, particularly musicians and actors, became visual icons of the movement. Oasis and Blur projected contrasting but equally influential aesthetics, the former rooted in working-class swagger, the latter in smart, retro-tinged Britpop chic. The Spice Girls brought a poppier, more theatrical version of British identity into the mainstream, often framed through costume choices that referenced national imagery or exaggerated character archetypes. These visual cues gave Cool Britannia a unified but flexible style that spanned subcultures.

Music was central to Cool Britannia. The movement is deeply intertwined with Britpop , a genre defined by British guitar bands who reclaimed a sense of national identity and optimism through pop-rock. Key groups included:

The pop phenomenon extended beyond Britpop , with acts like the Spice Girls becoming emblematic of British cultural pride.

Euro 1996 (the England-hosted football tournament) also played a role in the cultural moment, with the song “ Three Lions ” (“Football’s Coming Home”) becoming anthemic and politically resonant during this period.

Cool Britannia was more than pop culture; it was politically charged. The New Labour government under Tony Blair tapped into this resurgence, using a youthful, modernized British identity to promote renewal. The phrase fostered a narrative of a “new Britain”, one connected to its artistic heritage but unafraid to be modern, edgy, and optimistic.Corporate Hippie (spelt ' Hippy ' in British English), also referred to as Capitalist Hippie or Corporate Psychedelia , was an aesthetic and marketing tactic prevalent from the Late 1960s to Early 1970 s that attempted to appropriate the 1960s counterculture and Hippie movement for corporate applications. The phenomenon emerged out of the mainstream popularity of Flower Power . This aesthetic bridged the gap from the Pop Art and Psychedelia of the late 1960s to the Earth Tones of the 1970s.

The Hippie and psychedelic movements began in the Mid- 1960s (c, 1965-1967), promoting values such as anti-war, peace & love, recreational drug use, and rising to popularity largely in the psychedelic music scene. The scene primarily emerged from the American West Coast psychedelic scene with the earliest recordings being psychsploitation releases such as Kim Fowley's "The Trip" (1965), which sought to exploit the growing counterculture for profit. The Hippie movement reached new heights with the beginning of the Summer of Love , which gave corporate entities incentives to appeal to the movement.

By 1967, Hippie -influenced fashion and music had begun to become widely recognized in the mainstream. This saw corporations attempting to appeal to the broader public by using visuals associated with Psychedelia and Flower Power , spawning Corporate Hippie . These attempts at appealing to the youth was in direct conflict with the Hippie subculture's distain towards the "establishment", Corporate Hippie being largely consumed by normal people who adopted Hippie style and fashion but had little connection with the subculture as a whole.

By 1970, the zeitgeist of the 1960s and Hippie movement had begun to see decline, especially in the United States. This was largely due to the fact that the Hippie movement was no longer an underground subculture and had become mainstream, prominent motifs such as long hair or psychedelic rock music being adopted by general public; this diminished the exclusiveness the Hippie subculture embodied. Events such as Tate–LaBianca murders committed by Charles Manson and his cult in August 1969 also tarnished the reputation of the Hippie subculture in the eyes of some Americans, further contributing to its decline.

By 1973, Corporate Hippie and the Hippie subculture as a whole largely fell out of mainstream popularity, replaced by the Earth Tones style in advertising.

Corporate Hippie 's visuals can be described as a more watered-down, mainstream version of Psychedelia , both containing the same core visuals. Corporate Hippie , however, is less abstract and more consumer-friendly.

Common visual motifs include:

The people depicted in Corporate Hippie advertisements usually sport fashion and clothing reminiscent of Hippie fashion.Crust Punk (also known as crust or stenchcore) is a form of music influenced by English punk rock and extreme metal. The style, which evolved in the early-1980s in England, often has songs with dark and pessimistic lyrics that linger on political and social ills.

Crust punk also has an associated DIY -oriented branch of punk garb. Similar to anarcho-punk, most clothing is black in color. Denim jackets and hooded sweatshirts with sewn-on patches, or vests covered in studs, spikes and band patches are characteristic elements of the crust punk style of dress or pants covered in band patches. They sometimes wear dreadlocks. Crust punk differs slightly from punk in general, as the “crust” comes from being dirty or making things yourself, sometimes out of trash. This makes it similar to grunge.DIY Punk is an art style and design aesthetic that emerged in the British Punk scene during the late 1970s. The style was pioneered by artists such as Jamie Reid, Vivienne Westwood and Linder Sterling as well as early UK punk fanzines such as Sniffin' Glue and London's Outrage which made use of Xerox printing machines , ransom note lettering and slapdash amateur collage art and mixed media .Dark Cabaret is a music genre and associated aesthetic that combines the theatricality of historical performance art forms with darker, macabre themes. It draws inspiration from Weimar-era German cabaret , burlesque , vaudeville, and music hall traditions, and blends these influences with elements from rock music, punk , goth , folk, and industrial styles. The aesthetic is defined by its dramatic presentation and lyrical content, which frequently uses unsettling, grotesque, and psychologically complex narratives.

The genre traces its roots to precursors in the 1930s, such as the experimental cabaret works of Bertolt Brecht and Kurt Weill, and later influences from the 1960s with bands like The Doors. Its sound began to emerge in the 1970s with artists such as Nico and Steve Harley & Cockney Rebel. Throughout the 1980s, post-punk, new wave, and gothic rock acts further adopted the style.

Dark Cabaret was largely codified in the 1990s through the contributions of bands like The Tiger Lillies and collaborations such as Rozz Williams and Gitane Demone's Dream Home Heartache . The genre gained more widespread attention and solidified its identity in the 2000s, notably popularized by The Dresden Dolls, who coined the term "Brechtian Punk Cabaret" to describe their distinctive combination of music and performance. The genre is characterized by its theatrical presentation, using elaborate costumes and dramatic makeup.

Dark Cabaret's history can be divided through various distinct phases, from its early 20th-century influences to its codification as a specific genre in the late 20th century.

The genre's primary influences are rooted in the early 20th-century German cabaret of the Weimar Republic . This period saw artists like Bertolt Brecht and Kurt Weill create politically charged and satirical musical theater, setting a precedent for combining performance with social critique and dark themes. The aesthetic also draws from vaudeville, burlesque , and music hall traditions, which emphasized theatricality and variety.

Later influences come from 1960s artists who experimented with theatrical and darkly-themed music, such as The Doors. The 1970s brought further developments with acts like Nico and Steve Harley & Cockney Rebel, who integrated a theatrical and moody style into their rock music.

The term and genre of Dark Cabaret were largely codified in the 1990s. The UK band The Tiger Lillies is often credited with establishing a definitive sound for the genre, combining theatricality, dark humor, and macabre themes. Another key development was the collaboration between Rozz Williams and Gitane Demone on their 1995 album Dream Home Heartache , which further blended gothic rock sensibilities with cabaret elements.

The genre achieved wider recognition and popularity in the early 2000s, primarily through the band The Dresden Dolls. They described their style as "Brechtian Punk Cabaret," a term that reflected the genre's fusion of Weimar-era theatricality with the sound of punk rock . The band's visual style, which included white mime-like face paint and vintage-inspired clothing, became an iconic representation of the aesthetic. The label Projekt Records also contributed significantly to the genre's growth with its 2005 compilation album Projekt Presents: A Dark Cabaret .

Dark Cabaret's aesthetic is centered on theatricality and dark, vintage-inspired elegance. Performers often adopt a visual style reminiscent of Weimar-era cabarets and vaudeville shows, with a particular focus on striking stage presence. Makeup is a key element, with artists often using stark, white face paint similar to mime or clown makeup, which highlights facial expressions and creates a dramatic, unsettling look. This is frequently complemented by dark eyeliner and bold lipstick.

Costuming draws from historical periods, especially the Victorian , Edwardian , and Weimar eras. This includes suits, bowler hats, corsets, stockings, and ornate dresses. The overall impression combines the elegance of vintage fashion with a grotesque or macabre twist. This aesthetic also incorporates elements of circus, burlesque, and sideshow acts.

The musical style of Dark Cabaret is defined by its combination of diverse genres and its focus on dramatic, narrative-driven songwriting. Pianos are often used as a lead instrument, accompanied by accordions, Roma-style violins, brass instruments, and clarinets. This instrumentation gives the music a sound that recalls military bands and 1920s jazz. While these acoustic instruments are central, the genre also incorporates electric guitars, bass, and drums, which provide a punk or rock foundation.

Lyrical themes are typically dark, satirical, and psychologically complex. They often explore macabre subjects, social decay, death, and human folly, but with a sense of humor or theatrical exaggeration. The vocals are frequently delivered in a dramatic, sometimes snarling or operatic style. This sound is sometimes referred to as "circus music" or "fairground music" due to its carnival-esque chord progressions and instrumentation, creating a sense of both whimsy and unease.Darksynth is a microgenre of electronic music that emerged in the early 2010s as a darker, heavier, and more aggressive offshoot of the Synthwave movement. It is characterized by its fusion of 1980s-inspired synthesizer sounds with the intensity and thematic elements of heavy metal , industrial , and horror film scores. The genre abandons the brighter, more optimistic nostalgia of its parent genre, Outrun, in favor of a sound and visual identity rooted in cyberpunk dystopia, occultism, and ultra-violence.

Darksynth coalesced as a distinct style around 2012, led by a new generation of producers, many of whom came from backgrounds in the metal scene. Artists like Perturbator and Carpenter Brut in France began pushing Synthwave in a faster and more aggressive direction, incorporating the heavy bass of electro and industrial music.

The genre gained significant exposure through its inclusion in the soundtracks for the critically acclaimed video games Hotline Miami (2012) and Hotline Miami 2: Wrong Number (2015). These games featured tracks from pioneers such as Perturbator, Carpenter Brut, Mega Drive, and Scattle, introducing their dark, violent aesthetic to a wide audience and inextricably linking the genre's sound with fast-paced, visceral action. The rise of the extreme metal label Blood Music as a prominent publisher of Darksynth, starting with Perturbator's 2014 album Dangerous Days , further solidified the genre's connection to the metal scene through shared production values and marketing.

The Darksynth aesthetic marks a deliberate break from the bright, 80s pop-culture nostalgia of Synthwave . Its visual identity is heavily influenced by the horror and science fiction films of the 1970s and 80s, particularly the works of director John Carpenter. Album artwork, music videos, and artist branding draw from a darker palette, utilizing imagery of cyberpunk dystopia, occult and satanic symbolism (such as pentagrams and inverted crosses), and themes of ultra-violence. This creates a cohesive "retro-noir" or "cyber-doom" atmosphere that complements the aggressive and menacing tone of the music.

The sound of Darksynth is characterized by loud, distorted production, fast tempos, and a percussive, aggressive approach. It retains the use of vintage synthesizers common in Synthwave, such as the Roland 808 for drum sequences, but combines them with grounding, heavy basslines and a compositional structure influenced by metal.

As the genre has developed, it has diverged into several stylistic paths. Artists like Perturbator and Mega Drive moved toward an Electro-Industrial sound, while Carpenter Brut and Dance With the Dead popularized the use of Heavy Metal guitar riffs and solos over Electro House rhythms. Other acts, such as GosT, have become notable for incorporating strong Black Metal influences, including distorted vocals and blast beats.Death Metal is a subgenre of metal came out of the thrash metal scene in the early 1980s, it was pioneered by bands such as Possessed and Death in the mid-late 1980s. The music itself is characterized by fast tempos, blastbeats, low tuned guitars, and tremolo picking. The term "Death Metal" was coined by the vocalist and bassist of Possessed, Jeff Becerra in 1983. In the late 80s, a new band named Death joined the scene. Even though Death's earlier could be classified as sterotypical death metal with themes of gore and violence, their later albums changed the genre forever. After their album "Spiritual Healing", Death pioneered in technical and progressive death metal. Their themes also changed completely to philosophy. the Stereotypical lyrics of death metal are of slasher themed violence, violence in general, gore, and destruction. But these lyrics are not required to be Death Metal. Nature, Religion, and Philosophy are also common subject matter of the genre.

https://www.pinterest.com/BurnedToDeath/death-metal/Deathrock is a music genre and subculture that emerged from the post-punk scenes of the late 1970s and early 1980s. Often considered a "missing link" between punk and goth , Deathrock is a fusion of the two movements, combining the dark, atmospheric sounds of early gothic rock with the raw energy and DIY ethos of punk. The aesthetic is defined by a theatrical and macabre style inspired by classic horror films, B-movies, and surrealism.

Deathrock developed concurrently in the United States and the United Kingdom. In the US, the scene was centered in Los Angeles and grew out of the hardcore punk movement. Bands like Christian Death (led by Rozz Williams), 45 Grave, and Kommunity FK played at clubs like the Anti-Club, developing a darker, more horror-influenced version of punk .

Simultaneously in the UK, a parallel scene was forming around London's Batcave nightclub, which opened in 1982 and became the birthplace of the British goth subculture. Bands like Specimen and Alien Sex Fiend performed there, helping to define the sound and style. In Northern England, particularly in industrial cities like Leeds, the subculture took root in a climate of economic instability and youth unemployment under Margaret Thatcher's government. The grim atmosphere of cities "blackened with exhaust fumes," combined with the climate of fear created by the "Yorkshire Ripper" serial killer, contributed to the development of a distinctly dark and doomy scene.

Deathrock fashion is one of the most visually distinct styles within the alternative subcultures, blending punk 's DIY ethos with gothic theatricality. The most iconic feature is the "deathhawk," a teased and backcombed variation of the punk mohawk, often with longer side pieces.

Clothing is typically layered and heavily customized. Ripped fishnets are a staple, worn as tights, shirts, or fashioned into "spiderweb" sleeves on jackets and tops. The aesthetic favors a mix of leather, lace, and band t-shirts, often decorated with spooky or occult motifs. Makeup is dramatic and exaggerated for all genders, featuring pale white foundation, heavy black eyeliner, and dark lipstick. The look is androgynous, spooky, and theatrical, with a strong emphasis on self-creation and individuality.

Deathrock music is characterized by its fusion of punk rock's driving rhythms and raw energy, with influences from Glamrock, and the evocation of gothic and horror imagery within the lyrics and instrumentation, giving a dark and macabre sound that preserves the confrontational quality of punk rock. The sound is often defined by repetitive, sinister guitar riffs, prominent basslines, and tribal-style drumming. Vocals are theatrical and expressive, with lyrics that focus on morbid, spooky, and often campy themes drawn from horror movies, surrealism, and death. It is a harder and often faster style than the more romantic or ethereal branches of gothic rock.Disco Polo is a Polish popular music genre that originated in the late 1980s and reached its peak in the mid-1990s. The music is characterized by simple melodies, catchy dance rhythms, and straightforward lyrics often focused on themes of love and partying.

Beyond the music, Disco Polo is defined by a distinct and highly recognizable visual aesthetic, both celebrated and criticized for its kitsch value. This includes the fashion of its performers and fans ( Discopolowcy ), as well as the unique visual style of its low-budget music videos and album art, which are a hallmark of Polish post-communist, early-capitalist pop culture. The term "Disco Polo" was coined in 1993 as a tongue-in-cheek Polish answer to Italo Disco .

Disco Polo emerged in the late 1980s from Polish wedding bands and folk musicians who began replacing traditional instruments with keyboards and synthesizers. Initially known as "Sidewalk Music" ( Muzyka Chodnikowa ), it was sold primarily on cassettes at street stalls.

The genre exploded in popularity in the early 1990s after the fall of communism in Poland. It became the soundtrack to the era of transformation, embodying a spirit of newfound, unpretentious capitalist optimism. Its popularity peaked between 1995 and 1997, dominating mainstream radio and television. However, the genre was heavily criticized by urban cultural elites, who dismissed it as primitive, provincial, and a symbol of "bad taste." This cultural divide led to its decline in mainstream media by the early 2000s.

The genre saw a significant revival in the late 2000s and 2010s, partly through ironic appreciation on the internet and later through its embrace by mainstream television channels and even some politicians, solidifying its place as a permanent and influential part of Polish popular culture.

The fashion associated with Disco Polo fans ( Discopolowcy ) in the 1990s was a unique blend of aspirational glamour, sportswear, and provincial style.

The classic male look often included ill-fitting, shiny suits in bold colors, sometimes worn over a bare chest or with an open-collared shirt. A more casual style consisted of tight-fitting, colorful t-shirts, fabric trousers (not jeans), and white sneakers. An abundance of flashy, often gold-plated jewelry, such as thick chain necklaces, was essential. Hairstyles were typically short and heavily styled with excessive hair gel.

Women's fashion mirrored the glamorous but often kitschy style of the male performers. It featured sparkly dresses, miniskirts, tight-fitting tops, heavy makeup, and elaborate, often dyed, hairstyles.

The visual identity of 1990s Disco Polo is one of its most defining characteristics, known for its low-budget creativity and high-kitsch appeal. The classic music videos were famous for their primitive CGI and green-screen effects. They often featured the band performing in aspirational but accessible "luxury" settings, such as rented limousines, hotel swimming pools, or on vacation in places like Egypt or the Canary Islands. The editing was often simplistic, with a focus on dancing, romantic narratives, and a general party atmosphere.

The cassette and CD covers of the era featured bold, colorful, and often amateurish graphic design. Typography was typically flashy and made to look futuristic, often with visual similarities to retrospectively named aesthetics like Y2K Futurism and Vectordelia . The photography was often unpolished, featuring the band members in their signature flamboyant outfits.

The music of Disco Polo is defined by its simplicity and danceability. Compositions are typically in a 4/4 time signature with a catchy, straightforward rhythm. The melodies are simple and memorable, built on basic chord progressions that make the music highly accessible. Instrumentally, the genre relies heavily on synthesizers, keyboards, and drum machines, giving it a distinct electronic sound. Lyrically, the songs are uncomplicated, with themes that most often revolve around love, heartbreak, and partying. The genre also has a tradition of creating electronic dance versions of well-known Polish folk songs.

Since its mainstream peak in the 1990s, Disco Polo has been one of the most culturally divisive phenomena in Poland. The genre is often the subject of a cultural moral panic, heavily criticized by urban intellectuals and music critics for being a symbol of provincial "bad taste" ( obciach ). Critics often describe the music as primitive and the lyrics as cheesy or unoriginal, viewing the entire genre as embarrassing and unsophisticated.

The genre's reputation was also tarnished by its association with criminal activity during the 1990s, with some reports alleging that criminal organizations used Disco Polo labels and concerts as fronts for money laundering. In the 21st century, the genre's revival has also been linked to politics, with some populist political parties using the music to appeal to a rural and traditionalist voter base, further polarizing its cultural standing.Disco is a dance music genre and associated youth subculture that originated in the late 1960s within the urban nightlife of the United States. It gained global prominence from the mid-1970s to the early 1980s. The musical style is defined by a consistent four-on-the-floor beat, a prominent syncopated bassline, and lush orchestration featuring string sections, brass, and synthesizers. The genre evolved from a fusion of funk , soul, and rhythm and blues.

As a subculture, disco flourished in underground clubs that served as safe havens for Black, Latino, and LGBTQ+ communities. Disco's musical style was pioneered by artists such as Donna Summer, known as the "Queen of Disco," and by producers like Nile Rodgers, whose work with Chic defined the genre's signature grooves and basslines. The subculture's aesthetics were equally important, defined by the glittery glamour of nightclubs like Studio 54, and exemplified by fashion icons such as Bianca Jagger, whose style of platform shoes, sequins, and jumpsuits became emblematic of the era. The subculture's influence on fashion, dance, and nightlife culture persists well into the modern era.

The concept of the discothèque originated in France and was introduced to the United States. An early example is Le Club in Manhattan, opened by French expatriate Olivier Coquelin on New Year's Eve 1960. The musical genre of disco emerged in the late 1960s from underground club scenes in New York City and Philadelphia. It was a fusion of music from venues frequented by African Americans, Latino Americans, and Italian Americans. The development of disco can be viewed as a reaction by the 1960s counterculture to the dominance of rock music and the prevailing social issues of the era, such as rising crime rates and homophobia. The clubs offered a safe and celebratory space for people from all walks of life, particularly marginalized communities, to come together and dance.

During the 1970s, disco music evolved with contributions from artists primarily in the United States and Europe. Notable artists who gained public attention included Donna Summer, Gloria Gaynor, the Bee Gees, and ABBA. Producers such as Giorgio Moroder were also significant in shaping the genre's sound. By the mid-1970s, disco's popularity had moved from the underground to the mainstream. This ascent was solidified by the release of films like Saturday Night Fever in 1977, which brought the subculture's music, fashion, and dance styles to a global audience. The era's culture revolved around nightclubs, where attendees often wore extravagant, loose-fitting attire designed for ease of movement. Dance styles such as "the Hustle" and "the Busstop" were developed during this period. The disco scene was also associated with a drug subculture, notably with substances such as cocaine and quaaludes, and a degree of sexual promiscuity that reflected the sexual revolution.

Disco's mainstream popularity in the United States began to decline in the early 1980s. The backlash against the genre began with Disco Demolition Night on July 12, 1979. During a baseball game in Chicago, thousands of disco records were destroyed in a staged explosion. This event, led by a local radio DJ, symbolized a shift in national sentiment and was fueled by the underlying racism and homophobia that had been present since disco's origins. While disco's presence on U.S. radio stations and in mainstream culture faded in the early 1980s, it maintained popularity in other regions, especially Europe.

Despite its decline in the United States, disco's influence continued. In the U.S., disco gave way to more general "Dance-Pop" such as Cyndi Lauper, Rick Astley, Madonna, Kylie Minogue, and Paula Abdul, with Stock Aitken Waterman being notable producers of this style. Throughout the 1980s, disco remained popular in Italy and parts of Europe through a new subgenre known as Italo Disco . The aesthetic also blended with local musical styles in regions like India and the Middle East. Disco's foundational elements, such as its rhythms and use of synthesizers, are evident in the development of numerous subsequent music genres. Its influence can be traced to early electronic dance music, hi-NRG, house music, new wave , hip-hop , and post-disco. Disco has also experienced several revivals since the 1990s, with a notable resurgence in the early 2020s. Albums like Dua Lipa's Future Nostalgia and Lady Gaga's Chromatica and artists such as Bruno Mars and Doja Cat have contributed to the aesthetic's modern popularity.

The visual aesthetic of disco was centered on the design and atmosphere of the nightclub, which were the primary venues for the subculture. The most iconic symbol of this aesthetic was the disco ball, a large, mirrored sphere that hung from the ceiling. When illuminated by spotlights, it reflected light across the room, creating an effect of moving spots of light on the walls, ceiling, and dancers.

In addition to the disco ball, flashing lights and light-up dance floors were essential to the visual experience. These elements often pulsed in rhythm with the music, intensifying the sensory and communal experience of dancing. The interiors of disco clubs frequently featured mirrored walls, chrome accents, and a general sense of opulence and glamour.

The fashion of the disco subculture was defined by glamour, theatricality, and a focus on the liberated body, similar to other fashion trends of the 1970s. The clothing was designed to be both eye-catching under nightclub lights and comfortable for dancing. A key material of the era was polyester, a low-maintenance, wrinkle-free fabric that was affordable and allowed designers to produce chic silhouettes for a wider audience. Shimmer and gleam were essential, with materials like Lurex, sequins, and metallic fabrics dominating the scene.

For women, the style embraced clingy jerseys and spandex, often in the form of halter-neck tops, tight-fitting jumpsuits, and hot pants. Dresses were often slinky and hugged the figure. The silhouette was frequently exaggerated by bell-bottoms and high-heeled platform shoes, which were a staple for both men and women.

Men's disco fashion moved away from traditional suiting. Key items included the polyester leisure suit with wide, pointed lapels, as well as tight-fitting shirts and disco flares. The fashion was expressive and often embraced a form of androgynous glamour.

High fashion also embraced the disco aesthetic. Designers like Halston and Stephen Burrows were part of the movement, creating flowing gowns and ready-to-wear pieces for the glamorous clientele of nightclubs like Studio 54. The clothing was a great part of the subculture's escapist atmosphere, with its bold style and shimmering details becoming synonymous with the era.Draincore is a fan-created internet aesthetic that emerged in the late 2010s from the online communities surrounding the Swedish musical collective Drain Gang (which includes artists like Bladee, Ecco2k, and Thaiboy Digital). It is defined by its highly saturated chaotic blend of Y2K digital iconography, glitch art , and hyper-feminine/ kawaii elements. This visual style is distinct from the founders' original, darker grunge /streetwear-based aesthetic and functions as a transformative interpretation of their music and art.

There are some trends that are emphasized by the Drainer subculture:

Musically, Drain Gang has been influential in the genres of trap and sad rap, being early collaborators of the collectives Working On Dying and Goth Money Records. Here's a list of affiliated artists:

In the mid-to late 2010s, their music influenced an internet microgenre known as "draincore" which was later renamed to "digicore" by artist lonelee in 2019, and later popularized by digicore artist Billy Bugara's SoundCloud playlist of the same name in 2021.

The basis for Drain fashion is inspired by the 90s , especially black fashion and hip-hop . Baggy jeans are a huge focus, as well as hoodies/jackets. It has elements of Y2K, 90s Hip-Hop, streetwear , Grunge , and brown and earthy tones in fashion. Around 2023, Drain Gang would begin experimenting with more androgynous/feminine clothing and aesthetics. Many fit pics of Bladee would be edited to be more distorted or heavenly before posting.

Album covers are typified by the heavily distorted collage drawings. Commonly, these experimental, maximalist artworks consist of chroma, cyber overlays, chrome effects, black metal fonts, sparkles, lens flare, and clip art. Their music videos are often low-budget, edited and filmed unconventionally and often using low resolutions, flashing lights/colors, abrupt cuts, as well as custom clip art overlaid with the video, thereby giving off a more amateur-ish and unfamiliar vibe from other artists.

Content Warning: The following visuals contain bright colors and lights. This may not be suitable for people with epilepsy and photosensitive sensitivities. Viewer discretion is advised. This doesn't actually have anything to do with Drain Gang's aesthetics.

Note: Not all of these visual creators listen to or enjoy the Drain Gang music.

The original Drain aesthetic is much more similar to 90s hip-hop and real Grunge fashion while the visual art made by the fans is heavily feminine, sparkly, and kawaii .

This fan-made drain aesthetic, called Draincore , is best known for its Y2K Futurism -inspired themes. Draincore influenced many other aesthetics, including Glitchcore and Xpiritualism , while later drawing from Animecore , Sanriocore , Weirdcore , and many more. It is anything with obscure lights, noisy and trashy visuals .

Cyber Fairy is a specific aesthetic depicting fairies, pixies, and flowers and is a counterpart to Drain. You can also find related images with the keywords "Cyber Y2K" or "Drain Fairy".

Cybergoth or Cyber Grunge is a blend of anime and Sanrio-styled edits with drain elements. (Not to be confused with the Cybergoth or Cyber Grunge subcultures and their dark fashion. Possibly happens due to mislabelling.)

External links to learn more about the aesthetic:

Introduction to the Drain Gang, their influence, and the aesthetic.Dreampunk is a microgenre of electronic music and an internet aesthetic that emerged in the mid-2010s as an atmospheric, sample-free offshoot of Vaporwave , and has since evolved into its own genre. It is characterized by its focus on cinematic ambience, original instrumentation, and the use of field recordings to create immersive, narrative-driven soundscapes. Its name is a play on the word Cyberpunk and mirrors its thematic preoccupation with the experience of navigating a vast, futuristic metropolis, often at night and in the rain.

The origins of Dreampunk are directly tied to the British record label Dream Catalogue, founded on January 29, 2014, by musician David Russo, also known as Hong Kong Express (HKE). The label initially specialized in Vaporwave but also promoted what Russo termed "dream music." After connecting with American producer Luke Laurila (t e l e p a t h テレパシー能力者), the two formed the collaborative project 2814. Their second album, 新しい日の誕生 ( Birth of a New Day ), released in 2015, became a landmark release that codified the Dreampunk sound, earning critical praise for its immersive, cyberpunk-inspired ambient world-building.

A crucial development that separated Dreampunk from its predecessor was a steadfast commitment to using original compositions rather than the samples that defined Vaporwave. This led to a schism within the scene, as Russo began purging sample-based releases from Dream Catalogue's Bandcamp page to avoid copyright issues and focus on the "dream music" concept. Russo described Vaporwave as having "become something of a burden," while the "dream music vibe" was more fluid and conceptually driven.

After 2016, as Dream Catalogue shifted its focus to other experimental genres like Hardvapour, the Dreampunk scene expanded through a network of other internet labels. Netlabels like No Problema Tapes, BLCR Laboratories, PURE LIFE ЧЖ, and VILL4IN became central hubs for a new wave of artists. The term "Dreampunk" was fully adopted by the community following the influential video essay "Dreampunk: The Soundtrack To Dreams" by w u s o 命. The COVID-19 lockdown period saw a resurgence of interest in the genre through virtual music festivals, further solidifying its community.

The aesthetic of Dreampunk is sonically and visually cohesive, drawing inspiration from science fiction, surrealism, and East Asian cinema, particularly the films of Wong Kar-Wai. The music often incorporates moody synthesizers, droning pads, and techniques from genres like jungle, techno, and ambient music. Field recordings are a key component, with sounds of the city and, most frequently, rain being used to evoke the atmosphere of future-noir films like Blade Runner . This focus on atmosphere gives the music an immersive and dreamlike quality.

Visually, the aesthetic is defined by images of sprawling, neon-lit cityscapes, rain-slicked streets, and isolated figures within a vast urban environment. In the late 2010s, glitch art became a prominent visual element for album covers and music videos, reinforcing the genre's futuristic and digital themes. Core thematic elements explored in Dreampunk include urbanization, loneliness, love, memory, and the nature of dreams themselves.

The music of Dreampunk carries hazy, cyberpunk vibes, often featuring rainy cityscapes, neon lights, futuristic melancholy, and introspective soundscapes with deep synths, field recordings, and downtempo beats, creating a cinematic, dream-like immersion into a digital world.Drift Phonk , also known as Drift , is an aesthetic based on drifting culture and Trillwave , that is primarily associated with the music genre of the same name, which originated in Russia during the Mid-Late 2010s. The music is characterized by high tempo, distorted and heavy basslines, and prominent use of 808 cowbells, often paired with distorted samples of Memphis Rap vocals.

The term ' Drift Phonk ' was birthed from two simple things: Drift and phonk. The term phonk was coined by rapper Spaceghostpurrp in the early 2010s, the term drift, on the other hand, means a continuous slow movement from one place to another.

In the late 2010s, Russian producers such as Kaito Shoma, Pharmacist and Ghostface Playa made Phonk songs that were more aggresive and less lo-fi, compared to songs of other popular Phonk artists such as DJ YUNG VAMP and DJ Smokey. Their songs got popular in Car culture, and were used in compilations of drifting cars, causing this subgenre to be dubbed Drift Phonk . Some of the notable Drift Phonk songs that were made during this time are: Pharmacist - North Memphis , Kaito Shoma - Scary Garry & Ghostface Playa - Let You Know .

In 2021, Artists such as Kordhell and LXNGVX were combining Drift Phonk with House music, this new sound will later be called Phonk House, otherwise known as Drift House.

By 2023, Drift Phonk and Drift House were no longer popular, because of the rise of Funk Bruxaria.

Most of Drift Phonk 's aesthetic is in the cover arts that are used. Even though the type of cover arts used for Drift Phonk songs varry, they usually include skulls and/or cars in the cover art.

Visually, Drift Phonk takes inspiration from aethetics such as: Racing , Horrorcore and sometimes even Trillwave and Animecore .

Phonk House, also known as Drift House, is a fusion genre of Phonk (usually Drift Phonk ) and House music. It features EDM drums. It was popularized by PlayaPhonk, KSLV NOH and KORDHELL.Dungeon Rap is a microgenre of electronic music that integrates the lo-fi production of 1990s Memphis Rap with the melodic structures of Dungeon Synth . Originating primarily from the work of Ukrainian producer Alex Yatsun (DJ Sacred), the genre defines itself through slow tempos, heavy bass, and a degraded sound design intended to evoke a sense of dread and fantasy escapism.

Unlike adjacent movements such as Phonk , Dungeon Rap prioritizes deliberate audio degradation, utilizing cassette tape hiss, detuned synthesis, and bitcrushing to create an "entombed" or archival sound. The visual identity is predicated on monochromatic Xerox art, blackletter typography, and imagery derived from medieval woodcuts and early computer role-playing games (CRPGs).

While elements of this sound existed in the original 1990s Memphis rap tapes, where producers like Three 6 Mafia utilized dark, horror-inspired synth melodies, Dungeon Rap was formalized as a distinct genre in 2018 by Kharkiv-based producer Alex Yatsun, known as DJ Sacred. Yatsun was influenced by the thematic contrast between material reality and internal fantasy, finding a bridge between the grim street tales of Memphis rap and the escapist lore of Dungeon Synth.

The genre's foundational release is often cited as the 2018 EP God of Blood (Demo) 1998 by DJ Armok, one of Yatsun's aliases named after the "God of Blood" from the video game Dwarf Fortress . To legitimize the sound and create the illusion of a thriving scene, Yatsun utilized multiple aliases, each with a distinct sonic personality: DJ Armok (heavy bass, detuned synths), Pillbox (ethereal, melancholic), and DJ Bishop (traditional Memphis revival).

In 2019, the Manchester-based label Natural Sciences released the compilation Dungeon Rap: The Introduction . Although it presented itself as a showcase of a movement, it was primarily composed of Yatsun's various projects. This release exposed the microgenre to a wider audience, establishing its aesthetic parameters and inspiring a wave of producers across Europe and Russia to adopt the style.

Following the success of the initial compilation, a genuine community formed around the sound, concentrated on platforms like SoundCloud and Yatsun's label, Temple Drive. New artists such as DJ Naxxramas (Russia), Lord Rashnak, and Orcaluv joined the scene, expanding the genre's geography beyond Ukraine to include Germany, Finland, and the UK. This growth culminated in the 2023 compilation Dungeon Rap: The Evolution , which featured a broader roster of international artists and reflected a maturing sound that mirrored the "grim determination" of living through the Russian invasion of Ukraine.

Dungeon Rap possesses a distinct and rigid visual aesthetic that mirrors the genre's lo-fi and decaying sonic characteristics. The color palette is almost exclusively restricted to stark black, white, and greyscale, utilizing high contrast to mimic the aesthetic of cheap photocopying or "Xerox" art. This monochrome presentation reinforces the genre's "archival" and "underground" atmosphere, intentionally resembling third-generation cassette dubs or bootleg demos from the 1990s. The artwork is frequently textured with noise, grain, and artifacts, creating a visual parallel to the tape hiss and distorted fidelity found in the music.

The typography used in Dungeon Rap releases is equally specific, favoring traditional Serif fonts (reminiscent of Times New Roman) and ornate Blackletter or Fraktur typefaces. These font choices evoke an archaic, "tome-like" quality that bridges the gap between academic documentation and medieval fantasy. Imagery within the genre synthesizes the urban grit of Memphis Rap/ Phonk with the high-fantasy lore of Dungeon Synth . Album covers often feature medieval woodcuts, engravings of demons, skeletons, or ghouls, and brutalist architecture, all filtered through a gritty, lo-fi lens.

Furthermore, the visuals often pay homage to the genre's roots in "old-school" computer role-playing games (CRPGs) and ASCII roguelikes. DJ Sacred has noted that the minimalist cover of Dungeon Rap: The Introduction , which features a white square outline on a black background, was designed to represent a "top-down view" of a dungeon map, referencing the interface of games like Dwarf Fortress . This combination of "ancient" fantasy imagery and "retro" computer graphics creates a hauntological aesthetic that suggests a nostalgia for a lost or alternate past.

Musically, Dungeon Rap is characterized by a slow, hypnotic pace, typically ranging between 50 and 65 beats per minute. The production is intentionally lo-fi, often mimicking the hiss and saturation of degraded cassette tapes. Instrumentation relies on detuned synthesizers, phase subtraction synthesis (similar to Casio CZ synths), and heavy 808 basslines. Vocals are almost exclusively sampled from vintage Memphis rap tracks, often chopped, screwed, or mixed low to function as textural instruments rather than lyrical focal points.

Thematically, the genre relies heavily on escapism and fantasy. The imagery associated with Dungeon Rap draws from classic computer role-playing games (CRPGs), ASCII roguelikes, and medieval fantasy lore. This fantasy aesthetic serves as a "coping mechanism" for the bleakness of reality, a sentiment that became increasingly poignant for the scene's Ukrainian progenitors following the 2022 invasion. Yatsun has described the music as relating to the concept of hauntology and "lost futures," expressing nostalgia for a time the creators never experienced.

Within the Dungeon Synth community, the genre has met with mixed reactions. While some listeners appreciate the fusion as a natural evolution, citing the "unintentionally adjacent" sonic qualities of early Phonk and Dungeon Synth, purists have criticized it for being repetitive or thematically dissonant. Comparisons are frequently made to Witch House due to the shared focus on occult aesthetics, altered vocals, and dark atmospheres.Dungeon Synth is a style of instrumental electronic music that emerged primarily in the early 1990s, with roots in the Black Metal scene. It initially consisted of ambient synthesizer projects created and circulated on tapes by members of black metal bands.

The genre employs aesthetics and themes typically associated with black metal and medieval fantasy , applying them to atmospheric and often melancholic compositions. This home-produced, often solo endeavor has grown into a diverse genre that spans various sounds including neoclassical, new age, medieval, and chiptune music.

The term "Dungeon Synth" itself was coined by a fan, Andrew Werdna, in 2011, for his blog that promoted this distinct type of music. It has since evolved into an international community, largely existing online, with a focus on escapist thematic storytelling.

Dungeon Synth emerged as a style of instrumental electronic music in the late 1980s and early 1990s. Its origins are deeply rooted in the Black Metal scene of that era, where musicians, often as solo endeavors, created ambient synthesizer projects. These early works, circulated primarily through cassette trading circles, laid the groundwork for the genre's distinct atmosphere and ethos regarding aesthetics, production, and distribution. Progenitors like Mortiis, formed by Håvard Ellefsen, then bassist of Emperor, and Burzum, the solo project of Varg Vikernes, were pioneers of this sound. Mortiis' early releases, notably his " Era I " records, embraced influences from electronic artists such as Tangerine Dream and Klaus Schulze, and were initially referred to as "dark dungeon music."

Before 2011, a unified name for this musical style did not widely exist; it was often categorized broadly as dark ambient, neoclassical, or medieval electronic music. However, some early works, such as Jim Kirkwood's 1991 album Master of Dragons , displayed the genre's aesthetic and sound without direct ties to the black metal scene, instead stemming from Berlin School electronics. The history of classic dungeon synth is still being uncovered by fans and archivists who continue to unearth and digitize obscure releases from the 1990s, often reshaping the understanding of its early development.

The modern era of Dungeon Synth began around 2011 with the advent of a more stable internet and the creation of dedicated online platforms. Andrew Werdna coined the term "Dungeon Synth" for his blog, "The Dungeon Synth Blog," which aimed to promote and codify this specific type of music. This effort, alongside other blogs and online forums, facilitated the discovery of older releases and inspired a new generation of composers. The mid-2010s saw a significant boom in the genre, driven by social media and online marketplaces like Bandcamp.

During this revival, the genre expanded beyond its darker ambient beginnings to include neoclassical, new age, medieval, and chiptune influences. The low barrier to entry, requiring only a computer, internet access, and imagination, allowed many individuals to write, compose, record, and distribute their music without needing traditional touring or collaboration. This fostered a cottage industry and a scene that exists almost entirely in digital spaces, connecting creators and fans globally.

Modern Dungeon Synth composers increasingly embraced escapist themes and theatrical personas, often dedicating entire releases to fictional narratives. The genre's rapid evolution and accelerated progression, with new ideas flourishing quickly due to ease of production and virtual community engagement, has matured its sound and expanded its stylistic range.

Dungeon Synth employs a visual aesthetic heavily influenced by black metal and medieval fantasy . Musicians associated with the genre sometimes utilize corpsepaint and wear medieval -inspired attire, including chainmail coifs, in promotional materials or live settings. Album artwork commonly features medieval-style paintings, often depicting castles, dungeons, forests, and other ancient, melancholic, or fantastical landscapes. Artist logos frequently appear in highly stylized forms, similar to those found in black metal. The visual elements consistently rely on fantastical and magical motifs, drawing from high fantasy . However, some contemporary artists within the genre may choose to de-emphasize overt high-fantasy themes in their visuals. Notable examples of this visual style include the artwork for Depressive Silence's Depressive Silence II , which features mist and ruined structures, and Wongraven's Fjelltronen, which uses art by 19th-century Norwegian fantasy painter Theodor Kittelsen. Thangorodrim's Taur-nu-Fuin album cover also reflects second-wave black metal aesthetics.

Dungeon Synth is an instrumental electronic music genre predominantly characterized by its use of synthesizers. It draws heavily from dark ambient and the atmospheric interludes found in black metal. The music often features a lo-fi production aesthetic, which can include intentional crackle, warble, and hiss, contributing to an aged or ancient atmosphere.

Compositions are typically built on synthetic orchestral and choral elements, aiming to evoke medieval, fantasy, and dungeon-like soundscapes. Melodies are frequently slow and haunting, creating a melancholic, eerie, or contemplative mood. While strong in atmosphere, the genre often develops discernible tunes, distinguishing it from purely abstract dark ambient.

The instrumentation focuses almost exclusively on synthesizers, which emulate a range of sounds such as strings, flutes, pipe organs, and choirs. Percussion can be present, but the tempo generally remains slow to create an immersive experience. While its foundations are often grim and dark, the genre has diversified to include a spectrum of sounds, from epic and whimsical to more introspective or even heroic fantasy themes. Dungeon Synth has broadened its scope beyond its initial dark roots to incorporate influences from neoclassical, new age, and chiptune music.Egg Punk is a punk rock microgenre that emerged on the Internet during the mid-to late 2010s. The style is primarily inspired by the new wave band DEVO, with cover art indebted to DIY Punk .Electro Swing is an electronic dance music genre and associated visual aesthetic that fuses the influence of vintage or modern swing and jazz with house and hip-hop. Successful iterations of the genre create a sound focused on the modern dance floor while retaining the energetic excitement of early swing recordings. While its musical origins date back to early 1990s experiments in Europe and the United States, it reached widespread digital popularity in the late 2000s and 2010s.

Aesthetically, Electro Swing centers on an atmosphere of positivity and joy, often romanticizing the 1920s through the 1950s by adding a modern touch to the "old-fashioned" vibe. The community often highlights that swing music is a form of jazz deeply rooted in Black culture. The aesthetic is considered incomplete without its musical element, as the visuals are designed to evoke the same uplifting sensation as the tracks.

The origins of electro swing trace back to the early 1990s with the revival of vintage swing music. Early experimentation, such as the 1994 single " Doop " by the Dutch group of the same name and Mr. Scruff's 1999 track " Get a Move On! ", were initially considered part of the nu-jazz movement. This early prototype combined house and jazz elements before fading toward the end of the 1990s.

In the mid-2000s, EDM artists resumed experiments with swing sounds, supported by labels like Freshly Squeezed and Wagram. The French band Caravan Palace furthered the genre in 2008 by mixing house with hot-club style jazz. The genre achieved mainstream global popularity in 2010 with Yolanda Be Cool's " We No Speak Americano ," which topped charts in the UK and Australia. By 2013, Parov Stelar's " Booty Swing " brought the genre to wide American audiences through its use in commercial advertisements. The 2010s also saw the rise of subgenres like swing 'n' bass and swing hop, while the aesthetic expanded into indie animation and internet fandoms (e.g., Bendy and the Ink Machine fan songs).

The visual aesthetic of Electro Swing is characterized by a 2010s internet-based interpretation of the 1920s, characterized as "anachronism stew". It frequently features speakeasies and flapper girls coexisting with robots and neon highlights. A major pillar of the aesthetic is the " Rubber Hose " animation revival popularized in the 2010s by titles like Bendy and the Ink Machine and Cuphead . These visuals utilize heavy ink lines, grainy film overlays, and "bouncy" character movements synced to syncopated beats.

Graphic design within the scene often incorporates flat vector art and anthropomorphic characters (such as pandas) in vintage attire. Typical settings include stylized old buildings, stages, and dance floors. Color palettes usually center on sepia, grayscale, or black and white, contrasted with electric blue or magenta neon accents.

Electro Swing music relies on a mix of traditional 4/4 "four-on-the-floor" beats or hip-hop samples. Tracks typically focus on a single, buoyant phrase or "hook" from a vintage recording to serve as a backbone. Live performances often feature a DJ supported by musicians playing traditional jazz instruments, including trumpet, trombone, clarinet, and saxophone.Electroclash is an electronic music genre and associated aesthetic that emerged in the late 1990s and peaked in the early 2000s. The style was a self-conscious and ironic revival of 1980s aesthetics, combining the raw sounds of early electro and New Wave with the production techniques of 1990s techno and a defiant punk attitude.

The music is characterized by its use of vintage analog synthesizers, robotic vocoder vocals, and often deadpan, witty, and sexually charged lyrics. The term was popularized by DJ Larry Tee for his 2001 Electroclash Festival in New York, and the scene was defined by artists like Miss Kittin & The Hacker, Fischerspooner, and Peaches, who combined their music with a strong element of performance art and a distinctive, retrofuturistic fashion sense, emerging as a reaction against the perceived rigidity of techno music.

The 1982 film Liquid Sky is often referenced as a visual influence on electroclash's aesthetic. While the movement itself was short-lived, its fusion of art, fashion, and electronic music was a precursor to the Indie Sleaze and Bloghouse trends of the mid-to-late 2000s.

Electroclash emerged in the late 1990s, reaching its peak in the early 2000s. While New York City played a significant role in its development, the genre also had roots in Germany and the Netherlands. This brief but influential electronic movement blended 1980s electro, new wave, and synth-pop with 1990s techno, arising as a reaction to the perceived rigidity of the techno scene. The emphasis shifted toward songwriting, performance, and a sense of humor.

The genre drew inspiration from 1980s new wave and no wave movements, with the 1982 film Liquid Sky often cited as a blueprint for the genre's visual aesthetic. Electroclash artists, influenced by 1980s experimental music, utilized analog synthesizers and vintage sequencers to create a lo-fi, DIY sound. The Roland TR-808 drum machine was frequently used, and artists like Peaches employed minimal instrumentation, as seen in her album The Teaches of Peaches .

Although DJ Larry Tee is credited with popularizing the term "electroclash," its precise origin is debated. Tee used the label to describe the underground music scene in Berlin, London, and New York, where artists combined 1980s-influenced techno with a punk -inspired DIY ethos. DJ Hell's Munich-based International DeeJay Gigolo Records is widely considered a key catalyst for the genre, acting as a hub for early electroclash artists and releases. The label featured influential tracks like Christopher Just's " I'm a Disco Dancer " and Miss Kittin & The Hacker's " 1982 " and " Frank Sinatra ," which became anthems of the genre. Miss Kittin herself, in a documentary, credited DJ Hell with the genre's invention. The label and the Munich club scene were vital to the early development of Electroclash.

I-F's " Space Invaders Are Smoking Grass " is frequently cited as a formative electroclash track, and artists such as Chicks on Speed, Peaches, and ADULT. contributed to the genre's early sound. While Ladytron was sometimes associated with electroclash, the band rejected the label. Goldfrapp's albums from the early 2000s incorporated electroclash elements. Dopplereffekt and David Carretta were also influential.

In 2001, Larry Tee organized the first Electroclash Festival in Brooklyn, showcasing emerging acts like Peaches, Fischerspooner, and Scissor Sisters. Though not a financial success, the festival garnered international media attention. Fischerspooner, known for their theatrical performances, and Peaches, with her sexually charged persona, both achieved wider recognition.

Electroclash's initial popularity declined after the mid-2000s, with some artists shifting to other genres. However, its influence can be traced to later artists. Some electroclash artists, like ADULT. and Ladytron, embraced a darker sound, aligning with goth music. The genre's impact is also evident in the work of artists such as Lady Gaga and Scissor Sisters, whose self-titled 2004 debut album was the best-selling album of that year in the United Kingdom. While the electroclash scene was relatively short-lived, its impact on electronic music and popular culture is evident. For example, Recession Pop artists such as Lady Gaga and Kesha incorporated elements of the genre in their music, but toned down the vulgarity for wider mainstream appeal.

Electroclash experienced a resurgence from around 2022, driven by a cyclical nostalgia for early 2000s culture. This revival is evident in both fashion and music, with trends like Von Dutch trucker hats and velour tracksuits regaining popularity. Musically, artists like Charli XCX have incorporated electroclash influences into their work, drawing inspiration from the genre's raw synth lines, abrasive edges, and minimalist percussion. Her single " Von Dutch " and her 2024 album Brat are examples of this trend.

The genre's influence extends beyond pop music. Acts like Snow Strippers and Frost Children are reviving the lo-fi, raw sound of electroclash, incorporating distorted synths, driving techno beats, and robotic vocals. Additionally, hip-hop artists such as Lil Uzi Vert, Travis Scott, and Yeat have experimented with electroclash elements, blending them with hip-house and rage-rap styles.

This revival has also seen renewed activity from figures within the electroclash scene itself. For example, DJ Hell launched a new Electroclash tour, and Konerytmi presented a live act in 2022 featuring a distinctive steampunk -themed performance. In 2022, Norbert Thunder contributed to this resurgence with the " Fembot Actress EP ," which included the track " Groove, Style, Lights, Euphoria ," marketed as a reintroduction of electroclash to a contemporary audience. Furthermore, record labels such as the Spanish Veintidós Rec. and the Italian Rapid Eye Movement Records have begun releasing electroclash vinyl records and EPs again.

Electroclash's visual aesthetic drew heavily from the 1982 film Liquid Sky . This film, depicting the avant-garde New York City scene, served as a primary visual influence, characterized by bright neon colors, surreal imagery, and androgynous fashion. The genre's visual style also incorporated elements of 1980s new wave and no wave movements, reflecting a punk -influenced DIY aesthetic. Electroclash artists often employed flamboyant and clashing makeup palettes and androgynous glam fashion, highlighting a sense of rebellion and a rejection of mainstream aesthetics. The genre's visual presentation was often considered just as important as its musical output. The film Liquid Sky is also cited as influencing the lyrical content of electroclash music, contributing to themes of hedonism, dystopia, and societal critique.

Electroclash fashion was characterized by a combination of retro-futuristic and DIY aesthetics, drawing heavily from the 1982 film Liquid Sky . This influence manifested in the use of bright neon colors, androgynous glam styles, and loud, clashing makeup palettes. The scene emphasized a playful, often ironic approach to fashion, contrasting with the more serious trends of the time.

Artists and performers often adopted extravagant, theatrical looks, incorporating elements of 1980s synth-pop and electro-rock into their stage attire. This included utilitarian parkas, simple shirt dresses, and printed T-shirts, reflecting a mix of austere and overtly sexual styles. The emphasis on visual presentation extended to the use of vintage synthesizers and analog equipment as fashion accessories.

The DIY ethos of electroclash extended to fashion, with many artists creating their own looks or collaborating with independent designers. This approach fostered a sense of individuality and rebellion against mainstream fashion trends. The scene's visual style also reflected a broader interest in 1980s culture, with references to new wave, no wave, and early electronic music acts such as Kraftwerk and Gary Numan.

Electroclash is characterized by its fusion of 1980s electronic sounds with 1990s techno production. It typically features minimal, throbbing basslines and beats, with prominent use of buzzing synthesizer parts played on analog keyboards. Vocoders are frequently employed to create robotic vocal effects, and vocals are often delivered in a monotone, spoken, or half-sung style. The genre's sound is distinct from electro, an earlier hip-hop-influenced style, despite occasional confusion between the two. Electroclash arose as a reaction against the perceived rigidity of techno, placing a greater emphasis on songwriting and performance.

Electroclash faced criticism during its peak in the early 2000s, primarily concerning its perceived commercialization and "selling out." Several artists, including I-F, publicly denounced the "electroclash" label, arguing that it represented a cynical attempt to repackage and sell existing musical styles to a mainstream audience. They viewed the associated hype as a media-driven phenomenon, designed to exploit a trend rather than represent genuine artistic innovation. Similarly, some musicians pointed out the genre's reliance on recycled sounds, suggesting that it lacked originality and merely rehashed established electronic music tropes.

This sentiment was shared by Ladytron, who, despite being labeled by many writers as an electroclash act, strongly rejected the term. The band felt that the "day-glo trash-aesthetic" associated with electroclash did not align with their sound, which they described as "electronic pop" balancing pop structures with experimental elements. They feared being associated with the genre would lead to them bearing the brunt of its inevitable backlash, which they experienced regardless. Ladytron emphasized their distinct sound, which they saw as separate from the electroclash scene, and their discomfort with being "lumped in" with artists they felt they had little in common with.Electronic Body Music (commonly acronymized as EBM ) is a rhythm-focused electronic genre that emerged from the post- industrial scenes of Germany and Belgium in the early 1980s. Characterized by the use of 16-step sequencers, staccato basslines, and shouted, commanding vocals, EBM functions as a "physical" music intended for bodily reaction rather than cerebral listening. Unlike the polished "office-atmosphere" of its predecessor Kraftwerk, EBM introduced a "sweaty," organic friction to electronic production, stripping away the melody of Synthpop in favor of raw rhythmic repetition.

The genre's visual identity (often referred to as the "EBM look") is a stark, uniform aesthetic derived from a convergence of working-class utility wear, military surplus, and the gay leather subculture . This aesthetic rejected the flamboyance of New Wave and the ego of rock and roll, replacing them with a uniform of anonymity, discipline, and "muscles and machines." EBM is the direct philosphical and musical progenitor of European techno and the Belgian New Beat movement.

EBM's origins trace back to Düsseldorf, West Germany, specifically within the punk club Ratinger Hof. Here, the initial wave of German punk began to fracture. Artists like Gabi Delgado-López and Robert Görl of DAF (Deutsch Amerikanische Freundschaft) rejected the orthodox instrumentation of punk rock, viewing guitars as "the instruments of our fathers." Instead, they applied the high-energy, physical aggression of punk to the newly affordable Korg MS-20 synthesizer.

This shift was not motivated by a desire to sound "futuristic," but by a desire to sound physical. In interviews, Delgado contrasted DAF's approach with Kraftwerk; where Kraftwerk was sterile, calculated, and cerebral, DAF was erratic, sweating, and on the verge of machine failure. This " Körpermusik " (Body Music) utilized the Korg SQ-10 sequencer to create endless, driving loops that did not follow traditional verse-chorus structures. The 1981 release of Alles ist gut by DAF and the track " Der Mussolini " established the genre's rhythmic standard: a hard, 4/4 beat combined with a 16th-note synthesizer bassline.

While the sound originated in the German Rhineland, the term and formal genre constraints were solidified in Belgium. In 1984, the Brussels-based group Front 242 attached the term "Electronic Body Music" to their EP No Comment . The members of Front 242, specifically Daniel Bressanutti, sought to create a synthesis of the "sonic terrorism" of Throbbing Gristle and the structural discipline of Kraftwerk.

Belgium became the genre's primary export hub through labels like Play It Again Sam (PIAS) and Antler-Subway. The Belgian sound was characterized by a colder, cleaner production style than its German predecessors, heavily utilizing the Roland System-100m and Yamaha FM synthesis. By the mid-1980s, acts like The Neon Judgement, A Split-Second, and The Klinik had standardized the genre's format: vocals that were barked rather than sung, military-precision percussion, and a total absence of blues-based rock structures.

In the latter half of the 1980s, EBM spread internationally and gained significant popularity in several regions, including Canada (with Front Line Assembly), the U.S. (with Ministry, Revolting Cocks, and Schnitt Acht), Sweden (with Inside Treatment, Pouppée Fabrikk, and Cat Rapes Dog), and Japan (with 2nd Communication, DRP, and Soft Ballet). North American bands began incorporating EBM basslines with elements of hardcore punk and thrash metal , contributing to the development of industrial metal. Nine Inch Nails furthered this cross-pollination between EBM and rock with their album Pretty Hate Machine (1989).

EBM also found success in the underground club scene, particularly accross Europe. Key labels during this period included the Belgian Play It Again Sam and Antler-Subway, the German Zoth Ommog, the North American Wax Trax!, and the Swedish Energy Rekords. Notable acts of this era included And One, Armageddon Dildos, Bigod 20, Insekt, Scapa Flow, Orange Sector, Paranoid, and Electro Assassin.

In the late 1980s, EBM became the predecessor for the explosion of European electronic music. In 1987, at the Boccaccio club in Ghent, DJ Dikke Ronny played the EBM track " Flesh " by A Split-Second at 33rpm instead of 45rpm, pitching the vocal down to a sluggish, narcotic drawl. This "accident" birthed the New Beat genre, which slowed EBM's aggression into a heavier, club-friendly groove.

Simultaneously in Frankfurt, Germany, EBM DJs like Talla 2XLC established the "Technoclub," the first venue dedicated exclusively to electronic music. It was here that the term "Techno" was first used as a category for EBM records. The elements of EBM, specifically the relentless kick drum and synthesized bass, was directly absorbed into the early Techno and Trance scenes of the 1990s.

In North America, the trajectory of EBM shifted when it intersected with the Industrial Rock scene centered around Chicago's Wax Trax! Records. Bands like Ministry and Front Line Assembly began incorporating heavy metal guitars and thrash percussion into the EBM framework. This fusion, exemplified by Ministry’s The Land of Rape and Honey (1988) and Nine Inch Nails' Pretty Hate Machine (1989), popularized the sound but diluted the "pure" electronic purity of the European original. This American variant is frequently mislabeled as EBM, despite having more in common with Industrial Metal .

By the late 1990s, the EBM scene had fractured, with many artists moving toward the trance-influenced melodies of "Futurepop." In reaction to this commercialization, a counter-movement emerged in East Germany (specifically Saxony-Anhalt) and Sweden. Known as "Anhalt EBM" or "Old School EBM," artists like Spetsnaz, Sturm Café, and Ionic Vision rejected modern production techniques, returning to the dry, muscular minimalism of DAF and Nitzer Ebb. This revivalist movement enforces a strict "no guitars, no trance leads" policy, preserving the genre's original 1980s template.

EBM's visual aesthetic is utilitarian, severe, and distinct from the flamboyance of the New Romantic or Goth scenes. It rejects the concept of the "individual" or the "rockstar" in favor of a collective, monolithic identity rooted in a "form follows function" philosophy. The aesthetic is often described as "muscles and machines," prioritizing a look of physical discipline and anonymity. This uniform frequently appropriates symbols from totalitarian regimes, specifically Soviet Socialist Realism and German 1930s propaganda. This usage is rarely an endorsement of the political ideologies; rather, it is an aesthetic strategy described by Gabi Delgado as "playing with the taboo." By adopting the posture of the "Master" or the "Commander," EBM artists subvert the power dynamics of authority, valorizing the "worker" (the hammer, the cog, the muscle) as a productive machine rather than a passive consumer.

The standard EBM silhouette relies on specific, durable garments derived from military surplus and working-class utility wear. The defining hairstyle of the subculture is the "fresh cut," a high-and-tight military crop or flattop that requires constant maintenance, signaling personal discipline. The clothing typically consists of MA-1 bomber jackets, tank tops, suspenders (braces), and heavy combat boots such as Dr. Martens or Getta Grips. The color palette is strictly restricted to black, grey, white, red, and olive drab.

A significant but often overlooked component of this aesthetic is rooted in the gay leather and BDSM scenes of the early 1980s. The hyper-masculine presentation, leather caps, harnesses, bare torsos, and sweat, was originally a signifier of the gay underground, which DAF overtly utilized to challenge the heteronormative "softness" of pop music. Over time, this evolved into a generalized "militaristic" look, but the emphasis on the male physique and "body work" remains central to the genre's aesthetic.

The Rivethead subculture emerged in the late 1980s, primarily within North America, as a distinct identity centered on the consumption of Industrial Rock and Post-Industrial music (specifically the output of labels like Wax Trax! and Metropolis). Unlike the Victorian romanticism of Goth , the Rivethead aesthetic is strictly utilitarian, grounded in a philosophy of "urban survivalism" and Cold War paranoia.

The Rivethead look rejects velvet and lace in favor of surplus military gear and industrial workwear, reflecting the genre's fascination with machinery and manual labor. The archetype is not the "vampire," but the "factory worker" or "soldier." The standard uniform consists of black band t-shirts (serving as the primary signifier of affiliation), camouflage cargo pants or BDU (Battle Dress Uniform) trousers, and heavy combat boots. Accessories are functional rather than ornamental, including tactical vests, welding goggles, and paracord. This subculture views itself as separate from the Goth scene, prioritizing a "hard," masculine, and cynical worldview over melancholy or theatricality.

Cybergoth is a subculture that coalesced in the late 1990s as a combination of the EBM and Industrial scenes, heavily influenced by the aesthetics of Rave culture and Psytrance. While rooted in the musical structures of EBM (specifically its faster, trance-influenced offshoots like Aggrotech and Futurepop ), Cybergoth diverged sharply from the traditional "old school" look by embracing hyper-artificiality.

Cybergoth replaces the drab greys and olives of military EBM with UV-reactive neon colors (lime green, hot pink, cyan) set against a black monochrome base. The defining feature of the silhouette is the use of "Cyberlox," elaborate hair extensions made from tubular crinoline, foam, and rubber, and the incorporation of biohazard motifs, PVC plastic, and platform boots. Culturally, the scene centers on "Industrial Dance," a high-energy dance style performed to hard electronic beats, often involving complex arm movements and glowsticks. This aesthetic represents the genre's shift from the "factory floor" realism of the 1980s to a fantastical and post-apocalyptic futurism.

EBM is distinguished by a specific set of technical constraints that prioritize rhythm over melody. A classic EBM track is characterized by the 16th-note bassline, typically programmed on a 16-step sequencer such as the Korg SQ-10. This bassline rarely rests, providing a rolling, locomotive momentum that defines the genre's "physical" character. Pioneers like Gabi Delgado distinguished EBM as "track-oriented" rather than "song-oriented," meaning compositions often lack traditional bridges or choruses, functioning instead as linear, evolving loops designed for prolonged physical exertion on the dancefloor.

The vocal delivery is equally distinct, treated as a rhythmic instrument rather than a melodic one. Vocals are typically shouted, barked, or chanted in a staccato "command" style, often devoid of pitch. Lyrics are usually imperative statements ("Dance," "Work," "Sweat," "March") that reinforce the themes of discipline and bodily control. The classic sound is defined by analog subtractive synthesis, with the Korg MS-20 serving as the definitive instrument due to its aggressive, unstable filters. Other staples include the Roland SH-101, Yamaha DX7 (utilized for metallic percussion), and the E-mu Emulator sampler.

As the genre matured, it splintered into several distinct derivative forms:Emo Rap is a subgenre of hip-hop haracterized by emotional lyrics, drawing parallels to the emo subculture. It originated within the SoundCloud rap scene during the mid-2010s. The genre merges hip-hop characteristics, such as trap-style beats, with sung vocals. Prominent artists in the genre include Lil Peep, XXXTentacion, and Juice Wrld. The peak popularity of emo rap occurred roughly between 2016 and 2020. Fans of the genre are often referred to as " Sadbois " and " Sadgirls ," referencing the "Sad Boys" collective, which consists of rapper Yung Lean and producers Yung Sherman and Yung Gud.

Emo Rap emerged from the online underground hip-hop scene, with roots in cloud rap and trap. It is defined by melancholic production, combining atmospheric cloud rap elements and trap drum patterns with samples from alternative rock and emo genres, including Midwest Emo , emo-pop, and pop-punk. Lyrically, emo rap features dark themes and a mournful, melodic delivery style, influenced by 2000s Midwest emo and emo-pop. The genre frequently blends with pop rap, alternative R&B, and contemporary R&B. Its rise is connected to the early 2010s "emo revival." Early artists like Wicca Phase Springs Eternal, associated with the emo revival, contributed to the genre's formation.

Bones, a cloud rap artist, and members of the GothBoiClique crew, including Lil Tracy, Wicca Phase Springs Eternal, and Horse Head, were early pioneers. Around the same time, the Swedish Drain Gang /Sad Boys collectives influenced the genre with their melancholic lyricism and melodic flows. Lil Peep's popularity on SoundCloud helped establish the genre's sound. Artists like nothing,nowhere., Lil Uzi Vert, Sybyr, and XXXTentacion also contributed to its development. The genre reflects a broader shift towards emotional vulnerability in hip-hop, with lyrics addressing loneliness, mental health, and personal struggles. This shift is seen in the earlier work of artists like Kid Cudi, Kanye West, and Drake. Production is considered integral to the genre, with producers like Nedarb Nagrom and Greaf working with leading artists.

Emo rap entered the mainstream in the late-2010s, achieving popularity and critical acclaim. Lil Peep, XXXTentacion, and Juice WRLD gained significant success, particularly posthumously, and influenced artists like Post Malone and Future. The genre expanded internationally, with lighter, pop-oriented versions emerging, led by artists like Iann Dior, Juice Wrld, and Trippie Redd.

Prior to emo rap's formal establishment, the term was used by critics to describe the emotional lyricism of rappers such as Joe Budden, Eminem, Kanye West, and Drake. Slug of Atmosphere claimed to have coined the term "emo rap" in a 1997 IR Magazine article. German rapper Casper's music, blending hip-hop with influences from bands like Give up the Ghost, was also labeled "emo rap" early in his career. In 2012, Huffington Post described Hollywood Undead as "crass emo-rap."

Crossovers between hip-hop and the emo/pop-punk scenes occurred between the 1990s and early 2010s. Zebrahead incorporated rap vocals over pop-punk instrumentals since 1995. MC Lars used emo and pop-punk samples and references in his music from his 2004 debut. Good Charlotte, citing hip hop influences, released a remix album in 2007 featuring hip hop and pop-punk artists. DCD2 Records, founded by Pete Wentz and Patrick Stump, signed both emo and hip hop artists who frequently collaborated. Cobra Starship and Gym Class Heroes also blended these genres. Kanye West remixed Fall Out Boy's " This Ain't a Scene, It's an Arms Race " in 2006. Fearless Records released Punk Goes Crunk in 2008, featuring emo and pop-punk covers of hip hop songs. Framing Hanley covered Lil Wayne's " Lollipop " in 2008, and Lil Wayne collaborated with Weezer on " Can't Stop Partying " in 2009. Blink-182 featured Yelawolf on " Pretty Little Girl " in 2012.

In 2013, Yung Lean released " Ginseng Strip 2002 " and the mixtape Unknown Death 2002 , which have been retrospectively recognized as influential to the development of emo rap.

Emo rap's development began with Bones, whose music videos and dark aesthetic significantly influenced the underground hip-hop scene. In 2012, members of Thraxxhouse, a Raider Klan subgroup, formed GothBoiClique (GBC), aiming to connect emo, trap, darkwave, black metal , and indie rock. Bones, Black Kray, and 90's Bambino also drew influence from witch house . GBC's style influenced many underground emo and hip-hop artists on SoundCloud. Lil Lotus, Lil Peep, and Lil Tracy cited GBC as an influence, with Lil Peep and Lil Tracy later joining the group. A DIY approach characterized the genre, with artists facing criticism for monetizing their music through platforms like Spotify.

In 2017, Lil Uzi Vert's " XO Tour Llif3 ," with lyrics about suicide and emotional distress, became a hit, reaching number seven on the Billboard Hot 100. XXXTentacion released his debut album 17 and the single " Jocelyn Flores ," which addressed suicide. Lil Uzi Vert also released Luv Is Rage 2 . These releases and their Billboard 200 chart success marked a mainstream moment for emo rap. Lil Peep was described as the "future of emo" by Pitchfork, and The Guardian recognized his introspective appeal.

The emo rap scene experienced a period of significant loss in the late-2010s with the deaths of several prominent artists. In November 2017, Lil Peep died from a fentanyl overdose. Following his death, his album and single achieved Billboard chart success. In June 2018, XXXTentacion was murdered, and his albums and single also charted, with " SAD! " reaching number one on the Billboard Hot 100. A posthumous collaboration between Lil Peep and XXXTentacion, " Falling Down ," was released in September 2018 and achieved platinum certification. That same year, emo rap was noted as the fastest-growing genre on Spotify. In December 2019, Juice WRLD died from an overdose of oxycodone and codeine. His songs " All Girls Are the Same " and " Lucid Dreams " saw renewed chart success after his death.

Despite these losses, the genre continued to influence mainstream music. In 2018, Nothing,Nowhere released the album Reaper , which was described as a synthesis of 2000s emo and contemporary hip-hop. The album was considered a significant pop release and a potential direction for guitar-driven music.

Between 2018 and 2019, 24kGoldn, Poorstacy, the Kid Laroi, Powfu, and Iann Dior signed with labels and released debut EPs. In 2020, Powfu's single " Death Bed (Coffee for Your Head) " reached number one on the U.S. Hot Rock/Alternative Songs chart. Iann Dior and 24kGoldn's collaboration " Mood " also topped charts and achieved quadruple platinum status. 2020 was characterized by the success of rap artists on rock charts, and the merger of pop punk and rap was described as a significant commercial trend. In March 2022, Lil Bo Weep died from a drug overdose.

The visual aesthetic of Emo Rap is a hybrid of early 2000s emo and grunge sensibilities, filtered through the lens of late-2010s internet culture and streetwear. The fashion often combines high-end streetwear brands popular within the scene, such as Anti Social Social Club, Thrasher, Vlone, and FTP (Fuck the Population), with skate culture staples like Thrasher hoodies and thrifted, oversized flannel shirts or band tees. Hairstyles are a key element, with many artists and fans sporting brightly dyed hair (often pink, purple, or blonde), dreadlocks, or long, unkempt styles reminiscent of Kurt Cobain. Accessories frequently include heavy silver chains, wallet chains, and facial tattoos. The graphic language of the genre is defined by a set of recurring motifs that convey angst and melancholy. These include minimalist or withered roses, broken hearts, skulls, barbed wire, and sad, subverted illustrations of nostalgic cartoon characters, with images of a sorrowful Bart Simpson becoming a particularly widespread symbol of the " sadboi " aesthetic.

Emo rap is influenced by hip-hop, emo, trap, pop punk, nu-metal, indie rock, post-hardcore, and cloud rap. It distinguishes itself from mainstream hip-hop through its emotional and personal lyrics, often focusing on topics such as depression, loneliness, anxiety, drug and alcohol use, nihilism, suicide, heartbreak, and self-medication. The genre merges elements of conscious hip-hop with indie rock instrumentation, frequently sampling 2000s pop punk and emo songs from artists like Mineral, Underoath, and the Postal Service. Some emo rappers also incorporate original instrumentation.

The genre is characterized by its melancholic production, combining atmospheric cloud rap elements with trap drum patterns and samples from alternative rock and emo genres, including Midwest emo, emo-pop, and pop-punk. Emo rap's dark lyricism, sullen artist imagery, and mournful, melodic delivery are influenced by 2000s Midwest emo and emo-pop. The genre often overlaps with pop rap, alternative R&B, and contemporary R&B, incorporating soulful vocals. Emo rap's rise is connected to the early 2010s "emo revival," with artists like Wicca Phase Springs Eternal contributing to the genre's formation. Fans of the music are sometimes referred to as " sad boys ," referencing Yung Lean's music group.

Emo rap is not a strictly defined genre, but rather a fusion of styles. It is inspired by the emotional lyrics of emo music and the mid-tempo beats of trap, with artists blending these influences with various other genres. The genre's popularity stems from its combination of modern hip-hop beats with emotional and personal lyrics.The lyrics reflect a level of emotional vulnerability not traditionally accepted in earlier hip-hop. This has led to clashes with older hip-hop artists who prioritize lyrical skill over emotional expression.

While Emo Rap is closely related to SoundCloud rap, trap metal , and mumble rap, emo rap is distinguished by its personal and confessional lyrical content. Trap beats provide a foundation for expressive vocals, which range from soft-spoken rapping to intense screaming. Lyrical themes often center on mental illness, heartbreak, isolation, suicide, and drug use. Examples include Princess Nokia's " Morphine ," which explores topics of loneliness, and XXXTentacion's " SAD! ", which delves into depression.

Pioneers:

Defining Mainstream Artists (Late 2010s):

Second Wave / Subsequent Notable Artists:Emo (short for Emotional Hardcore ) is a rock music genre and youth subculture that originated in the mid-1980s Washington, D.C. Hardcore Punk scene. The genre emerged as a reaction against the violence and hyper-masculinity of the hardcore scene, led by bands like Rites of Spring and Embrace who combined the punk ethos with personal, introspective, and emotionally charged lyrics.

While the genre spent the 1980s and 1990s as a diverse underground movement characterized by indie rock influences and a " geek chic " aesthetic, the term is most popularly associated with the "third wave" of bands that broke into the mainstream in the mid-to-late 2000s. This era popularized the iconic "Emo" aesthetic in the public consciousness, defined by skinny jeans, tight-fitting band t-shirts, studded belts, and dyed-black, straightened hair with a long fringe. This mainstream iteration became a major international youth movement, often associated with early social media sites such as MySpace and Buzznet, before declining in the early 2010s.

Emo developed in the mid-1980s within the Washington, D.C. hardcore punk scene. During this period, the hardcore community was often marked by violence and a "tough guy" mentality. In response, a movement known as "Revolution Summer" emerged in 1985, where bands sought to break away from the stagnant constraints of hardcore. Pioneers such as Rites of Spring, Embrace, and Dag Nasty distinguished themselves by rejecting violence and writing lyrics that focused on personal emotion and introspection rather than political slogans. At this stage, "emo" was strictly a music descriptor within the punk community and did not yet have a distinct fashion style separate from the general hardcore look.

In the 1990s, the emo sound spread beyond D.C. and evolved significantly, merging with indie rock and melodic punk. This era, referred to as Midwest Emo , saw the genre become softer and more dynamic. Bands like Sunny Day Real Estate, The Promise Ring, and Mineral popularized a sound characterized by "loud-quiet-loud" dynamics and raw, confessional vocals. Simultaneously, a more aggressive and chaotic subgenre known as "screamo" (or skramz) developed in San Diego and the East Coast, retaining the intensity of the original hardcore roots.

The 2000s marked the "Third Wave," where emo entered the mainstream pop culture lexicon. Bands such as Jimmy Eat World and The Get Up Kids paved the way for a massive commercial explosion led by My Chemical Romance, Fall Out Boy, and The Used. During this period, the term "emo" became a catch-all for alternative rock music with emotional lyrics. It was in this decade that the specific "Emo" fashion subculture solidified, heavily influenced by the visual style of bands like Eighteen Visions, who introduced the " Fashioncore " look; straightened hair, eyeliner, and tight clothing, into the hardcore scene.

The fashion style of the Emo subculture has changed drastically over time. The popular image of the "Emo Kid" (black hair, eyeliner, and skinny jeans) is specific to the mid-2000s and bears little resemblance to the fashion of the original 1980s and 1990s scenes.

During the first and second waves, emo fashion was often described as " Geek Chic ." It was characterized by a clean-cut and unpretentious look that deliberately contrasted with the mohawks and leather of traditional punk . Common clothing items included thick horn-rimmed glasses (resembling those worn by Buddy Holly), sweater vests, cardigans, button-down shirts, and fitted trousers or corduroys. Hair was typically kept short, messy, or in simple styles, often dyed black but lacking the elaborate styling of later eras. This look was closely aligned with the indie rock and nerd culture of the time.

The 2000s subculture introduced the "classic" emo look, which was heavily influenced by Goth , Pop-Punk, and the " Fashioncore " trend within metalcore. This aesthetic prioritized darker colors, androgyny, and body modification.

The most defining feature was the hairstyle, consisting of jet-black, straightened hair with long, side-swept bangs (a "swoop") covering one or both eyes. Highlights in bleached blonde, red, or neon colors (often called "coon tails") were also popular.

Essential items included tight "skinny" jeans (often women's jeans worn by men), tight band t-shirts, zip-up hoodies, and studded belts. Footwear was almost exclusively canvas sneakers like Converse All-Stars or Vans slip-ons.

The look was accessorized with wristbands, fingerless gloves, horn-rimmed glasses, and facial piercings, particularly "snake bites" (two piercings on the lower lip). Eyeliner was commonly worn by all genders.

The 2000s emo subculture was closely linked to early internet art communities on sites like DeviantArt and Myspace. The visual art style of this era shared significant overlap with Scene aesthetics. It was characterized by sketchy, dark line art often mimicking traditional pencil drawings. Characters were typically depicted with exaggerated proportions, like stick-thin bodies, oversized heads, and large, "empty" or glossy eyes reminiscent of Tim Burton films or the character L from Death Note . Common motifs in this artwork included broken hearts, skulls, razor blades, and splashes of red or rainbow blood, reflecting the subculture's fascination with melodrama and dark romanticism.

The history of emo music is traditionally divided into "waves," each characterized by a distinct sound and relationship to the mainstream.

Emerging in the mid-80s, this style remained close to its hardcore punk roots but featured mid-tempo rhythms and expressive vocals that often built to a screamed climax.

In the 1990s, the genre fused with indie rock, adopting softer dynamics, arpeggiated guitars, and "whiny" or melodic vocals. This sound is considered the "purest" form of emo by purists.

Often confused with metalcore in the 2000s, traditional Screamo  (or "Skramz") is an aggressive offshoot of 1990s emo. It features chaotic song structures, dissonance, and high-pitched, shredded screaming vocals, drawing influence from noise rock.

The commercially successful sound of the 2000s that brought the subculture to MTV. These bands blended the emotional lyrics of emo with the catchy hooks and production of pop-punk and alternative rock.

By the mid-2000s, "emo" became a vague catch-all term used by the media to describe almost any alternative rock music or dark fashion style. Bands that had little to do with the genre's musical roots, such as metalcore acts or pop-punk bands, were frequently mislabeled as emo simply due to their visual appearance. This led to a backlash from older punks and music purists who viewed the mainstream subculture as a superficial fashion trend ("mall emo") detached from the original D.C. movement.

This trend of misidentification persists to the present day; the term "emo" continues to be used inaccurately by the general public and mainstream media to describe any form of dark fashion and emotional expression, regardless of its actual subcultural origins.

The most persistent controversy surrounding the subculture was its perceived association with depression, self-harm, and suicide. Media panic in the 2000s frequently characterized emo as a "cult" that glorified self-destructive behavior. While the lyrics often dealt with angst and heartbreak, researchers have found no conclusive evidence that listening to emo music caused self-harm; rather, the subculture often provided a community and outlet for young people already experiencing emotional distress.

The stigma surrounding emo led to real-world violence against teenagers. In 2008, a "moral panic" in Mexico led to the "Emo Wars," where mobs of youths attacked teenagers suspected of being emo in Mexico City and Querétaro. More tragically, in 2012, militias in Iraq targeted and killed dozens of young people perceived as emo, viewing their fashion as a sign of Western decadence and homosexuality.Fashioncore (sometimes also written as Fashionxcore or FXC ) emerged in the early 2000s, with its stylistic roots traceable to the late 1990s and early 2000s Hardcore Punk and related music scenes. The term "Fashioncore" initially originated as a tongue-in-cheek or derogatory label used within the hardcore scene to describe bands that, in addition to their music, emphasized a distinct, often dark or stylized aesthetic. This aesthetic drew inspiration from influences such as Horror Punk and Glam Rock .

This emphasis on visual style within the hardcore scene contributed to the development of a broader style and associated youth culture. Individuals adopting this look were sometimes referred to as "Fashioncore kids." However, the use of "Fashioncore" was primarily confined to the hardcore and related music scenes. Mainstream media and music publications often mislabeled this style as " emo ," leading to the emergence of the term "new emo kids" or "fake emos" to distinguish between this fashion-conscious hardcore-influenced look and the more nuanced and traditionally understood emo subculture.

The distinction lays in the portrayal of emo archetypes. While traditional emo was associated with sensitivity, introspection, and intelligence, the "fake emo" or Fashioncore style often exaggerated melancholy and incorporated elements stereotypically associated with the goth subculture, such as self-harm and suicide, which were often contested within the goth scene itself.

In the mid-2000s, this style gained wider popularity, though complexities arose. While "fake emo" helped spread Fashioncore's influence, some within the scene began to distance themselves, identifying more strongly with either the Fashioncore or the emerging Scene subcultures. This occurred as their musical tastes and cultural affiliations diverged from the earlier hardcore roots (citing bands such as Tokio Hotel and Avril Lavigne as examples of these more distanced trends).

The term "Fashioncore" is believed to have originated around the early 2000s within the Metalcore and Hardcore scenes of Southern California (notably Orange County). It began largely as a joke or an insult directed at bands like Eighteen Visions (18V), Atreyu, and Bleeding Through, who broke away from the traditional hardcore dress code (camo cargo shorts, hoodies, and baseball caps) in favor of designer jeans, straightened hair, and makeup.

According to lore within the scene, the first "Fashioncore" t-shirt was created not by a band, but by a merch guy (often cited as Floyd, associated with Taking Back Sunday or Eighteen Visions) as a joke to mock "scenesters" who would check their hair in the mosh pit. The term was subsequently blown out of proportion, becoming a catch-all for any heavy band that cared about their physical presentation.

By 2004 and 2005, the aesthetic popularized by these bands solidified into a recognizable urban tribe. The release of albums like Eighteen Visions' Vanity solidified the look: jet-black dyed hair, flat-ironed swoops, and tight pants.

During this period, confusion with the " Emo " subculture peaked. While mainstream media lumped the two together, the "Fashioncore" demographic often leaned closer to the " Scene " aesthetic that was developing simultaneously. As the music scene shifted in the late 2000s, many original proponents of the style either moved toward the mainstream rock aesthetic or transitioned fully into the colorful style of the Scene subculture.

Fashioncore style, which developed alongside the early 2000s post-hardcore and alternative rock scene, is characterized by specific clothing, hair, and accessory choices. These elements, while sometimes drawing on influences from earlier styles, became more pronounced within this subculture.

For men, a prominent feature was long, straight bangs, styled to avoid obstructing vision (unlike the "lazy eye" sweep of Emo hair). Hair was often professionally cut with attention to detail and sometimes dyed in sections, frequently black with bleached areas (the "skunk" look).

For women, hair also featured long, side-swept bangs, often secured with a hair clip. Hair was commonly teased to create volume at the back of the head (the "coontail" or "scene hair" volume) and dyed in various colors. Colored hair extensions, sometimes with patterns like stripes, zebra print, or leopard print, were also used.

Men's attire commonly included tight black skinny jeans (often women's jeans for a tighter fit), boots, and tight-fitting band t-shirts. Hoodies were often slim-fitting. Belts with large buckles were common, and bandanas or scarves were sometimes used as hair accessories.

Women initially adopted a similar style to men ("boy" jeans and band tees). Later, influences from the emerging scene subculture led to the incorporation of dresses, punk -style skirts (tutus), ripped tights, and footwear like boots or Converse/Vans.

Common accessories used by both genders included white studded belts, diamond motifs, brass knuckles, stars, hearts, skulls, and iconography from brands like Gloomy Bear, Skeletanimals, and Hello Kitty. Bone prints (influenced by Horror Punk ) and stripes were also prevalent.

Key brands associated with the movement included Atticus, Bleeding Star, Famous Stars and Straps, Vans, Converse All Star, and Drop Dead.

While "Fashioncore" is not a music genre, it refers to a specific wave of Metalcore, Post-Hardcore, and Melodic Hardcore bands that popularized the aesthetic.

Fashioncore occupies a specific transitional period in the mid-2000s. It is often described as the "bridge" between the darker, hardcore-focused aesthetic of the early 2000s and the colorful, internet-centric " Scene " subculture that followed. The table below outlines the distinctions:

The term "Fashioncore" has been subject to criticism and debate, particularly within the hardcore punk scene. Initially, it arose as a derogatory term used by some within the hardcore community to label bands and individuals perceived as prioritizing their appearance and fashion over musical substance.

Critics argued that this emphasis on appearance detracted from the perceived authenticity and seriousness of hardcore. Some definitions from the 2000s reflect this viewpoint, characterizing "Fashioncore" as associated with those who prioritize their look (e.g., studded belts, specific hairstyles) over the music itself.

This critique sometimes extended to the music. For example, James Hart, lead singer of Eighteen Visions, expressed disdain for the term in interviews, stating: "It's r*****ed... We're not fans of the term at all. How does the sound of your music have anything to do with the way you look? It doesn't."

However, this interpretation has been contested. Some within the scene have argued that the term is misapplied gatekeeping and that artistic expression through fashion should not be seen as inherently contradictory to musical integrity.Flower Power was a slogan and youth culture movement that emerged in the United States during the mid to late 1960s. The subculture was defined by a belief in peace and non-violence, which was most exemplified by the act of giving out flowers to soldiers during anti-Vietnam war protests, along with exhibiting floral inspired variants on psychedelia 's visual aesthetic and fashion style. The movement served as an early precursor to the American West Coast Hippie scene and was criticized for leading to the start of the Corporate Hippie trend.

In November 1965, Beat poet Allen Ginsberg in his essay How to Make a March/Spectacle , urged for anti-Vietnam war protestors to march with "masses of flowers" to hand out to policemen, press and politicians as a form of peaceful non-violent protesting.  By 1966, members of the burgeoning West Coast Hippie movement in California, particularly San Francisco, Berkeley and Los Angeles' Laurel Canyon, began to adopt the term "flower power".  In 1967, Californian DJ Lord Tim Hudson coined the term "flower child". The term was adopted by musician Sky Saxon, the front man of American rock band the Seeds, who used the term to refer to fans. Hudson later persuaded the group to write songs such as "March of the Flower Children" for their album Future (1967). The term flower child quickly became a mainstay amongst the flower power movement, with Hudson asserting at the time that he had originally coined "flower power" as well. By the summer, flower power coalesced with the social phenomenon known as the Summer of Love which saw as many as 100,000 hippies converging in San Francisco's neighborhood of Haight-Ashbury , along with the March on the Pentagon , which became one of the most important anti-Vietnam war protests of the era.

In late 1967, Mick Farren, a founding member of the British rock band the Deviants and the underground newspaper International Times , was interviewed by John Peel on live TV. During the interview, Peel brought up how during the summer “trendy things like flower power and the hippies” grew in popularity; however, he further stated "the country's still as revolting as it was in the beginning of the summer [...] probably more so". Farren criticized the flower power movement for being a "naive conception" and commercializing the counterculture, citing Frank Zappa’s remark that “flower power is the new way of wrapping garbage.”Folk Punk is a musical genre and aesthetic that takes influence both from 1960s hippie music and the 1970's punk movement. The origins of Folk Punk can be traced into mid to late 1970s into the works of the folk artist Patrick Fitzgerald and his Safety-Pin Suck in my Heart-EP. Although there has been a handful of folk punk acts before the 2000s, in the 2000-2016 the genre, and aesthetic got the most attention. Many folk punks combine parts from punk, Crustpunk , Cottagecore and Hipster fashion to create their own look, that is usually selfmade, down to earth and dirty.

These days most folk punk crosses over with Queercore , because, by design, folk punk is one of the easiest forms of punk to play, making it the easiest way for the youth to express themselves and their criticisms of a society that is still not accepting them fully.

Musically folk punk is punk rock played with acoustic instruments or folk music with a punk energy and atitude. Acoustic guitar, banjo, mandolin, ukulele, trumpet and washboard are among the most common instruments for folk punk music. In fact, many folk punk artists are usually just solo artists who play guitar. Lyrically folk punk is politically heavily left leaning with anarchistic ideals. Folk punk lyrics also tend to be melancholic, with many songs being about alcoholism, drug use, mental health problems and sadness. Other topics are queer issues and identity, homelessness and societal issues.

Folk punk fashion is closely related to the fashion of crusties , with many folk punks wearing battle jackets with patches and pins and looking like typical punks. Another common folk punk fashion choice is farmer clothes that have a dirty, plain and a crusty look for them, that are usually colored very muted colours like light brown or gray. Accompanying this farmer look is usually very minimal makeup or scraggly looking facial hair.  Flatcaps, baseball caps and trucker caps are common headwear for folk punks as well, with many choosing to customise them with pins and patches. Beanies are also a common headwear for folk punks. Some folk punk artists also dress in normal everyday clothing.Freakbeat is a music genre, graphic design style, and aesthetic that was prevalent throughout the mid-to-late 1960s . Closely connected to the Mod and Swinging London scene, Freakbeat bands combined aspects of British rhythm & blues, beat, and pop rock with psychedelic , proto-punk , and distorted studio effects, culminating in a genre which embodied British 1960s counterculture. Visually, Freakbeat places high emphasis on psychedelic graphic design, sometimes utilising photographs of bands associated with the genre.

The initial Freakbeat scene was a product of Liverpudlian beat music, Mod-driven Swinging London, and combining it with heavier more uncommercial sounds to create a sonically distinct genre often drawing parallels with American garage rock. Freakbeat largely fell out of popularity towards the end of the 1960s into the 1970s , experiencing a resurgence and recognition in the 1980s spurred on by the Mod revival.

See also: Mod , Peacock Revolution

During the mid-to late 1960s , "freak-out" music was a loose label used by American and English journalists to refer to several artists.  At times, the term was employed as an early form of psychedelic rock. In 1986, English music journalist Phil Smee retrospectively coined the term "freakbeat" to encompass English acts who made use of a raw, aggressive offshoot of British beat music, emerging from the vibrant underground scene of mid-60s Britain. Its roots were deeply embedded in the Mod subculture, a style-conscious, working-class youth movement that favoured American R&B, soul, modern jazz, and later, rock music. Bands such as the Action, the Creation and the Small Faces developed a tough, danceable, and experimental style that went beyond traditional beat music popularised by bands such as the Beatles .

This evolution was part of a broader musical shift. As British Invasion acts like the Beatles and the Rolling Stones brought beat music to the mainstream, other groups began pushing sonic boundaries with louder guitars, fuzz effects, and more aggressive rhythms. Early examples include The Who 's ' My Generation ' (1965) and the Kinks ' ' Till the End of the Day ' (1965). Though not yet fully psychedelic , this heavier sound marked a distinct break from earlier pop sensibilities. Freakbeat tracks typically gained exposure not through national radio or the charts, but via pirate radio stations like Radio Caroline and Radio London, and through local club DJs. By 1967, Freakbeat was fully established and sat at the crossroads of British Invasion rock, mod culture, garage rock, and the psychedelic movement. However, its undefined nature meant that the sound Freakbeat embodied was soon absorbed by and split off into many different subgenres of rock music, largely a symptom of its vague definitions as a music genre retroactively.

Following the end of the 1960s and into the 1970s , Freakbeat dissipated as the '60s zeitgeist similarly faded. The term 'Freakbeat' was coined in the 1980s by collectors (notably Phil Smee of the Bam-Caruso Records label), who compiled rare 1960s British singles that didn't fit neatly into mod, beat, or psychedelia categories. Furthermore, the ' English Freakbeat ' series is a group of five compilation albums, released in the late 1980s, issued by AIP Records. The LPs featured recordings that were released in the mid-1960s by English rock bands in R&B and beat genres. A fan-made Freakbeat magazine was also published from the late-1980s to the early-1990s, concurrent with the widespread 1960s revival scenes (e.g., Madchester , Britpop ) which occurred during the same period.

Freakbeat bridged the gap between the clean pop of early British Invasion acts and the more experimental/ psychedelic rock that followed. It features distorted, fuzzed-out guitars with driving riffs, 4/4 rhythms, and often sneering vocals that convey teenage angst, defiance, or raw emotion. The production is tight and punchy, with short, hook-heavy songs that rarely exceed three minutes. While rooted in R&B and early rock, freakbeat incorporates subtle studio experimentation, like tape effects, reverb, and occasional use of unconventional instruments, without fully embracing psychedelic excess.

Graphically, Freakbeat features prominent visual distortion, utilising vibrant colour palettes, surreal imagery, fluid shapes, organic forms, optical illusions, and contrasting colours. Text is similarly often stylised, bold, and distorted. This is a consequence of the large influence styles such as Pop Art and Psychedelia had during this era, emphasising saturation and flowing forms.Funk is an aesthetic primarily associated with the music genre of the same name, which originated in African-American communities in the mid-1960s. The music is characterized by a rhythmic groove focusing on a bass line and drum part, with less emphasis on melody or chord progressions. This musical foundation influenced a distinct visual aesthetic that became prominent in the 1970s.

The fashion components of Funk included specific garment types such as flared trousers, jumpsuits, and suits with wide lapels. Fabrics like polyester, satin, sequins, and velvet were common. Color palettes ranged from bright, sometimes psychedelic , tones to later earth tones. Hairstyles like the Afro were also associated with this aesthetic. The visual and cultural expression of Funk often reflected themes of self-development, personal liberation, and social commentary, with musical lyrics taking on urgent social commentary.

Funk music emerged from African-American communities in the mid-1960s, evolving from existing genres such as jazz, rhythm and blues, and soul, and incorporating African rhythmic influences. While early forms of the sound were present in places like New Orleans, its defined origins are frequently attributed to James Brown.

James Brown, a successful soul singer since the 1950s, developed the principles of funk through his focus on live performance. He emphasized a percussive approach to all instruments and insisted his band focus on "The One," the first beat of a bar, rather than the backbeat common in other popular music of the time. This rhythmic innovation was first prominently recorded in his 1967 song " Cold Sweat ," often cited as the first definitive funk track. This song presented a one-chord, bass and drum-focused instrumental structure, moving away from traditional rhythm and blues harmonic patterns. Brown continued to refine this sound with subsequent releases like " I Got the Feelin' " in 1968 and " Get Up (I Feel Like Being a) Sex Machine " in 1970, further reducing harmonic complexity in favor of rhythmic intensity. His band, The J.B.'s, which at one point included Bootsy Collins and Phelps Collins, became central to this sound.

Following the success of Brown's innovations, many other rhythm and blues artists began incorporating funk elements into their music. Sly & the Family Stone gained significant exposure for the genre with singles like " Thank You (Falettinme Be Mice Elf Agin) " and " Family Affair ," blending funk with psychedelic influences. Artists on labels such as Motown and Stax, including Stevie Wonder, Marvin Gaye, and Isaac Hayes, adopted the polyrhythmic grooves and emphasis on "The One." Early Kool & the Gang also exemplified this tight, instrumental funk sound with a strong horn section.

Funk became deeply connected to the Civil Rights Movement, with many artists using the genre to express themes of Black pride and social commentary. James Brown's " Say It Loud (I'm Black and I'm Proud) " became an anthem celebrating Black identity.

In the 1970s, George Clinton emerged as another principal architect of funk. Through his interconnected bands Parliament and Funkadelic, he expanded the genre's scope, developing fully-fledged funk albums and an elaborate "P-Funk" mythos infused with intergalactic and cosmic themes. His approach incorporated distorted electric guitars and synthesizers, creating a more complex and experimental sound. Earth, Wind & Fire also brought funk to mainstream audiences with a polished sound and integrated Afrocentric philosophies, using African-inspired interludes and Ancient Egyptian iconography.

By the 1980s, funk continued to evolve, influencing later genres like disco and hip-hop . Larry Graham of Sly & the Family Stone pioneered the percussive "slap bass technique," which became a foundational element of funk bass playing and was widely adopted. Roger Troutman and his group Zapp also innovated with the use of the vocoder. The genre's rhythmic template, particularly the emphasis on breakbeats, later became a primary source for hip-hop samples. Funk's core rhythmic focus, the "One," remained a constant throughout its evolution and into its influence on subsequent music forms.

Funk's visual aesthetic was a direct expression of the music's themes and its cultural roots in African-American communities. It marked a departure from earlier, more formal presentations, embracing a distinct "African spirit" and a greater sense of theatricality. The color palette employed within this aesthetic is typically vibrant, featuring bright primary colors, neon hues, and bold combinations of purples, oranges, blues, and golds, with earth tones also appearing later in the 1970s.

Iconic elements include the Afro hairstyle , symbolizing cultural pride and natural beauty. Artists like George Clinton and Parliament were notable for their highly imaginative and exaggerated costumes and stage designs. Their "P-Funk" style introduced an "intergalactic weirdness" and "cosmic fantasies," incorporating elements like bedsheets fashioned into elaborate robes and capes, emphasizing a broad freedom of expression in their stage presence. Earth, Wind & Fire further contributed to the "funky" aesthetic by integrating Afrocentric philosophies and Ancient Egyptian iconography into their album art and performances. The visual style of Funk often paralleled the imagery found in "Blaxploitation" films, depicting empowered African-American figures and reflecting themes of self-development and personal liberation.

Funk fashion, prominent in the 1970s, was vibrant and expressive, deeply rooted in African-American culture. It contrasted with the more conservative matching suits seen in earlier soul acts and reflected an "African spirit" in its visual presentation. Common garment types included flared trousers and bell-bottoms, often in bold colors or patterns. Jumpsuits were a staple, along with suits featuring wide lapels. Fabrics like polyester, satin, sequins, and velvet were commonly used, contributing to the flashy and often luxurious feel.

Hairstyles, especially the Afro, were a defining feature, symbolizing cultural pride and natural beauty. Platform footwear was widely adopted by both men and women. Accessories often included hoop earrings and beaded necklaces. Some artists, notably George Clinton and Parliament, pushed boundaries with highly imaginative and theatrical costumes, incorporating elements like bedsheets fashioned into robes and capes, emphasizing a "freedom of dress." This distinctive style conveyed a sense of self-expression, individuality, and liberation that paralleled the music's themes.

Funk music is fundamentally characterized by its strong rhythmic groove, which places a primary emphasis on the interlocking patterns of the electric bass and drums, with less focus on melody or complex chord progressions. This rhythmic foundation often operates on "The One," the first beat of each measure, which is heavily accented, distinguishing it from earlier popular music that typically emphasized the backbeat. The genre frequently utilizes polyrhythms and syncopated patterns across all rhythm instruments, creating a 'hypnotic' and danceable feel.

Instrumentation is typically centered on the rhythm section, comprising electric bass, drums, electric guitar, and keyboards. The electric bass often carries the primary hook of the song, employing techniques like slap and pop bass, or a fingerstyle approach focused on continuous, percussive patterns. Drummers contribute tight, fat grooves with prominent snare backbeats and intricate hi-hat work, often incorporating ghost notes and minimal fills to maintain the groove. Guitarists typically play rhythmic parts using short, percussive chords or single-note riffs, sometimes employing techniques like "chicken scratch" and avoiding distortion for a clean, trebly tone. Funk guitar often features two interlocking parts: a rhythm guitarist and a tenor guitarist. Keyboard instruments such as the Hammond B-3 organ, clavinet, Fender Rhodes, Wurlitzer, and later synthesizers like the Minimoog, provide harmonic and melodic textures, sometimes even replacing the bass line. Horn sections, comprising saxophones, trumpets, and trombones, play rhythmic and syncopated parts, punctuating vocal lines and contributing to the overall percussive sound.

Vocals in Funk adopt styles from blues, gospel, jazz, and doo-wop, often featuring yells, shouts, hollers, and moans. They tend to be more punctuated, energetic, and rhythmically percussive than soul vocals, frequently using call-and-response patterns. Lyrically, Funk addresses issues relevant to the African-American community, discussing economic conditions, inner-city life, and themes of Black pride and social justice. Songs often employ metaphorical language and double entendres, drawing on Black vernacular and aesthetics.Future Funk is an internet-based microgenre that emerged in the early 2010s as a more energetic and dance-oriented derivative of Vaporwave . While it shares Vaporwave's reliance on sampling 1980s music and retro imagery, Future Funk diverges significantly in tone and philosophy. Instead of deconstructing the past through irony, slowness, and decay, Future Funk reconstructs it into a hyper-idealized, euphoric celebration of the 1980s Japanese "Bubble Economy."

Musically, it is characterized by the sampling of 1970s Disco and 1980s Japanese City Pop , sped up and layered with heavy drums and filters in the style of French House. Visually, the aesthetic is defined by the appropriation of vintage anime loops (specifically from the 1980s and 90s) which are recontextualized through high-saturation color grading, rhythmic editing, and neon typography to match the kinetic energy of the music.

Future Funk coalesced on platforms like SoundCloud and Bandcamp around 2012 and 2013. While early Vaporwave artists like Vektroid laid the groundwork for sampling retro aesthetics, the specific sound of Future Funk was codified by artists who sought to make the samples danceable. Saint Pepsi (Ryan DeRobertis) is widely credited with bridging the gap between the two genres, particularly with the 2013 album Hit Vibes, which utilized faster tempos and more cohesive grooves than its contemporaries. Concurrently, the Mexican producer Macross 82-99 popularized the specific use of Japanese City Pop samples, drawing a direct line between the genre and anime culture.

The aesthetic was solidified by the YouTube channel Artzie Music, which served as the primary curator for the scene. Artzie Music paired Future Funk tracks with short, perfectly looped GIFs of vintage anime characters, creating a standardized visual language that associated the sound with the "Rumic World" art style (from artist Rumiko Takahashi).

Over time, the genre evolved from simple "lazy loops" (a criticism leveled at producers who merely sped up songs) to complex, original compositions. By the late 2010s and early 2020s, foundational artists like Yung Bae and Night Tempo began moving toward mainstream pop production and official collaborations with the original City Pop idols they once sampled, effectively bringing the aesthetic full circle.

Future Funk is distinct from the dystopian or surrealist imagery of Vaporwave . It abandons the glitch art, marble statues, and Windows 95 UI elements in favor of a polished, high-energy presentation that mimics the aesthetics of late-night television and disco culture. Future Funk relies on a "hyper-retro" color palette. Unlike the muted pastels of Vaporwave, Future Funk utilizes high-saturation neons, particularly magenta, cyan, and violet. Images are often treated with filters that mimic the bloom of CRT monitors or the grain of high-quality VHS tape, but without the tracking errors or distortion found in darker aesthetics. Typography frequently employs 1980s-style serif fonts, chrome gradients, and Japanese Kanji, often arranged in dynamic motion-graphic styles that pulse with the beat.

The most recognizable motif in Future Funk is the "anime loop." However, these are not random selections; they are curated to reflect specific themes of romance, dancing, and cosmopolitan life. The imagery is almost exclusively drawn from the "Golden Age" of anime (approx. 1978–1995), favoring the distinct cel-shaded art style of that era. The character Lum Invader from Urusei Yatsura is considered the unofficial mascot of the genre, appearing in countless thumbnails and videos. Other frequently used sources include Sailor Moon , Kimagure Orange Road , and City Hunter .

The visual loops are chosen to synchronize with the "butter notes" (the most catchy, looped section) of the music. A common technique involves editing a character's movement (such as a dance step, a wink, or a transformation sequence) to match the BPM of the track perfectly.

The philosophical themes of Future Funk are those of hedonistic nostalgia. If Vaporwave is a critique of consumer capitalism and the "lost future," Future Funk is the uncritical embrace of its pleasures. It represents a "retrofuturist party" that never ends, evoking the optimism of Japan's economic boom years (1986–1991). The aesthetic aims to reconstruct a memory of a time that the listener likely never experienced, a idealized version of the 1980s characterized by perpetual nightlife, romance, and cosmopolitan glamour.

Future Funk is a subgenre of French House and Nu-Disco that relies heavily on the "sample-chop" technique. Producers take samples from 1970s Funk, R&B, and specifically 1980s Japanese City Pop (a genre that blended Western pop with Japanese lyricism). These samples are typically:

Unlike Vaporwave, which often slows down samples to create a "druggy" or disorienting effect ("chopped and screwed"), Future Funk speeds them up to increase energy. This results in a sound that is optimistic and euphoric.

It is important to distinguish this genre from the American "Future Funk" scene associated with glitch-hop artists like GRiZ or Pretty Lights, which evolved from dubstep and electro-soul. The aesthetic Future Funk discussed here is strictly the disco-house derivative associated with the anime aesthetic.Gabber is a youth subculture that originated in Rotterdam, Netherlands, in the early 1990s. In the Dutch context, "Gabber" primarily refers to the subculture's participants, while the music genre is more accurately called Hardcore or Hardcore Techno. The name " gabber " comes from an Amsterdam Yiddish slang word for "friend," reflecting the scene's unpretentious, communal, and working-class ethos, which was a direct reaction against the more artistic and intellectual house music scenes in other cities. The subculture is defined by its signature fashion, consisting of tracksuits, bomber jackets, and Nike Air Max sneakers, often paired with shaved heads, and its frenetic, high-energy dance style known as the Hakken. The music is exceptionally fast and aggressive, characterized by distorted, overdriven kick drums and tempos typically ranging from 160 to 200 BPM.

Gabber originated as an anti-establishment movement from the underground music scene of Rotterdam in the early 1990s, specifically around 1991-1992. It centered around Gabber music, a harder and faster variant of house music characterized by tempos, often exceeding 180 beats per minute, distorted kick drums, and aggressive melodies. The term "Gabber" was coined in 1991 when Dutch DJ and producer D-Shake used the term "gabberhouse" to describe this emerging sound during an interview on the VPRO television program "Onrust". The word itself is derived from Yiddish, and entered the Dutch language through Bargoens slang, coloquially meaning "friend" or "mate".

The first Hardcore Techno track is considered to be " We Have Arrived " by Marc Acardipane, created in 1990. Other key figures include Paul Elstak (who founded Rotterdam Records in 1992), DJ Rob, and The Prophet, who helped shape the Gabber sound in Rotterdam and Amsterdam. Venues like Parkzicht in Rotterdam and Warehouse Elementenstraat in Amsterdam became major meeting points for the scene. Events like Multigroove's illegal raves and the first edition of " A Nightmare in Rotterdam " at Parkzicht in 1992 also helped shape the movement. The rivalry between Rotterdam and Amsterdam, usually in the context of football, also influenced the scene. Gabber music from Rotterdam had a harder, "straight to the point" sound championed by labels such as Rotterdam Records, contrasted with the more experimental sound found in Amsterdam, represented by labels like Mokum Records.

By 1993, a distinct Gabber fashion style began to develop among members of the subculture, characterized by comfortable sportswear and shaved hairstyles. This look was documented in the well-known tiled headshots by photographers Ari Versluis and Ellie Uyttenbroek. Large-scale events like Thunderdome, with its first edition in 1992, and Masters of Hardcore, which began in 1995, quickly popularized Gabber and turned it into one of the most significant Dutch cultural movements of the 90s. These events attracted thousands of attendees from all over Europe. The " hakken " dance style consists of fast footwork with many variations, and also became synonymous with gabber around this time.

The scene's rapid growth also brought negative consequences such as police raids, like the one on Warehouse Elementenstraat in 1993, which aimed to stop illegal Rave parties and drug use. In later years, a segment of Gabber also became associated with racist, neo-nazi, and right-wing extremist beliefs, particularly linked to the Lonsdale clothing brand, which was associated with the Skinhead movement. To counter this negative association, right-wing extremism and racism was actively discouraged at events and in music productions. From then on, individuals who wore Lonsdale at Gabber events were dubbed " wazis " (a portmanteau of " wazig " meaning "vague" and "nazi"), poking fun at the disconnect between their clothing and the predominantly anti-racist stance of the Gabber scene. This effort proved successful, as the " Lonsdalejongeren " (Lonsdale Youth) largely disappeared from the scene.

The emergence of Happy Hardcore in the United Kingdom was initially somewhat divisive in the Gabber scene. Seen as a more pop-friendly version of Hardcore, artists like Paul Estak shifted their focus towards this genre around 1995, which was successful but alienating for his original Gabber following. However, he continued to produce both genres. The popularity of Gabber peaked in 1996, with the creation of TV shows such as " TMF Hakkeehhh!! ", which broadcasted gabber raves and interviews every monday at night.

However, this popularity was not entirely positive for the movement. By the mid-1990s, Gabber became increasingly commercialized, used in Dutch advertisements. The press and newspapers began to make biased reports about Gabber, focusing only on its negative associations with hooliganism, racially-motivated violence, and extreme drug-taking. Gabber also became a subject of parody and satire in Dutch media. Singer Bob Fosko created parodical songs like " Gabbertje ", a gabber version of the children's song " Daar komt Swiebertje ", and participated in sketches about Gabber culture for the VPRO children's program " Erwassus ". Other examples include gabber remixes of popular songs and even traditional Dutch Sinterklaas songs.

The popularity of Gabber faded away by the 2000s, although the scene still exists and its focus has shifted primarily to the music and keeping a positive atmosphere at Hardcore events. The influence of Gabber also resurged in an unexpected place: Poland, where the movement is locally called Wixa (or Viksa/Vixa).

In 2024, Dutch artist Joost brought elements of Gabber to the Eurovision Song Contest representing the Netherlands with his song " Europapa ", made in collaboration with multiple artists, including Paul Estak. Despite being disqualified from the final due to an incident with a production team member, " Europapa " went viral and became the most popular song of Eurovision 2024. It topped the charts in several countries, including the Netherlands, Flanders, Latvia, and Lithuania.

Gabber fashion was heavily influenced by comfortable sportswear and a working-class aesthetic, instantly recognizable in the 90s. A Gabber could easily be spotted wearing sportswear brands like Australian L'Alpina and Cavello tracksuits, paired with bomber jackets and brightly colored Nike Air Max sneakers. Hairstyles were another distinctive characteristic, with shaved heads being common among men, while women often opted for tightly pulled-back ponytails, sometimes with shaved sides or braids.

Hakken or Hakkûh is a Dutch dance style that originated in the 1990s, closely associated with the Gabber scene. It is characterized by its fast pace and repetitive small foot movements. Its movements are inspired by those performed by fans of the Rotterdam football club Feyenoord in the stadium stands. It is typically danced to music with a tempo ranging from 170 to 200 BPM. The lower body is the primary focus of the dance, although arm and torso movements are also common.

The term "hakken" is attributed to DJ Rob and is derived from the nickname for the city of The Hague: Hakke. The phrase " Ik ga Hakke " (meaning "I'm going to dance in The Hague") was adopted by Gabbers who would shout " Haaakkkeee " while dancing, eventually leading to the dance being named hakken.

Gabber (also known as Gabba , Gabberhouse , or Early Hardcore ) is a fast-paced and highly energetic genre of electronic music. The genre is characterized by high tempos, typically ranging from 160 to 220 beats per minute, and its aggressive sound. A key characteristic of gabber is the distorted kick drum, achieved by manipulating the settings of a TR-909 drum machine to create a harsh tone. Gabber tracks also commonly feature rave stabs and samples from various sources. The genre developed in Rotterdam as a reaction against the complexity of techno. In contrast, gabber music embraced a simpler and more aggressive approach. It was influenced by acid house and new beat , both previous scenes that had flourished within the Rave scene.

While Gabber is regarded as a music genre internationally, it is not actually considered one in the Netherlands and Belgium. Locally, it primarily refers to the subculture, while the genre Gabbers listen to is simply called "hardcore" or "hardcore techno." This difference in terminology has led to the use of " Early Hardcore " to more accurately describe this specific style of hardcore that is internationally recognized as "gabber."

Hardcore Techno emerged from the Gabber subculture, so pretty much all of its subgenres and styles are directly related. Therefore, this section primarily deals with direct subgenres and styles of Dutch Early Hardcore (interchangeably termed "Gabber" in this section).Gangsta Rap is a subgenre of Hip-Hop that is characterized by the violent lifestyle of youth from underprivileged areas of the principal coasts of U.S.A like Long Island or Compton. It was prevalent during mid 80's to late 90's. Gangsta is from the word gangster. The genre arose around the mid-1980s in the United States at the hands of rappers like Schoolly D and Ice-T, and was popularized in the latter part of the 1980s by groups like N.W.A. Thanks to the media attraction that Ice-T and N.W.A achieved between the late eighties and early nineties in their country, Gangsta Rap went on to become the most commercially lucrative subgenre of hip hop. Some gangsta rappers in the United States have been associated outside the music circuit with real gangsters, affirming the existence of ties to gangs such as the Bloods or the Crips.

Sometimes the aesthetic is banned at bars and venues with rules like no white t-shirts or baggy clothing. The offical reasoning is usually that this style is commonly worn by gangs, but this could also lead to discrimination (or intentionally be racist) as many black people are part of the aesthetic without actually being gangsters.

This aesthetic can be described as very gloomy or dark variation of the Hip-Hop style. Enthusiasts of this aesthetic take these factors into account:Gen X Soft Club was an aesthetic prevalent from the late 1990s to early 2000s, branching from the popular Y2K Futurism aesthetic of the time. It is considered a more natural and "down-to-earth" look at the futurism of the time, representing both the optimism and anxieties of that time. It's characterized by urban typography, the use of plants/nature, underground metros/train stations, airports, city skylines, and heavy use of minimalism/cool color schemes.

Gen X Soft Club was particularly popular in the United Kingdom at this time, succeeding the initial Britpop / Cool Britannia wave of the mid-1990s. Artists in the Electronica (Fatboy Slim, The Chemical Brothers, Stereolab, Massive Attack) and Post-Britpop (Radiohead, Travis, Starsailor, Doves) genres were seen as representing Y2K/GXSC in both sound and album covers.

GXSC's popularity was a movement in futurist aesthetics that spawned from the economic recovery and growing technology industry of the mid-late 1990s. Some had criticisms about the overly optimistic, "bubblegum" styles of Y2K Futurism and McBling . A notable shift in the visual mood of these styles happened during the turn of the millennium, mainly among Gen Xers and older Millennials.

Today, the aesthetic is making a comeback as styles like Y2K Futurism and Frutiger Aero return to the public eye in the 2020s. Artists like George Clanton, CFCF, and Doss overlap a lot with GXSC and push forward with the style to this day.

GXSC mixes contemporary urban minimalism and lifestyle with Y2K Futurism elements, along with the heavy use of Lomo effect (an analog cross-processing method creating saturated, high-contrast, "soft"-looking photos), bleach bypass, and blur technics in photography, and natural and muted colors - especially greens, blues, beiges, tans, greys, and blacks. There are also elements of 1960s and 1970s nostalgia ( Ultramodern Revival ), which were most common with Generation X.

Following trends with the rest of the visual identity of the aesthetic, GXSC's fashion is inspired by Y2K Futurism 's fashion but with a much more muted, softer appearance. Some fashion trends include nude lipstick, middle parts or natural textured hair, natural leathers, knee-high boots, duster jackets, and other alternative streetwear styles.

Gen X Soft Club, while being mostly a visual aesthetic, is highly associated with music. Many examples of the aesthetic come from album covers and music videos. While Gen X Soft Club is commonly associated with Downtempo and its Trip Hop subgenre, other Electronic and Rock genres can be included in the aesthetic. Here are some examples:Glam Rock is a style of rock music that developed in the United Kingdom in the early 1970s. It was performed by musicians who wore outrageous costumes, makeup, and hairstyles, particularly platform shoes and glitter. Glam artists drew on diverse sources across music and throwaway pop culture, ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, and complex art rock. The flamboyant clothing and visual styles of performers were often camp or androgynous, and have been described as playing with other gender roles. Glitter rock was a more extreme version of glam.

The UK charts were inundated with glam rock acts from 1971 to 1975. The March 1971 appearance of T. Rex frontman Marc Bolan on the BBC music show Top of the Pops, wearing glitter and satin, is often cited as the beginning of the movement. Other British glam rock artists include David Bowie, Mott the Hoople, Sweet, Slade, Mud, Roxy Music and Gary Glitter. Those not central to the genre, such as Elton John, Rod Stewart and Queen, also adopted glam styles. There was a similar scene in the United States, with Alice Cooper, Kiss, The Tubes, Brownsville Station, and Lou Reed being the most popular American exponents of the style. Other American glam artists include the New York Dolls, Sparks, Suzi Quatro, Iggy Pop, Zolar X, The Runaways, Cherry Vanilla, The Magic Tramps, Ruby and the Rednecks, and Jobriath - many of these acts constituted the "glam punk" style, a movement that was most prominent in New York City, Los Angeles, and the Northeastern United States. Glam rock declined after the mid-1970s, but influenced other musical genres including punk rock, glam metal, New Romantic, deathrock and gothic rock.

In the late 70s, bands like Hanoi Rocks and Japan the Band (before they went to New Romantic and City Pop) embraced a punk-tinged version of this aesthetic and musical sound. They went on to influence a few Goth bands (Gene Loves Jezebel especially), some Japanese Goth and Visual Kei, and nigh the entirety of the Hair Metal scene.

Glam rock visuals were based on camp and outrageous performances, which often included:

Glam rock fashion includes but is not limited to:Glitchbreak is a loosely defined music microgenre and internet aesthetic that emerged in the late 2010s and gained significant popularity on TikTok in the early 2020s. The term was algorithmically generated by Spotify to categorize a style of atmospheric electronic music, primarily associated with the artist Sewerslvt, that was frequently being mislabeled as "breakcore" on TikTok.

Glitchbreak is sonically characterized by its fusion of ambient textures, moody synth pads, and rhythms rooted in drum and bass and jungle, often featuring the classic Amen break. Aesthetically, it is heavily linked to a melancholic, internet-centric visual style inspired by Y2K web design, glitch art , and anime, particularly the 1998 series Serial Experiments Lain . The style is controversial within the broader breakcore music community, who considers it to actually be a form of atmospheric drum and bass.

The Glitchbreak sound is distinct from traditional breakcore (a diverse electronic genre that has existed since the 1990s), a fact that is central to its existence as a separate genre. While breakcore is typically characterized by chaotic, high-tempo, and aggressively edited breakbeats, Glitchbreak is generally more atmospheric, melodic, and slower, with tempos often remaining below 200 BPM. The drum patterns, while complex, are often less frantic than those found in classic breakcore, leading many listeners and artists from the breakcore community to classify the style as a form of atmospheric drum and bass or a modern take on jungle.

The need for the "Glitchbreak" classification arose from persistent conflict within online music communities, especially the r/breakcore subreddit. Users frequently debated the mislabeling of music by artists like Sewerslvt, leading to the creation of the r/glitchbreak subreddit to house discussion around this specific sound and aesthetic. This separation allowed for the development of a distinct community, free from the ongoing genre disputes. While Sewerslvt is the most prominent artist, figures like Machine Girl, Goreshit, and Rory in Early 20s are also cited as influential to the genre's development.

The Glitchbreak genre and its associated online communities have found a significant and dedicated audience among people who are neurodivergent, particularly those who are autistic or have ADHD, as well as those who are transgender. This connection is noted by English producer Shoebill, who has stated that autism, and its interaction with gender identity, has influenced "almost everyone" they know in the scene.

The visual aesthetic of Glitchbreak is a fusion of early internet nostalgia and modern digital art forms. Its primary influences are the Y2K and Webcore aesthetics, the 1998 psychological anime series Serial Experiments Lain , and complex applications of glitch art . The style incorporates visual elements from late 1990s and early 2000s internet culture, such as dated computer user interfaces, pixelated typography, and rudimentary 3D graphics. From Serial Experiments Lain , it adopts a thematic focus on digital alienation, fragmented identity, and a pervasive sense of melancholy.

Compared to the brighter and more chaotic look of Glitchcore , the Glitchbreak color palette is typically darker and more subdued. It frequently utilizes a base of deep purples, blacks, greys, and dull greens, which are often contrasted with sharp neon highlights in pink or blue. This creates a moody and introspective atmosphere that visually complements the atmospheric nature of the music, distinguishing it from the more vibrant and energetic palettes of its related internet aesthetics.

Common imagery within the Glitchbreak aesthetic includes depictions of pensive or isolated anime characters, lonely digital environments, and abstract representations of data corruption. This visual language is prominently displayed in the cover art for key releases within the genre, such as the albums and singles by foundational artists like Sewerslvt and Rory in early 20s. These artworks often serve as a direct visual signifier for the music's themes of depression, nostalgia, and dissociation in a digital world.

The Glitchbreak scene is composed of a number of online producers who blend atmospheric drum and bass with glitchy and melancholic aesthetics. The following are some of the key artists and representative tracks associated with the genre.

A significant source of friction is the perception that Glitchbreak's popularity has diluted the definition of breakcore. Fans of the original genre, which has roots in the 1990s rave and digital hardcore scenes, often express frustration that the newer, anime-associated style has overshadowed breakcore's more aggressive and experimental history. This has led to accusations of elitism from some, while others maintain that the distinction is a necessary one based on fundamental differences in sound, ethos, and cultural history.

The genre's central figure, Jvne (Sewerslvt), has a documented history of controversial and offensive behavior. This includes the use of racial slurs in early work, creating album art and song titles that reference real-life murder victims (notably Junko Furuta, a victim of a egregious crime in 1980s Japan), and utilizing samples from suicide videos. Artwork for releases like " Child Sacrifice " and others featured graphic and sexually suggestive imagery involving minors, both real and fictional. This history of embracing "edgy" and shocking themes has led to widespread criticism. The emergence of Glitchbreak as a distinct genre was partly motivated by a desire from fans to appreciate the musical style pioneered by Sewerslvt while simultaneously distancing themselves from the artist's problematic actions. This allowed other artists to produce music within the same aesthetic without being directly associated with the controversies.Glitchcore is an aesthetic characterized by the maximalistic use of visual glitches and distortion, incorporating heavily saturated colors, rainbows, flashing patterns, pixelation, and eyestrain. It peaked in popularity on TikTok in 2020-21 , often associated with the Danganronpa fandom. The aesthetic frequently features characters and artwork from cartoons, anime, and video games.

The term "Glitchcore" sometimes also refers to a microgenre of music related to Hyperpop and Digicore. This style is characterized by high-pitched vocals, sharp 808s, frequent hi-hats, and exaggerated use of distortion and glitch effects. Artists like 100 Gecs and Twikipedia are considered pioneers of the Glitchcore music genre. However, it is a common topic of debate on whether it really constitutes a genre.

Glitchcore as a 2020s music genre is inspired by the dance music vibes of the mid to late 2000s and the sped-up aesthetics of early 2010s Nightcore. The genre builds on the ethereal hip hop-like beats of mid-2010s such as Drain , integrating elements of hip hop and significant hyperpop influences. Characterized by its energetic, danceable bass and use of vocal chops to create a vibrant and surreal auditory landscape.

Other genres associated with the aesthetic include:Gothabilly , also known as Hellbilly , is a subculture that merges the classic sounds and styles of 1950s American Rockabilly with the dark sensibilities of the Goth subculture. Emerging as a distinct style in the 1990s, its musical roots can be traced to the late 1970s with bands like The Cramps, who blended rock and roll with macabre, B-movie horror themes.

The fashion is a "dark pin-up " look, combining traditional Rockabilly silhouettes (such as wiggle dresses, pencil skirts, and high-waisted shorts) with a gothic palette of black, red, and deep purples. These garments are often adorned with macabre or kitschy horror motifs like skulls, bats, spiderwebs, and zombies, alongside classic retro patterns like polka dots and leopard print.

The aesthetic is completed with vintage-inspired hairstyles, such as victory rolls and Bettie bangs, and makeup that fuses the classic cat-eye liner of the 1950s with the darker, more dramatic lipstick and eyeshadow of the Goth scene.

First used in the late 70s by The Cramps to describe their somber blend of rockabilly and punk rock. Thus, Goth and Rockabilly came together, in music and fashion, creating the Gothabilly. The style has also been linked to Deathrock, since there’s heavy amounts of love for vintage horror and dark humor. Goth rock is blended with the blues and country, a less aggressive form of one of its inspirations, Psychobilly. There’s an old retro rock n’ roll feel in Gothabilly, along with its dark and morbid tendencies that draw many people to the subculture.

Gothabilly fashion combines elements of gothic and rockabilly styles. A typical Gothabilly outfit includes a vintage-inspired rockabilly dress with gothic accessories like fishnet stockings, chokers, cardigans and platform shoes. This combination creates a perfect blend of edgy and retro vibes. Contrasting colors such as black and red, purple and pink, and blue and green can help make a statement with a Gothabilly outfit.

For example, you can pair a black leather jacket with a bright red or electric blue rockabilly dress. This contrast adds visual interest and highlights the fusion of different styles. Rockabilly fashion often features retro prints like polka dots, animal print, cherries, swallows, or skulls. You can incorporate these prints into your Gothabilly outfit by choosing a dress or top with a retro-inspired pattern. Pair it with gothic accessories and dark makeup to complete the look.

Accessorizing is key to achieving the Gothabilly aesthetic. Look for vintage-inspired jewelry pieces like cameo brooches, skull earrings, or spiderweb necklaces. These accessories add a touch of gothic elegance to your outfit. Hairstyle can greatly enhance your Gothabilly look. Victory rolls, pin-up curls, or a sleek black bob with bangs are a great staple that complement the retro and edgy elements of the Gothabilly aesthetic. Some components of the style may include some Fetish Goth elements with its use of black silks, satins, lace and velvet, corsets, top hats, antique jewelry, PVC, and leather.

Gothabilly music has a distinct sound that’s different from Psychobilly , while Psychobilly fuses 1950s rockabilly with 1970s punk rock in a faster, more aggressive sound, vintage monster movies and grease-stained '60s garage rock, Gothabilly fuses the bluesy side of rockabilly with gothic piano and guitar, and is defined by having slower tempos and emphasizing mood over aggression.Graffiti Pop was a pop culture obsession of the 1980s and 1990s gritty, underground subculture that was sanitized and packaged as a universal shorthand for "urban coolness. it was heavily influenced by urban street culture at the time and was known to be one of the first mainstream adaption of the Hip-Hop subculture. Graffiti was a rebellious form of youth expression that began popping up in 1970s New York, it was closely linked to the Hip-Hop subculture via the four elements of Hip- Hop which include MCing, DJing, Breakdancing and Graffiti Art.

With Hip-Hop and Punk being two dominating alternative subcultures of the 1970s and 80s, they often overlapped in it's mainstream adoption, nothing was more apparent than with the popularity of the song and accompanying music video of Blondie's Rapture in 1981 (although Blondie switched their sound from punk to new wave) in the early 1980s, the song ‘Rapture’ by Blondie hit number one in the US Charts. It was unique in that it celebrated elements of graffiti, DJ culture and rap. It showcased the raw creativity of a subculture that was taking place in New York’s streets and subways.

Graffiti, as we recognize it today, emerged in the 1960s and 70s primarily in New York and Philadelphia. Young artists armed with spray cans began tagging their names and creating intricate designs on subway cars and buildings. These early artists, who called themselves “writers,” were motivated by a desire to leave their mark on public spaces and amplify their voices in a rapidly urbanizing world.

The rise of hip-hop culture in the 1970s further cemented graffiti’s role as a cornerstone of urban identity. Alongside breakdancing, DJing, and rapping, graffiti provided a creative outlet for marginalized communities to express their frustrations, aspirations, and cultural pride. During the 1980s and 1990s, the raw energy of street art was repurposed by major brands into a "corporate graffiti" aesthetic. This trend used the visual language of the streets—vibrant neon, drip effects, and aggressive typography—to sell products to a youth demographic.

"Rapture" was the first video containing hip-hop elements ever broadcast on MTV, predating Run-DMC’s "Rock Box" by three years. It broadcast the sights and sounds of the South Bronx to a global, predominantly suburban audience. The song debuted at number one signifying it's status as the first aesthetic based hip-hop song and video to reach number one on the hot 100 billboard charts. The song was inspired by Debbie Harry and Chris Stein’s actual visits to Bronx rap parties with Fab 5 Freddy, who acted as their cultural mentor.

Jean-Michel Basquiat’s aesthetic was a radical fusion of Neo-Expressionism and street culture , characterized by a raw, "unstudied" energy that challenged the polished minimalism of the 1970s. His work transitioned street art from the fringes into a legitimate "high art" form, fundamentally altering the mainstream art market and popular culture, Initially known for his graffiti under the name “SAMO” (“Same Old Sh*t”), his work quickly transcended its street origins and captured the art world's attention with a visceral, neo-expressionist style.

Keith Haring, with his artwork in the New York subways in the 1980s, Haring quickly rose to fame. From 1984, he received international commissions, flying around the world to create highly visible public art—a model that street artists emulate today. Haring realised the importance of opening his artwork to the masses. He did this by opening the Pop Shop in 1986, which featured many of his graffiti artworks through merchandising. Haring personally painted the entire interior—floor, walls, and ceiling—in an abstract black-on-white mural.

Countless campaigns have drawn inspiration from graffiti art to engage audiences, capture attention, and convey a sense of urban authenticity. The mid 80’s to late 80’s saw brands such as Nike, Coca-Cola, and MTV incorporating graffiti-style typography and imagery in their advertising efforts, to appeal to the Gen X youth who were often primary participants in counter-cultural movements. This incense saw a shift from the usual Punk/Pacific Punk Wave style into Hip-Hop/Urban Decay, which was also presented in fashion, toys, popular music, movies and video games.

In the early 1990s, the "urban decay" aesthetic exploded into a consumer lifestyle. Corporations realized that the rebellious "tag" could be repackaged as a logo, leading to a flood of graffiti-inspired fashion, toys, and media. Artists like Shepard Fairey launched the Obey Giant campaign between 1989 and 1990, which used punk-style guerrilla wheat-pasting to create a brand that ironically critiqued the very corporate structures it eventually joined. Artists like KAWS began "subvertising" (hijacking) actual advertisements on phone booths and bus shelters, which paradoxically made their own style highly desirable to the corporations they were mocking. This would then inspire corporations to market youth rebellion by mixing punk and hip-hop aesthetics, which mostly included the subversive hijacking that took place back then. Graffiti became the go-to visual shorthand for "cool" and "youthful" in mainstream media.

MTV used graffiti-heavy sets and on-screen graphics for shows like The Jon Stewart Show to fish for a specific demographic. Major TV shows adopted the aesthetic to signal urban authenticity; most notably, The Fresh Prince of Bel Air used a graffiti-heavy opening sequence and logo. Publications like Skills, Can Control, and VideoGraf (a video magazine) helped professionalise the culture, making elaborate murals accessible to "insider" audiences and paving the way for international recognition.

The appropriation of graffiti culture evolved from 1990s "urban grit" into a cornerstone of global pop culture , luxury fashion , and digital media . This transition saw graffiti move from the edges of society into a "visual heartbeat" for mainstream brands, especially in street fashion where major streetwear fashion brands like JNCO, No Fear, Ed Hardy and My Crazy Life incorporated graffiti print iconography and patterns into it's style as a way to market skater punks and hip-hop heads alike. By the time we reach the late 1990s and early 2000s we see the development of both the UrBling and Shibuya Punk aesthetics entering into the mainstream and mostly being incorporated into contemporary media more so than in the earlier stages.

The nostalgic rise of old school street culture led to this aesthetic remaining strong even in the 2020s.

Graffiti Pop is most notable for its grungy or, in other words, grimy urban decay styling, complete with street lamps, run-down cars, chain link fences, brick walls and trash cans. This is meant to portray downtown metropolitan eras that were often featured in 1970s/80s cityscapes. Colours often included high-contrast, vibrant "neon" accents (typical of 80s/90s spray paint) were often set against dark, moody backgrounds of grey concrete or rusted industrial tones. Corporations used stylised, cartoonish characters with "big trainers" and "baggy clothes" to represent the stereotypical "street kid," merging hip-hop fashion with brand logos, the best example are MC Skat Kat from the Paula Abdul music video Opposites Attract and Fido Dido the 90s 7Up mascot. The visual style often merged the raw energy of Punk (collage, xeroxed flyers) with the technical skill of graffiti writers, creating a hybrid "street art" that was easier for galleries and brands to digest than pure vandalism.

The transition of graffiti from "vandalism" to high-street and high-fashion staple began with a few pioneering designers and was rapidly scaled by athletic and "urban" brands between 1980 and 1994. These brands built their identity around graffiti tags, bubble letters, and the gritty visual palette of the city.

Stüssy (founded 1980): Shawn Stussy’s hand-drawn, graffiti-inspired logo became the blueprint for incorporating street graphics into clothing, it didn't reach its cultural peak until the late 80's and 90's, where it was often associated with skater and surf culture. Stüssy's logo is written to emulate a graffiti tag.

Cross Colours (founded 1989): Famous for their bold colour-blocking and pro-Black messaging often rendered in street-style typography, although the brand doesn't include graffiti prints, often people would tag graffiti on the clothes as a massive fashion staple of early 90's street clothing. This brand is closely associated with the Afrocentrism of the late 80s-early 90s.

HAZE Clothing (founded 1991): Founded by graffiti writer Eric Haze, this was one of the first brands to translate authentic street tags into high-end fashion directly, Haze relocated his design studio to Los Angeles, where he also founded his eponymous clothing and accessory brand, HAZE. By 2005, the brand had three stores in Tokyo. HAZE would often include his graffiti tags on his merchandise in various styles.

JNCO (Founded 1985, peaked mid-90s): Short for "Judge None Choose One," JNCO was the definitive brand for the intersection of rave, skate, and urban grunge. Their oversized jeans (some with 50-inch leg openings) frequently featured graffiti-style embroidered logos and "spray paint" character art on the back pockets.

Supreme (Founded 1994): James Jebbia opened the first store on Lafayette Street, specifically hiring local skaters and graffiti legends like Rammellzee to maintain authenticity. Early Supreme was famous for artist-collaborated decks and t-shirts, literally turning the "outlaw" art of the street into a curated, gallery-style boutique experience.

The 1980s and early 90s saw a massive shift from graffiti as a local subway phenomenon to a globally recognised corporate graffiti aesthetic. Brands and filmmakers began sanitising "urban decay"—the trash cans, brick walls, and chain-link fences—to market a rebellious "street" identity to youth audiences. This aesthetic shift began in 1981 with the release of the Stations of the Elevated, a 1981 showcase of urban life in 1970s New York City, which then led to another documentary in 1983 called Style Wars that focused mostly on hip-hop and graffiti culture at that time.

This era's media oscillated between raw documentaries and stylized fictional portrayals that cemented the "gritty" city aesthetic in the public imagination. This was also cemented with the rise of break-dancing/b boy focused movies that included a lot of the Graffiti Pop aesthetic in their visuals, which is likely a continuation of the 1970s urban grit that was included in many of the independent films of that time. The break-dance craze was also showcased in movies around this time, which included many of the four elements of hip-hop, DJing, MCing, B-Boying and Graffiti Art. Lots of youth degenerate films that focus on the rising threat of punks, this would heavily include urban decay in it's visuals.

From 1987 to 1993, television underwent a "visual sanitisation" of urban life, where major networks and brands repurposed the raw energy of graffiti, hip-hop, and punk into a marketable "Corporate Graffiti" or "Graffiti Pop" aesthetic. This shift turned "urban decay"—once a symbol of systemic neglect—into a stylised backdrop for youth-oriented programming and advertising. Launched in the early 80s, MTV reached its peak cultural influence during this window by integrating street art into its motion graphics and original programming. The Yo! MTV Raps logo, designed by graffiti artist Dr. Revolt , epitomises the "Graffiti Pop" style: high-contrast neon accents against "grungy" brick walls and grey concrete. The late 80s and early 90s also ushered in the "Black TV Boom" which was heavily focused on bringing hip-hop motifs to the mainstream through black culture on TV. These shows often included heavy hip-hop aesthetics, baggy street clothing, Afrocentrism and of course, graffiti pop (this was also where we saw rave culture mix in with this aesthetic).

In the video game industry, this period (1986–1992) represents the peak of the "Urban Beat 'Em Up." Developers, largely based in Japan, were fascinated by the cinematic grit of films like The Warriors , Escape from New York , and Death Wish . They distilled the "scary American city" into a repeatable, profitable visual language. The games took the linear story often showcased in 80s 8-Bit sidescrollers and flipped it with a more urban decay grit. The backgrounds often looked rugged and rundown, similar to cities in New York, Michigan and California. The protagonists and antagonists are often dressed in punk-inspired fashion, and the gameplay method is primarily adrenaline-induced hyper-masculinity.

The shift from graffiti as "urban blight" to a "commercial backdrop" wasn’t an accident. It was the result of a perfect storm where the dying industrial economy of the 1970s met the booming media-driven economy of the 1980s. In the early 80s, for the suburban middle class, the "Inner City" was a place seen only on the news—usually associated with danger. Corporate interests realised they could package the visual danger of the city without the actual risk. Pop music in the late 70s was dominated by Disco—which was all about sequins, mirrors, and high-gloss fantasy. By 1981, that bubble had burst. Pop stars needed a new "texture." MTV launched in 1981 and needed 24 hours of visual content. The "Urban Streetscape" was cheap to build and provided a high-energy, kinetic environment for dancers. Blondie (who were known for their vibrant new wave style and sound), released their video in 1981; by mixing a post-punk bassline with a rap verse, they created a "bridge" that allowed urban iconography to travel into the suburbs.  They didn't film in a real alley; they built a "dream-version" of an alley. This made the aesthetic palatable for a mass audience. With Blondie's single being circulated on MTV and the song debuting at number one on the Hot 100 US Charts, it further expanded the aesthetic of urban decay outside of Hip-Hop and Punk videos.

Multiple videos of the 1980s showcased graffiti-infused "Urban Decay" with videos like Michael Jackson – "Beat It" (1983), Chaka Khan – "I Feel For You" (1984), Madonna – "Borderline" (1984) and Samantha Fox - "Naughty Girls (Need Love Too)" (1987). As we approach the 1990s we see the advent of the New Jack Swing style that leaned much more into this aesthetic than ever before, as the aesthetic often included hip-hop motifs, with videos such as Bell Biv DeVoe – "Poison" (1990), TLC - "Ain't 2 Hard 2 Beg" (1992) and Paula Abdul - "Opposites Attract" (1988) . From roughly the late 80s - early 90s we saw hip-hop street fashion included outside of hip-hop videos, such as pop, new jack swing and dance, which often had artists sporting baggy casual street-wear to emphasise the shift towards the takeover of both grunge and hip-hop in the mainstream.Grażynacore represents the visual style of graphics shared by Polish women around 60 years old on social media. These graphics evoke nostalgia for the 1980s and 1990s. Visual elements include flowers, inspirational phrases similar to those found in Paulo Coelho's works, ClipArt from early Microsoft Office versions, and general kitsch.

The term derives from "Grażyna," a Polish name associated with older women that means "beautiful" or "pretty" in the Lithuanian language. The aesthetic's history spans from 1960s sound postcards to 1990s Disco Polo cassettes, with a resurgence fueled by platforms such as Nasza Klasa and Facebook. Common visual components include hearts, glitter imitations , coffee depictions, animals, books, depictions of women, and baby imagery. Typical phrases include greetings, positive affirmations, and references to coffee.

Visuals resembling Grażynacore originated in the 1960s, appearing on sound postcards popular in Poland and other socialist countries. In the 1990s, Disco Polo cassette tapes incorporated similar elements. With the rise of the internet, these visuals, found in family souvenirs, were uploaded and shared, particularly on Facebook. The term 'Grażynacore' emerged in the mid to late 2010s, as evidenced by online posts and blogs. Following the naming of the style, parodies of Grażynacore visuals began to appear.

Grażynacore visuals frequently feature ClipArt of various themes, often positive in nature. Other common elements include:Grunge is an alternative rock genre and associated subculture that emerged from Seattle, Washington in the mid-late 1980s and achieved mainstream popularity in the early-mid 1990s. As the definitive sound of Generation X, it was a reaction against the glamorous excess of 1980s glam metal , fusing the raw energy of punk with the sludgy, heavy riffs of early heavy metal .

The music, also known as the " Seattle sound ," was pioneered by bands like Nirvana, Pearl Jam, Soundgarden, and Alice in Chains, and is defined by its distorted guitars and angst-filled lyrics with themes of social alienation, apathy, and confinement. The associated fashion was a utilitarian, anti-consumerist statement rooted in the Pacific Northwest's working-class culture, consisting of thrifted items like oversized flannel shirts, ripped jeans, band t-shirts, and combat boots. The movement's mainstream popularity was short-lived, largely ending with the breakup of Soundgarden in 1997, but its influence on alternative music and fashion has been profound and long-lasting.

The origins of Grunge lie in the Pacific Northwest's underground music scene of the mid-1980s, centered on the independent record label Sub Pop. Early bands like Green River, the Melvins, and Mudhoney were instrumental in developing the genre's sound by blending the DIY ethos of punk with the slower, heavier sound of bands like Black Sabbath. This created a raw, unpolished, and emotionally intense style of rock that stood in stark contrast to the slickly produced music dominating the mainstream charts.

Grunge exploded into the global mainstream in 1991–92 with the release of Nirvana's album Nevermind and its lead single, "Smells Like Teen Spirit." The album's success catapulted alternative rock into the commercial spotlight, and the "Seattle sound" became a cultural phenomenon. Bands like Pearl Jam, Soundgarden, and Alice in Chains also achieved massive success, defining the musical landscape of the early-mid 1990s. However, the movement's popularity was brief. The intense pressures of fame, widespread drug use within the scene, the suicide of Nirvana frontman Kurt Cobain in April 1994, and the breakup of Soundgarden in 1997 are often cited as primary factors in the original movement's decline by the mid-to-late 1990s.

Grunge had a lasting impact on the music and culture of the 1990s and beyond. It was instrumental in bringing alternative rock into the mainstream and is often credited with the decline of glam metal 's popularity. Following the original movement's wane, a more commercially viable and radio-friendly genre known as Post-Grunge emerged, featuring bands like Foo Fighters, Creed, Puddle of Mudd, 3 Doors Down, and Nickelback.

The fashion of Grunge has also proven to be enduring, with its elements being revived in various forms through the years. In the 2010s and 2020s, aesthetics like Soft Grunge and Pastel Grunge emerged online, reinterpreting the original's visual style, though often disconnected from its anti-consumerist philosophy.

The Grunge subculture was an expression of the disillusionment and angst of Generation X. Its core philosophy was a rejection of the consumerism, corporate greed, and social artifice that characterized the 1980s. It championed values of authenticity, individualism, and a DIY ethos inherited from punk rock. This was often expressed through a pervasive sense of apathy and social alienation, a feeling of being an outsider in a world that seemed increasingly inauthentic. The lyrical content of Grunge music directly reflected these themes, exploring feelings of despair, confinement, frustration, and a search for meaning in a seemingly meaningless world.

Grunge as a visual style emerged during the early 90s when the aesthetic was starting to gain momentum in the mainstream; aspects of the style were borrowed heavily from the album covers that were designed at the time. Think back to Nirvana, Linklater’s Slacker , and the flannel-clad rebels on the run from the 80s. To skateboards and graffiti and toe rings and VHS tapes. Things were messy then. And the type design was messy, too.

Music photographer Charles Peterson was a primary force in shaping the visual "look" of the Seattle scene for outsiders. His photography style captured the energy and chaos of live shows, much of the iconic imagery was shot in high-contrast black and white, adding to the gritty, documentary feel. Peterson used techniques like blurring, uncropped frames, and unconventional angles, capturing the manic energy of performers and mosh pits rather than posed movements. Moreover, grunge photographers were not content with merely documenting the subculture; they sought to actively participate in its ethos of DIY creativity. Many adopted experimental techniques, such as darkroom manipulation and collage, to imbue their photographs with an added layer of rawness and texture. By embracing imperfection and the unpredictable nature of analogue photography , these artists created images that resonated with the chaotic energy of the grunge movement.

David Carson, the acclaimed graphic designer who created Ray Gun magazine, is the so-called Godfather of Grunge. His method was simple, his gospel two-fold. Carson’s technique of ripping, shredding, and remaking letters touched a nerve. His covers for Ray Gun were bold and often disorienting. Carson emphasized the art of worn and rusty visuals, which has grown to become a grunge staple. Text was frequently stretched, blurred, photocopied, or otherwise manipulated to look "dirty" or worn out, reflecting the distressed nature of grunge fashion and music. Ray Gun would often display popular alternative front men by using various vector art styles or blurry and out-of-focus frames to give the artists a mysterious aspect to their image. Ray Gun didn't just cover grunge; its visuals were grunge, embracing chaos, rule-breaking, and an authentic, messy energy that left a lasting mark on graphic design and reflected the anti-establishment sentiment of the 90s.

The most notable visual style of the 1990s grunge was the album covers, as grunge was able to push the boundaries with its bold visuals through album covers. In the 1980s (when grunge was in its infancy), the album covers were already conveying gritty and raw visuals, but nothing would impact the genre in a more lucrative way than when Nirvana's iconic logo and album cover for Smells Like Teen Spirit debuted in 1991. The cover, a photo by Robert Fischer, features a naked baby (Spencer Elden) swimming underwater, reaching for a dollar bill on a fishhook, and the logo is of a poorly drawn smiley face with the band's tag printed on top. This was also designed by Robert Fischer and became one of the most recognizable band logos in music history. Other album covers that defined the entirety of the grunge aesthetic include. Ten by Pearl Jam (1991): The album cover features a group pose of the band members in front of a wooden cut-out of the band's name, designed by bassist Jeff Ament. Dirt by Alice in Chains (1992): The cover depicts a woman (model Mariah O'Brien) lying half-buried in a cracked desert floor. Superunknown by Soundgarden (1994): Known as the "Screaming Elf," the cover is a distorted, blurred photograph of the band members, placed upside down above a burning forest in black and white and then theirs Live Through This by Hole  (1994): Shot by fashion photographer Ellen von Unwerth, the cover features a model (Leilani Bishop) styled as a distressed beauty queen or prom queen. She wears a tiara, holds a bouquet, and has smudged mascara, evoking the climax of the film Carrie .

Grunge fashion was a direct extension of its anti-consumerist philosophy and is often described as " anti-fashion ." The style was not about curated trends but was rooted in the practical, inexpensive, and utilitarian clothing of the Pacific Northwest's working-class and logging communities. Adherents sourced their clothing from thrift stores, embracing a worn-in, unkempt, and androgynous look. Key garments included second-hand flannel shirts worn oversized or tied around the waist, faded or ripped denim jeans, vintage band t-shirts, and oversized, often moth-eaten knit sweaters. This was typically paired with durable footwear like Dr. Martens combat boots or Converse sneakers.

Typical Examples:

The Grunge sound, or "Seattle sound," is defined by its fusion of musical elements. It combines the raw, stripped-down structures and energy of punk rock with the slow, heavy, and distorted guitar riffs of early heavy metal. The music is characterized by a "dirty" guitar sound created with heavy distortion and feedback, dynamic shifts between quiet verses and loud, explosive choruses, and angsty, introspective vocals.

Grunge had a transformative impact on 1990s media by catapulting an underground, anti-establishment culture into the mainstream, influencing music programming, graphic design, fashion, and on-screen portrayals of youth culture. During the 90s, grunge's impact was mostly felt amid MTV's rise as the prevailing force in youth culture. The ultimate irony of any pervading subculture is the corporate integration, which is something we see with the Corporate Grunge aesthetic during 90s advertisements.

Advertising in the 90s quickly shifted from the polished excess of the 80s to embrace a grittier, more "authentic" look to resonate with a disillusioned Generation X. This resulted in a design style sometimes referred to as "corporate grunge," which lasted for much of the decade.

Visual Aesthetics: Advertisers adopted the visual elements of underground gig posters and zines. This meant using:

Fashion Marketing: Retailers capitalized on the specific look associated with bands like Nirvana and Pearl Jam.

MTV was the primary engine that drove grunge from an underground Pacific Northwest phenomenon to a global cultural force, effectively functioning as the 90s equivalent of today's viral social media algorithms. During the 80s MTV was the primary platform exclusively for music videos by well-known artists, especially for those within glam rock and metal. The 90s ushered in the rise of alternative music as a cultural force.

MTV's programming decisions were crucial in breaking grunge bands into the mainstream consciousness, providing them with a massive, dedicated audience of young viewers.

In relation to movies, grunge culture had a profound impact that went beyond a simple soundtrack choice, influencing film aesthetics, character archetypes, and narrative themes. It helped usher in a new era of gritty, realistic, and character-driven cinema, largely centered around the Generation X mindset.

In the 1990s, grunge’s impact on literature was characterized by a "raw and unfiltered" aesthetic that mirrored the movement's musical themes of alienation, nihilism, and disillusionment. Grunge literature (also known as "grunge lit" ) is a genre that emerged in the 1990s, characterized by its raw, unfiltered portrayal of disillusionment, urban decay, and the struggles of youth. It often reflects themes of nihilism, alienation, and the impact of popular culture, utilizing a gritty, colloquial style that mirrors the grunge music movement.Gutter Punk is a global subculture primarily associated with transient or homeless individuals who actively adopt specific aesthetic traits and a worldview derived from the Punk subculture. The aesthetic serves as a visual marker of anti-consumerism, rejection of conventional labor, and a commitment to a nomadic, anti-authoritarian lifestyle.

While the term is most common in North America and the United Kingdom, the subculture is recognized internationally by names such as punk-à-chien (French, literally "dog punk"), punkabbestia (Italian, literally "beast punk"), and perroflauta (Spanish, literally "dog flautist").

Gutter Punks often acquire income through panhandling (known as "spanging") or by working as "buskers," playing acoustic instruments such as the guitar, banjo, or mandolin on the street for tips. Many members travel by alternative means, including freighthopping (illegally riding freight trains) and hitchhiking, often congregating in major metropolitan areas globally.

The Gutter Punk style is an aesthetic of deliberate non-conformity and visible anti-consumerism, synthesizing elements from Punk 's confrontational stance and the free-spirited nature of Bohemianism . The entire look is characterized by a commitment to the DIY ethos, where clothing is rarely purchased new and is instead personalized and heavily modified. This practice creates a perpetually tattered and worn appearance that signals a direct refusal to participate in mainstream capitalism and mass consumer culture.

The clothing itself consists of outfits that are often dirty, torn, and covered with heavy customization. This customization includes extensive use of sewn-on patches, safety pins, and metal studs. This highly modified clothing is viewed as a form of anti-fashion that visually communicates the wearer's nomadic and anti-establishment ideology.

Grooming emphasizes a deliberate lack of care or conformity. Hair is typically worn long, unkempt, and sometimes matted into dreadlocks or styled into Mohawk hairstyles. The face is often marked by numerous piercings and tattoos, which are sometimes acquired through non-professional methods, emphasizing the raw and self-made nature of the subculture.

The accessories are tied directly to the subculture's defining transient lifestyle. Gutter Punks are often visually identified by their functional items used for travel and companionship. This includes a large knapsack or backpack used to carry belongings while moving, and most notably, dogs, who serve as constant traveling companions (referenced in the French term Punk-à-chien and the Spanish Perroflauta ).

The lifestyle involves alternative means of obtaining income, such as panhandling (known as "spanging") or working as "buskers," playing acoustic instruments like the guitar or banjo on the street for tips. Members frequently travel by illegal or unconventional methods, including freighthopping (riding freight trains) or hitchhiking.

The Gutter Punk aesthetic is recognized across continents, with local names reflecting specific cultural and political contexts.

The term Perroflauta (Dog Flautist) is a prominent Spanish name for the aesthetic. It gained significant sociological notability in the late 2000s and early 2010s during the economic crises in Southern Europe. The name, which derives from the image of street musicians ( flautistas ) with a dog ( perro ), became widely used, often pejoratively, to refer to:

The term is often used by people who hold right-wing views to denigrate homeless working class.

In Francophone regions, the term Punk-à-chien (Dog Punk) is commonly used to describe the subculture, referring directly to the practice of traveling with a dog and living a transient, street-based lifestyle.

The following terms are also used to refer to individuals or groups associated with the Gutter Punk aesthetic or lifestyle:

The terms Gutter Punk and Crust Punk are often used interchangeably due to considerable overlap in their aesthetic; both share a focus on patched clothing, anti-consumerism, and a harsh lifestyle. However, some self-identified members distinguish the groups based on ideology:

The Gutter Punk subculture is often subject to intense societal criticism, prejudice, and hostility, which is rooted in its highly visible rejection of labor and conventional society.

The primary source of controversy is the subculture's association with anti-social behaviors and voluntary or involuntary poverty, including public drinking, drug use (especially heroin), panhandling, and squatting. Due to the nature of the lifestyle, members are often unfairly stereotyped by the public as potential delinquents or thieves. This perception of aggressive hedonism and anti-social decay causes significant friction with local communities and law enforcement.

A subgroup known as "Scumfucks" is sometimes internally identified within the scene to denote members perceived as overly nihilistic, selfish, or aggressive, further highlighting the subculture's problematic elements.Hair Metal , also known as Glam Metal , is a subgenre of metal music that emerged and peaked in popularity during the 1980s until its decline in the early 1990s. Originating in the United States, this genre differed from other metal subgenres of the time due to its striking, androgynous, and glamorous image, evident in both the musicians' appearance and their music. Hair metal emphasized catchy riffs and guitar solos (often featuring shredding), melodic hooks, and lyrics focused on themes of love and lust.

Hair Metal had its origins in the late 70's, but it would not be until the 80's that it would obtain its relevance and subsequent success. Many elements seen in this aesthetic are directly inspired or influenced by the artists and bands that were popular in that decade and that belonged to the Glam Rock genre, such as David Bowie or Queen, and American rock bands like Kiss and Alice Cooper; this last band belonging more to the theatrical rock genre, which would also influence a part of Hair Metal scene. Another movement or current that could also have influenced this style could have been the New Wave , not so much in the musical aspect but in the visual and aesthetic aspect, mostly taking characteristics such as the hairstyles, colors and accessories such as the jewelry, as well as part of the clothing.

The interesting thing about the whole question related to this aesthetic is how both the visual image and the musical style developed separately and with a considerable distance of time. In one hand, the androgynous and effeminate aesthetic of this style seems to have its first precedent with the American band of the 70s New York Dolls, who were characterized by wearing "high heels, eccentric hats, satin, makeup, spandex, and dresses", an very similar image if not the same as that the one presented by the eighties bands that belong to this aesthetic – and in the other hand, Hair Metal as a musical style already seemed to have a small precedent of existing before the aesthetic was fully defined, promoted and promulgated worldwide – the first band to incorporate the sound of melodic hard rock with lyrics about irreverent themes related to love and lust was Van Halen with their 1978 self-titled debut album, which would later be a commercial success.

It is said that it was in the year 1981 when the Glam Metal began as a musical style and aesthetic with the growing success of local Los Angeles band Mötley Crüe, which played frequently in bars and nightclubs on the Sunset strip. Additionally, the success of their debut album, Too Fast For Love , lead to the subsequent appearance of multiple other local bands with a similar style and sound, like Cinderella in the mid-80's or Poison in 1983; nonetheless, it wouldn't be until the release of Quiet Riot's Metal Health album that Hair Metal music finally entered into the mainstream. According to an Urban Dictionary definition of Glam Metal, "...much of this had to do with the image-centricity of the bands, and the attention they received from the just-starting MTV. For the next few years, glam [metal] would still be only a moderate success." [1] In later years, Hair Metal would be designed as one of the best-selling musical styles from the 1980's.

The decline of Hair Metal started in the early 90's, with the arrival and later rise of new musical styles such as Grunge , headed by bands like Nirvana or Pearl Jam, as well the Alternative and Nu-Metal scenes. Some Glam Metal bands decided to change their image and style to adapt to this change in the music scene, discarding their old, wild personas in favor of ones that were more relaxed according to the time.

Later, during the 2000s, this genre had a very small comeback, after the emergence of bands like Reckless Love (formed in 2001 in Finland and releasing their debut album in 2010) and Steel Panther (a parody band of this style founded in the 2000 in the United States), and although Hair Metal has not resurfaced with the same force as other vintage aesthetics, there is still a niche of people who use and admire this style, and who long for its return.

(Side note: It appears that the term "Hair Metal" was created and first used by MTV, but this cannot be corroborated beyond an Urban Dictionary definition. [2] )

As the name of the subgenre indicates, Glam Metal focuses heavily on the glamour of the eighties , especially in elements such as makeup , which some bands tend to wear in a subtle and relaxed way, like Poison or Cinderella, or in a rather flashy and exaggerated way like Mötley Crüe or Twisted Sister. The aesthetic's alternate name, "hair metal" , makes an indirect reference to this glamor trait, and that was also an important visual among bands in the genre: the hairstyles , which generally consisted of long, teased, fluffy hair.

Other important visuals could also be seen both in the clothes/costumes of the bands ( which are better explained below in the Fashion section ), as well as their concerts and live performances, which take a lot of influence from both theatrical rock (for the performances) and glam rock (mostly the outfits, but also part of the performances). The use of elements like fireworks, flashing lights or smoke machines can be seen both in concerts and live performances, as well as in photoshoots or music videos.

Some other potential visuals that could be related to this aesthetic are:

Some garments, materials and patterns that are commonly seen in Hair/Glam metal fashion may include:

Sleaze Rock is a movement derived from glam rock and has a lot of overlap with Hair Metal, since the bands who wore this style were originated, located and performed in the same places in where the most recognized Glam Metal bands did. Unlike conventional glam rock, Sleaze Rock presented a rowdier and more aggressive, street-oriented visual image, which was also accompanied by the little presence or absence of exaggerated makeup and teased hairstyles (although the long hair was a prominent aspect as well).

Some specific examples may be:Hands Up (often stylized as Handz Up! ) is a high-energy electronic music genre and graphic design aesthetic that peaked approximately between 2005 and 2013. Originating in Germany and proliferating across Poland and Central Europe, the movement represents a commercial evolution of Eurodance and Hard Trance.

While "Hands Up" primarily refers to the 140–150 BPM music genre characterized by uplifting melodies and heavy basslines, the term also encompasses a specific visual aesthetic, historically used in YouTube visualizers and compilation art, characterized by neon silhouettes, glowing energy trails, and modified tuner cars.

The Hands Up aesthetic emerged during the mid-2000s as user-uploaded music content became prevalent on platforms like YouTube. As high-energy dance genres (Hands Up, Commercial Trance) gained large online followings in Europe, content creators required a recognizable, repeatable, and quickly manufacturable visual element for their track uploads.

The style served as a popular visual shorthand, instantly communicating the track's high-tempo energy and its connection to the club and dance community. Its heavily templated nature allowed uploaders to rapidly create new "visualizers" while maintaining a consistent visual brand across different channels. Commercially, some compilation album covers, such as those from the UK brand Clubland, employed similar high-gloss, neon-accented graphic design principles to market their albums. The aesthetic's fusion of glossy digital surfaces, high saturation, and clean, abstract forms ties its origins to the existing design trends of Y2K Futurism and the contemporaneous Frutiger Aero and Vectordelia visual language prevalent in software interfaces of that era.

The name "Hands Up" is derived from the "hands in the air" gesture central to rave and club culture, symbolizing collective euphoria and high-energy participation. Historically, the visual component of this subculture was often unlabeled, categorized on early 2000s wallpaper sites simply as "Techno art" or "Dance wallpaper."

During its peak between 2005 and 2013, the Hands Up aesthetic transcended its role as a digital design style to become the defining cultural signifier for several localized European youth movements.

In its country of origin, Germany, the genre served as the primary soundtrack for the Großraumdisco (mega-disco) culture prevalent in rural and suburban regions. Distinct from the "cool," intellectualized minimal techno scene of Berlin, Hands Up was the music of choice for the car tuning subculture. The genre's simplified and punchy basslines were engineered to perform well on car audio systems, cementing the strong aesthetic link between the music and the imagery of neon-lit, modified import tuner cars found in online visualizers.

In Poland, the genre became intrinsically linked to the Ekwador nightclub in Manieczki, giving rise to the " Wixa " phenomenon. This term described a specific, intense party culture associated with working-class youth. While often dismissed by metropolitan critics at the time as unsophisticated, the scene fostered a massive dedicated community that embraced the high-energy sound as a counter-cultural expression of post-communist hedonism, with the "Ekwador 2000" visual style becoming a nostalgic touchstone for the era.

The aesthetic also flourished in Austria, where the Krocha subculture utilized Hands Up and Hardstyle as the core element of their identity. This group was visually defined by neon fashion, artificial tans, and the use of mullet hairstyles, directly mirroring the high-saturation color palette of the music's online graphic design. Similarly, in Sweden, the Partille-Johnny and Fjortis scenes adopted the genre (sometimes called "Fjortisdunk," with Basshunter as its biggest icon) alongside a controversial fashion style characterized by rubber bands, heavily waxed hair, and distinct makeup trends.

The visual foundation of Hands Up is a high-contrast style that uses a dark backdrop to maximize the impact of intense, artificial light. The entire aesthetic composition reflects the high-tempo, energetic nature of the associated music genres.

The color palette centers on high-saturation, vibrant hues, most commonly electric blue, neon pink, vibrant green, and electric orange, set against a deep black or dark gray background.

Key visual motifs are exclusively digital and centered around light, motion, and digital iconography. For instance, light trails and swirls are essential; these curved lines, glowing rings, and wispy streaks of neon light trace and amplify movement, often wrapping around the central figure to suggest speed and energetic flow. The figures in motion themselves are typically dancers or figures captured in a dynamic, mid-action pose, often referencing high-energy movement styles like breaking or hip-hop . These figures are usually rendered as silhouettes or as highly desaturated, almost monochromatic photographs. Their styling varies: they are often seen in contemporary streetwear (hoodies, trainers, baggy jeans) or, for commercial releases, in overtly sexualized minimal club-wear, swimwear, or lingerie-like attire. This duality ties the visual to both the street dance community and the commercial nightlife promoted by the music, with the figure's primary purpose being the symbolic representation of energy and rhythm.

Abstract effects are prevalent, including heavy digital effects such as glowing particle clouds, energy bursts, and abstract light flares. A common dramatic effect is the use of shattering or broken glass fragments that emanate from the figure, visually symbolizing an explosion of energy or impact. For text elements, typography and iconography uses blocky futuristic fonts with a glossy, metallic, or chrome finish, often supplemented by heavy drop shadows or neon outlines, while graphics related to music production, such as glowing speakers, turntables, or colorful equalizer bars, are frequently incorporated as background elements.

The aesthetic sometimes incorporates the motif of Import Tuner Cars, specifically images of heavily customized Japanese Domestic Market (JDM) sports cars and tuners (such as the Nissan Skyline, Subaru Impreza, and Acura Integra). These cars are characterized by exaggerated body kits, large spoilers, chrome rims, and elaborate, high-gloss paint jobs. This motif visually links the high-energy music to the street racing subculture popularized in early 2000s media. The presence of underglow lighting (neon) on the cars serves as the real-world, physical parallel to the digital light trails and glowing energy auras that define the graphic design style.

Despite its specific identity, Hands Up is frequently subject to cultural conflation. It is often mislabeled as Techno; however, while Detroit-originated Techno focuses on repetitive, rhythmic minimalism, Hands Up is defined by its melodic, trance-inspired hooks and commercial song structures.

Similarly, while the Nightcore community frequently utilizes Hands Up tracks as source material for their pitch-shifted remixes, the two are not synonymous; Hands Up is a standalone production genre, whereas Nightcore is an editing practice applied to existing media. It is also distinct from the Scene aesthetic; while both share a fascination with neon colors and early internet virality, Scene is historically rooted in American metalcore and crunkcore rather than European dance music.

The Hands Up aesthetic, which was often mistakenly called "techno" at the time, served as the primary visual aesthetic for the high-energy commercial Electronic Dance Music (EDM) boom of the late 2000s and early 2010s. The genre's audience was heavily concentrated in Central and Eastern Europe, reflecting the genre's dominance in the club cultures of Germany, Poland, and Austria. This era was characterized by a massive remix and "bootleg" culture , where producers constantly edited popular radio hits into high-BPM club tracks.

"Klubowe" is a Polish term for high-energy club music, encompassing local iterations of Hands Up, hard dance, and Euro-Trance. This genre is intrinsically linked to the Ekwador nightclub in Manieczki (Greater Poland region), as well as the Polish Wixa subculture and artists.

The aesthetic's associated music culture is characterized by specific naming conventions that suggest a commercial, high-energy, and digitally native identity. This includes the deliberate substitution of the letter "S" with "Z" in artist names (e.g., Topmodelz, Partystylerz, Bazz Boyz), a stylistic choice inherited from 1990s "warez" and hacker culture that signaled an edgy, futuristic "internet" brand distinct from standard English trademarks.

Simultaneously, the frequent inclusion of the word "Bass" in artist monikers (e.g., Basshunter, Basslovers United) served as a functional promise to the consumer, explicitly signaling that the tracks were engineered with heavy low-end frequencies optimized for the modified car audio systems central to the subculture. Additionally, the use of provocative or semi-sexualized names (e.g., Real Booty Babes, Commercial Bitches) directly reflects the hyper-commercialization and focus on party/nightlife hedonism prevalent in the genre.

This list focuses on highly successful or iconic tracks from the associated genres that are emblematic of the sound promoted using the Hands Up visual style.HexD is a music microgenre and internet aesthetic that originated on SoundCloud in the late 2010s. The sound is defined by its use of heavy audio distortion, primarily through an effect called bitcrushing, which intentionally reduces audio fidelity to create a noisy, lo-fi quality. The term "HexD" stems from the music collective Hexcastcrew, who pioneered the sound by applying bitcrushing and other effects to "hex" existing songs, framing the process as casting digital spells.

The genre gained significant traction following the release of the DJ mix " Rare RCB hexD.mp3 " by Hexcastcrew member Stacy Minajj (tomoe_✧theundy1ng) in June 2019. The mix applied the HexD style to tracks by the cloud rap group Reptilian Club Boyz, solidifying the genre's core sound and mysterious, internet-saturated aesthetic. The style has since branched into distinct subgenres, including the original hip-hop oriented sound, often called Surge or Crushed Trap , and a more recent electronic offshoot known as Sextrance .

HexD emerged from the experimental SoundCloud scene in 2019, spearheaded by the artist collective Hexcastcrew. The group's method involved taking existing tracks, often from underground cloud rap artists, and applying heavy bitcrushing, compression, and pitch-shifting, sometimes speeding up the tempo in a style reminiscent of Nightcore. This process created a surreal, distorted, and murky atmosphere.

The breakout moment for the microgenre was the release of Stacy Minajj's Rare RCB hexD.mp3 . This mix compiled heavily altered tracks from Reptilian Club Boyz, presenting them in a continuous, psychedelic wall of sound that became highly influential. The mix's popularity helped codify the HexD sound and aesthetic, inspiring a wave of producers on SoundCloud to create their own bitcrushed remixes and original tracks.

As the scene grew, the record label and YouTube channel Dismiss Yourself became a central hub for the movement, curating and promoting HexD and its derivatives. The label's release of Surge Compilation Vol. 1 in 2020 helped to define the hip-hop side of the genre, popularizing the term "Surge." Concurrently, artists like Sienna Sleep and Exodia began applying the bitcrushed, high-tempo style to trance and other EDM genres, leading to the development of Sextrance.

The visual aesthetic of HexD is deeply rooted in early-to-mid 2000s internet culture and is characterized by a low-quality, compressed, and "deep-internet" feel. It is primarily seen in the cover art for songs and mixes. Common visual elements include heavily edited and pixelated images, often featuring female anime characters. Graphics from 2000s video games, particularly RPGs and Japanese arcade games like Wangan Midnight , are frequently used.

There is also a recurring use of esoteric and mystical symbols, such as demonic sigils or the Star of David, alongside vampiric and demonic references. Glittery, animated Blingee -style GIFs and Old Web graphics contribute to a nostalgic yet melancholic and cluttered visual identity. This visual style aims to evoke a sense of nostalgia for a specific era of digital self-expression, filtered through a darker, more distorted lens.

Sextrance , also known as HexD Trance or Crushed Trance , is a derivative of HexD that applies the core production techniques of bitcrushing and distortion to hard trance and other high-tempo EDM genres like freeform hardcore and gabber . The music is characterized by fast tempos, often exceeding 180 BPM, with pulsating synths and an energetic, emotional atmosphere.

The term "Sextrance" was coined ironically by the artist purity://filter in late 2020 but was soon adopted by the community to describe the emerging sound. The aesthetic of Sextrance is heavily inspired by Y2K-era nostalgia, with a strong focus on the gaming and anime culture of the period. Visuals often feature graphics from 2000s video games (especially racing and rhythm games like Dance Dance Revolution ), low-poly 3D models, and imagery of anime trading cards and merchandise.

The HexD scene and the Dismiss Yourself label have faced criticism from some listeners. A central point of contention is the perceived low-effort nature of some tracks, which heavily rely on bitcrushing pre-existing songs with little additional transformation. Critics argue that this practice can be derivative, and the lack of transparent sample disclosure may mislead audiences unfamiliar with the source material.

Additionally, there have been allegations of coordinated efforts within the community to artificially inflate the ratings of HexD releases on music platforms like Rate Your Music. This has led to frustration among fans of the original genres, such as trance and freeform hardcore, who feel the charts are being unfairly manipulated.

The scene has also been associated with controversy regarding some of its artists. For instance, the collective Reptilian Club Boyz and the artist Xxtarlit⚸ were reportedly dropped from the Dismiss Yourself label due to serious allegations made against them.Hip-Hop , often referred to as Rap Music , is a cultural movement and art form that originated in the early 1970s among inner-city African Americans and Latino Americans in the Bronx borough of New York City. Its development arose from the social and economic challenges of the time, including post-industrial decline, urban decay, and the resulting poverty and social unrest. These conditions created a need for new forms of expression and community gathering.

The four foundational elements of hip-hop are DJing/turntablism, MCing/rapping, B-boying/breaking , and visual/graffiti art. Block parties in the Bronx served as early venues for these forms of expression. Hip-hop's influence has extended far beyond music, impacting fashion, dance, language, and popular culture globally. While it continues to evolve and incorporate new styles, its roots in the Bronx and its spirit of innovation, self-expression, and resilience remain central to its identity.

Pioneers such as DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash played important roles in shaping early hip-hop. DJ Kool Herc introduced the "breakbeat" technique, extending instrumental sections of records for dancers, and is credited with organizing some of the earliest hip-hop parties. Afrika Bambaataa organized the Universal Zulu Nation, promoting peace and unity through hip-hop culture, and coined the term "four elements," also experimenting with electronic sounds that influenced hip-hop's sonic development. Grandmaster Flash developed innovative DJing techniques like the backspin, cutting, and scratching, pushing the boundaries of what could be done with turntables.

As hip-hop evolved, it incorporated new technologies and musical approaches. The use of sampling and drum machines, such as the Roland TR-808, expanded the sonic palette of hip-hop, allowing for the creation of original beats and the manipulation of existing music. The mid-1980s to mid-1990s, often called the genre's "golden age", saw a surge in diversity, artistic innovation, and mainstream success, with new subgenres and styles emerging, and lyrical content becoming more complex and varied. The mid-1990s also saw the escalation of the East Coast–West Coast gang wars, resulting in the deaths of rappers Tupac Shakur and the Notorious B.I.G.

The deaths of Tupac and Biggie led to new production styles and a shift in rap's sound. The popularity of hip-hop music expanded in the "bling era" of the late 1990s to mid-2000s. Hip-hop was further proliferated by the rise of the internet, resulting in the "blog era" of the late 2000s to early 2010s. The mid-late 2010s "SoundCloud era" saw the rise of Internet-based rap subgenres, such as trap, cloud, drill, mumble, and emo rap. Hip-hop was now a worldwide phenomenon, and in 2017 it became the best-selling genre of popular music in the United States. Many countries also have local variations on the style.

Hip-hop culture is characterized by four foundational elements: DJing/turntablism, which involves the manipulation of records and turntables to create new musical passages, including techniques like "breakbeats" (isolating and repeating percussive sections); MCing/rapping, the rhythmic and lyrical delivery of speech, often over a beat, evolving from earlier forms of toasting and rhythmic chanting; B-boying/breaking, an energetic and acrobatic dance style performed to the "breaks" in music, involving moves like toprock, downrock, power moves, and freezes; and visual/graffiti art, the creation of visual art in public spaces, often using stylized lettering and imagery, as a form of expression and communication. Block parties in the Bronx served as early venues for these forms of expression.

Hip-hop fashion has changed over the years, with the style now being more of a high-end streetwear look. Due to the 90s Revival, 80's, 90's and early 2000's hip-hop looks have been coming back into style (this does not mean that modern hip-hop fashion is out of style, it is just more common). 70's, 80's, 90's and early 2000's hip-hop fashion usually consisted of affordable, oversized clothes (for both men and women) because 1) they were always moving and needed to be comfortable all the time and 2) youth in the Bronx didn't have much control over where they lived, so fashion gave them lots of freedom; as we moved into the 2000s women began wearing more dresses and heels. Sneakers were common, but skate shoes and high top Doc Martens have been seen as well.

Successful rappers put lots of emphasis on jewelry and displayed their riches through "iced out' rings, chains, and even on their teeth (grills). In the late 90s and early 2000s hip-hop fashion became popular and recognized by high-end brands, it wasn't uncommon to see rappers wearing a brand name article of clothing and a plain pair of pants, or a fashionable pair of sneakers and a run-of-the-mill tracksuit. hip-hop fashion today tends to gravitate towards higher-end brands (e.g Nike) and sportswear-type outfits commonly found on the streetwear scene. A majority of the fashion stays baggy, breathable and fashionable.The Hippie movement was a youth counterculture that emerged in the United States during the mid-1960s, with its epicenter in the Haight-Ashbury district of San Francisco. Originating from the preceding Beatnik subculture, Hippies rejected the mainstream social and political norms of the era, particularly consumerism, conformity, and the Vietnam War. Their philosophy was centered on the values of peace, love, personal freedom, and communal living.

The aesthetic rejected polished, conventional fashion in favor of a natural, eclectic, and often androgynous look, which included long hair for both men and women, bell-bottom jeans, peasant blouses, and handmade items. A key visual element was psychedelic art, which influenced their use of vibrant tie-dye, swirling patterns, and floral motifs, leading to the nickname "flower children."

The movement's ethos was famously expressed through psychedelic rock music, and it reached its cultural peak at the 1969 Woodstock festival. Although the original movement faded in the early 1970s, its influence on fashion, environmentalism, and social attitudes was profound and long-lasting.

The hippie movement in some ways was an outgrowth of the LA freak scene, that was strongly influenced by the beatnik movement of the 50s.

In 1961, Vito Paulekas and his wife Szou established in Hollywood a clothing boutique which was credited with being one of the first to introduce "hippie" fashion as well as a brand of free-form dancing that would become associated with hippie culture. Vito would also provide rehearsal space for the Byrds and Love, as well as helping bring attention to them by inviting his dance troupe to invade their concerts, they would later accompany the Byrds on a nationwide tour.

Subsequently, they became pioneers in establishing the L.A. freak scene with the term "freaks" becoming an early synonym for "hippie". However, Frank Zappa who based his debut album "Freak Out!" on the scene, regularly drew a clear distinction between the two subcultures. Additionally, Vito has been labelled as being "the first hippie" or "king of the hippies".

For more information on the predominant graphic design part of Hippie visuals, see: Psychedelia , as the roots of Psychedelia are tied to early Hippie culture and still tie into the modern day Hippie aesthetic.

Hippie fashion may draw a lot of inspiration from the 1960s, but there are some modern hippie clothing vendors one can buy that range from tie dye clothing, to clothing with sacred geometry on it to Harem pants. Bright colors and complex patterns such as paisley often feature as does loose fitting, baggy clothes and beaded jewellery.Hipster is a broad subculture that is stereotypically composed of young adults who reside primarily in gentrified neighborhoods. It is broadly associated with indie and alternative music and genres, such as jazz, folk, indie rock, and electronic rock. Hipsters also frequently flaunt a varied non-mainstream fashion sensibility, wearing vintage and thrifted clothing; hold pacifist and green views; are often vegan; consume organic and artisanal foods, and craft alcoholic beverages; and live alternative lifestyles. The roots of the hipster aesthetic date back to the 1940s, but the modern-day version did not reach the height of its popularity until the late 2000s to early 2010s.

Hipster is also a perjorative that refers to people within alternative subcultures that are considered "cutting edge" in that they deviate from the mainstream purposefully. However, rather than alternative subcultures which are visually and philosophically a rejection of majority trends (such as Punk ), Hipsters seek to be more familiar with the mainstream and deviate it out of a search for uniqueness while still participating within the mainstream. Because of this, what was deemed Hipster could be quite broad, as any aesthetic linkage with the past, interest in art and music, or "quirky" hobbies such as DIY made one a "hipster." As a note, the word hipster coincided/created the beginnings of aesthetic culture on social media, making this mindset highly influential in internet culture.

The term "hipster" originated in the late 1930s and was popularized in the early '40s to describe jazz fans, a variation on the earlier "hepster" or "hep cat." Cab Calloway's A Hepster's Dictionary was published in 1938 as a guide to jazz slang. A mention of the musical superstar's book in the New York Amsterdam News , in which it was misprinted as A Hipster's Dictionary , may have popularized the spelling with an I.

Hipsters of this era were stereotyped as white fans of jazz music produced by Black artists, which led to their adopting terms and styles from African-American jive culture. These hipsters were notable for preferring styles like hot jazz, cool jazz, and bebop, popular among Black audiences, over the big band swing music that was more popular among  white audiences. This division shows an early form of the line between the " cool ," "hip," "indie," or "alternative," and the "mainstream" or "square," a line which would become crucial to understandings of hipster identity then and later. '40s hipsters sometimes sought to emulate their heroes and further reject mainstream white American culture by embracing a relaxed attitude, bohemian living, liberal sexuality, and drug use.

Beatnik writers like Jack Kerouac and Allen Ginsberg described the hipster culture of their era while writing in the late 1940s and 1950s. Their writings would play a part in the creation of 21st-century hipster culture.

Though the term "hipster" fell out of fashion with the decline of the jazz era and increasing mainstream mocking of "beatniks", the hippie (linguistically derived from hipster) counterculture of the 1960s proved influential to the 21st-century hipster. Inspiration came from the Beats of recent decades, as well as the psychedelia and Eastern philosophy advocated by writers like Aldous Huxley and Ken Kesey, or musical artists like the Beatles. Hippies embraced alternative lifestyles, drug use, free love, and an attitude of protest against the conservative American and British establishment. Many 21st-century hipsters draw aesthetic or philosophical inspiration from the hippie movement. Many musical artists such as Bob Dylan, The Beatles, The Doors, and The Velvet Underground, who shared associations with the psychedelic, pacifist, and protest-oriented hippie movement, would become anemoiac favourites of later hipsters.

The contemporary hipster subculture evolved somewhat out of the Grunge subculture. Grunge featured an anti-consumerist drive to defy orthodox fashion by embracing cheap, well-worn, and untailored clothing. Grunge declined in the mid-late 1990s as it was commercialized and many of the bands at its centre dissolved, but this ethos would carry on into the roots of hipster culture in the early 2000s, cementing eclectic, anticonsumerist thrift fashion as a core tenet of the hipster aesthetic. Flannel shirts, a central part of any grunge outfit, would endure as a hipster favourite. The indie rock and folk music of the hipster movement also owes its often intentionally unrefined and authentic rough quality to its roots in grunge, although the more acoustic or electronic sound may be very different from grunge movement. Also around this time, Indie music began emerging such as Pavement, Neutral Milk Hotel, and Radiohead which could be considered a precursor to modern hipster.

Somewhere around the late '90s and very early 2000s, late Gen X grunge adherents gave way to early millennial hipster pioneers. It's been said that where grunge was a reaction in the Anglosphere against the yuppie culture and conservatism of the Reagan-Thatcher-Mulroney era, early hipsterism was a reaction to the Bush era, rising in the United States as a reaction to conservative trends following the 9/11 attacks.

For a time, the term "hipster" referred to people in different urban subcultures, including fans of vintage fashion, punk, and other groups that were simultaneously attractive and too niche for the mainstream. However, what distinguishes the hipster from a person who is a part of these subcultures is the lack of values and instead a preference for the aesthetic elements, in effect being posers .

The term "hipster" rose to prominence a second time in the early-mid 2000s to describe liberal and artsy residents of Williamsburg, Brooklyn. Robert Lanham's 2003 book The Hipster Handbook popularized the term. It spread rapidly, and was soon used to describe similar residents of London's hip, gentrified Shoreditch neighbourhood, and similar neighbourhoods in such hipster hotspots as Berlin, Seattle, Vancouver, and Montreal. New movements of the 2000s became tied into the hipster subculture. Craft or "micro" brewing grew quickly from the mid-2000s to early 2010s, displacing mainstream "macro" beers as the drink of choice for young adults in hip areas. At the same time, the craft cocktail revolution and a greater interest in all things "artisanal" and hand-crafted became prominent.

A boom in indie music such as Modest Mouse and The Killers, speculated to be related to the financial struggles of larger labels due to internet music piracy, provided an eagerly embraced soundtrack to the culture. Movies with an indie aesthetic achieved mainstream recognition such as Garden State , The Life Aquatic , and Superbad . Growing social movements of the 2000s such as the gay pride movement and environmental consciousness were embraced by hipsters as a means of demonstrating their progressive ideologies.

The idea of the hipster was codified and homogenized through the decade to feature interest in vintage fashion, indie music, fixie bicycles appropriated from bike courier culture, and craft beer. As these signifiers grew more identifiable, they became the main things associated with the hipster label.

A thesis statement of late Hipsterdom could be taken from The Suburbs , a very hipster-associated 2010 album by very hipster-associated band Arcade Fire: "When we watched the markets crash/the promises we made were torn/ (...) Some people say we've already lost/But they're afraid to pay the cost"

In other words, the Great Recession of 2008 provided fertile ground for the popularization of hipster thought. Millennials frequently found themselves disillusioned with ladder-climbing capitalist attitudes in the wake of the recession. Instead they rejected corporatism and sought out more natural, timeless aesthetics. What would later be retroactively termed the Indie Sleaze era featured the popularization of artists like LCD Soundsystem, Phoenix, Yeah Yeah Yeahs, Foster the People, and Arcade Fire. New hipster meccas like Portland, Oregon and Austin, Texas emerged where low rent allowed purposefully lower-paid Millennials to live more bohemian lifestyles and enjoy artistic pursuits. The dream of the 90s, they said, was alive in Portland.

As the hipster aesthetic grew, its signifiers began to enter mainstream culture, with "hipster" becoming a codified and recognizable costume. While this encouraged more people to enjoy the aesthetic, it may have been the cause of its end. An aesthetic founded on defying the mainstream, after all, is at an impasse when it becomes itself the mainstream zeitgeist. Google Trends shows that searches for the word "hipster" between 2004 and the present peaked in 2012 in the United States and 2015 worldwide. However, articles with titles like "What was the hipster?" were being published as early as 2010.

Part of the rise of Hipster is related to the economic situation of the United States during the late 2000s/early 2010s. With the rise of e-commerce, various independent businesses sold their items on platforms such as Etsy. This enabled the selling and acquisition of handmade goods and designs that deviated from mainstream aesthetics. Additionally, the end of the recession led to more of a willingness to dine out, drink, and shop, which fueled the Hipster movement's emphasis on consuming the products of small businesses.

Indie music grew so produced as to blur the line with pop, as newer artists achieved huge commercial success in what would formerly have been considered an indie sound. In the early 2010s, Indie Sleaze gave way to Indie Folk and general "stomp and holler" (or "stomp clap hey") music such as Fun., Mumford & Sons, Of Monsters and Men, American Authors, Bastille, The Chainsmokers, and The Lumineers. Being so promoted in the mainstream, this could hardly be called hipster. Craft beer eclipsed macro brands as the ubiquitous choice for drinkers around the world. Facial hair, bangs, flannel, skinny jeans, large glasses, and other anachronistic or counter-cultural styles became more accepted as business casual looks. When everyone became a hipster, perhaps, that meant that no one was. Any aesthetic which prides itself on being distinct from the cultural sphere would inevitably face a crisis of identity upon becoming a central focus of that sphere.

The rise of the website Tumblr also led to an additional meaning of the word hipster: a type of blog who focuses on photographs found to be "aesthetic," as opposed to engaging in fandom or humor content. As such, the beginnings of aesthetic culture can be linked to hipster posts. However, as previously discussed, the hipster formula became popular and cool, rather than subversive. This meaning of hipster on the website contrasted many ideas associated with the hipster ethos. For example, a common visual on these blogs would be Starbucks coffee, a multinational corporation rather than a small independent store.

The exact decline of the hipster era is difficult to delineate. As "the hipster" became a codified costume and aesthetic, it grew distanced from its former political associations of socially liberal causes. Criticisms of white-centric, male-focused, and culturally appropriative aspects of the aesthetic emerged. In the mid-2010s, the zeitgeist began turning away from Hipster towards more general political issues and culture wars.

As new aesthetics emerged in the mid-late 2010s, the hipster as a distinct entity faded somewhat from the public consciousness.  The 2016 election of Donald Trump and the 2017 finale of Portlandia have sometimes been cited as an end to this era. In many cases, hipster signifiers didn't necessarily fade from culture, but faded from positions of unique cultural significance.

The 2020s saw a renewed nostalgic interest in the hipster culture of the 2000s and early 2010s, largely from Generation Z internet users who had been quite young at the time. Indie Sleaze was codified as an aesthetic summation of early-hipster party culture, though its accuracy has been questioned. Twee aesthetics associated with hipster culture were remembered nostalgically. Tumblr users in particular began to reminisce about 2014 Tumblr culture, a young person's view of the late-hipster era.

The philosophy and certain visual motifs within Gen Z are also heavily influenced by Hipster behaviors becoming more mainstream. DIY fashion, thrifting/buying secondhand, and the "performative male" (which involves men reading or pretending to read to seem more intelligent) are some examples of these Hipster practices still remaining cool.

Hipster philosophy is centred around ideals of authenticity, artistry, independence, free thought, and rejection of mainstream commercialized mores of society.

The archetypal hipster rejects the idea that commercial success or capitalist entrenchment is an indication of a thing's quality, and may very likely hold the opposite to be true. The adherent of hipster philosophy would claim that quality and authenticity can only be achieved by breaking away from the limits of that which is produced by large corporations and a soulless capitalist society. That which is hipster theoretically exists in dichotomous opposition to that which is mass-produced, corporate, designed for mass appeal, and is therefore artificial. The hipster fundamentally believes that authentic human artistry, creativity, and soul imbibe a thing with inherently superior quality to objects of mainstream commercialism. This can be seen in the hipster love of indie and low-production music, film, and art, as well as in intentionally, anachronistic, tacky, or lower-end fashion, which shows rejection of mainstream fast fashion and corporate-driven trends.

Hipsters believe in being bohemian in lifestyle but nonetheless educated and worldly, in tune with the issues that face the planet. Travel, especially backpacking and hostel travel in which the traveller experiences what could be seen as a more authentic view of the world, is considered very valuable. Experiencing art, film, music, and writing which presents complex or challenging ideas is likewise considered important.  Hipsters pride themselves on being well-read and are likely to gravitate towards creative and artistic fields. The hipster is fundamentally romantic rather than pragmatic, though it may be a form of romanticism hidden beneath a veneer of irony, which comes from a disdain for the less artistic mainstream.

The term "hipster" is often used as a pejorative, to denigrate a person seen as being focused on surface-level coolness and visible difference from the mainstream for ironic purposes. However, many of those proclaimed as hipsters in the pejorative sense would either reject the label or refute its aptness. As a rejection of mainstream society involves a rejection of labels, self-proclaimed hipsters are rare; though many may identify with the label, there exists a certain taboo among "hipsters" against stating one's own desire to be seen as a hipster, due to its commonly pejorative nature. Irony is common in hipster thought, but the degree to which irony dominates hipster thought varies among individuals and remains a source of debate. Some schools of thought hold that cynical irony is a hallmark of hipster attitude because it serves as contrast to the artificially peppy mood of mainstream corporatism and advertising.

Hipsters are often associated with professions that require passion but result in a middle-class lifestyle. Being a part of the higher-end food and hospitality industry (bartender, chef, brewer, manager), artistically-inclined corporate careers (graphic design, photographers, architecture, interior design), or being an entreprenuer for a niche business are some examples.

Being a hipster is associated with the rise of social media, with people within the community arguing whether or not doing things for social media is considered hipster. On one hand, having a blog carried across the poster's viewpoint and allowed them to share photography of traveling, lifestyle elements such as food, and teach others of niche hobbies or places to go. On the other, doing things for Instagram or Tumblr and trying to gain online clout is antithetical to the indie, obscure phlosophy of the original hipster way of thinking.

The visuals of hipsterdom can vary broadly, as the term designates a philosophy and view of culture more than any particular visual aesthetic. For example, certain photos with a more minimalistic framing, like typography and close-ups of bedsheets contrast Twee -inclined visual motifs, which can include clutter and clashing patterns. As previously discussed, Hipsters are not as clearly defined as aesthetics after the mid-2010s, so there is often crossover between different motifs. Different visual aesthetics are also all considered Hipster even if the motifs and visuals are fairly different.

On social media, "Hipster" was a common tag for showcasing photography, which were often taken in a specific style that matches the artistic tone. For example, adding a slightly washed filter was common to do. Increasing or decreasing the sharpness , rather than leaving a photograph as-is was also common and reflects both the emphasis on artistic vision in photography as well as the new accessibility of photo-editing with apps such as Instagram and technology such as iPhones.

As lower production value and higher artistic integrity is valued by hipsters, the philosophy can be associated with lo-fi photography and film or the sincere simplicity of hand-drawn line art ( Hipness Purgatory ).

The photographic subjects are either incredibly urban or nature-based ; suburbs often represented the conformist culture that hipsters reject. So for example, a more urban-inclined Hipster blog might post photography of downtown skyscrapers, quirky storefronts, or historic avenues.

Later hipsterism associated with indie-folk and the Pacific Northwest, though it would spread beyond these origins, would embrace what was sometimes called a lumbersexual aesthetic. This featured visuals associated with woodsmen and mountain men: flannel, especially red buffalo check , suspenders, rough wood (or perhaps Ragged Wood ,) coniferous trees, mountains, leather, acoustic instruments, and large beards or mustaches . Meanwhile, a "Lumbersexual" Hipster blog might post photos of forests, lakes, and other isolated areas. Of course, most blogs post or reblog both motifs.

Hipster value worldly education, so books , glasses , and art are prominent as signifiers of intellectual pedigree.

Coffee shops and bookstores became associated with hipsters in part due to their historical status as places of intellectual discussion and art. Brew pubs were a more casual equivalent that still exemplified appreciation for that which was authentic and homemade.

Twee aesthetics were well aligned with hipsters. Movies like Little Miss Sunshine , 500 Days of Summer , and the filmography of Wes Anderson imparted a vintage-cute, somewhat nerdy and quirky aesthetic to the hipster style, especially for women. Sundresses , flower crowns , Peter Pan collars , film cameras , vinyl records ,  and fixie bicycles bridged the shrinking gap between the twee and the hip.

Being a "foodie" is also considered Hipster, and food blogs of this era often focused on certain types of food. Trendy foods of the time such as "elevated" burgers, lattes, ramen, bacon, Nashville hot chicken, etc. were some common photographic subjects, often with the saturation emphasized to make the food look more appealing. The tropes associated with these foods are so ubiquitous that it has now become a meme in 2025 .

Deer , bird , and other woodland animal motifs were associated with this style, which could be considered intersectional with Campcore , Cabincore , or Adventurecore .

Hipster Fashion revolves around the idea of rejecting the mainstream trends and using unique or quirky items to define an outfit. This can range from hairstyles and facial hair to socks. Rejecting unsustainable and uninspired mainstream fast fashion, hipsters will often shop at thrift stores or make use of vintage items. Contrasting and layering items together, especially those that may be traditionally seen as being part of different styles, is the way to create a hipster outfit. Tattoos are popular. Contrasting colours , thrifted clothing , and intentionally unfashionable outfits mark the more punk, grunge, and indie-aligned aspect of hipster culture. Beanies , scarves , flannel , and ripped skinny jeans tend to be prominent in this look.

Flannel shirts are an archetypical symbol of lumbersexual-style hipster outfits. More urban styles may go for vintage t-shirts, especially with unique or anachronistic imagery (vinyl decals, typewriter font, etc.) V-neck t-shirts have been associated with a hipster look. Vests, sweaters, suspenders, blazers, and zip-up hoodies could all be layered with these bases.

Skinny jeans are the standard hipster bottoms. If standard blue jeans, these are more likely to be a darker wash, though they can also be distinct and brightly coloured. Some hipsters, especially those inclined to something of the twee aesthetic, may be fond of sundresses and flowing skirts - the hippie inspiration factors in here.

Depending on the hipster outfit, different shoes may be an essential part. Men's patterned leather brogues, Converse-style sneakers, or leather desert boots can be worn. Unique, patterned, brightly colored, or mismatched socks can be worn with these shoes.

Moustaches and full beards are considered a distinctive hipster marker.

It could be said that a hipster outfit is truly made by trimming it with unique and quirky accessories. These might include:

Media associated with and beloved by hipsters is wide-ranging and diverse. Many genres and styles may be represented. The common factor is that hipsters value art and media produced and consumed outside of the mainstream, which would be expected to show a stronger sense of authorship, less sense of being produced by a focus group for mass appeal, and therefore may not be as widely known in popular culture. Stories about outsiders or those who have trouble fitting into societal norms have built-in hipster appeal.

Certain authors are beloved by hipsters for their strong sense of style, offbeat worldviews and characters, counter-cultural ethos, or esoteric and artistic writing. By author surname, some examples might be:

Music is one of the most fundamental parts of the hipster subculture. As hipsters value artistry and uniqueness over commercially produced mainstream music, "hipster music" could include a broad spectrum of styles, though certain genres rise to prominence in association with the archetypal hipster of various eras. Hipsters stereotypically love vinyl records, and prefer to listen to music live or in analog formats. A surefire source of hipster cred is an association with music, the more offbeat the better. Hipsters like music, but the hippest hipster knows all about the most unexpected and strange subgenres. Hipsters may play music, but the hippest hipster may play strange and unexpected instruments like the singing saw or hurdy-gurdy.

The term "hipster" originally described jazz fans of the 1940s and 50s. Modern hipsters may share a love of the genre, or else appreciate it for its role in the origins of hipster counterculture, or for its vintage associations. Hipster-beloved jazz artists might include Miles Davis , Charlie Parker , Ella Fitzgerald , Cab Calloway , Duke Ellington , Dave Brubeck , or Louis Armstrong .

As hipster subculture took a new form around the turn of the millennium, it became associated with late 90s and 2000s indie rock scene. Offbeat and unusual rock bands signed to smaller record labels defined the musical hipster as known today.

Neutral Milk Hotel 's lyrically esoteric and anachronistically-instrumented album In the Aeroplane Over the Sea has been described as "The Bible for hipsters." Other artists producing diverse sounds and moods formed a broad canon of hipster indie rock. Artists of this genre beloved by hipsters could include:

The 21st-century Hipster revival and its love of all things vintage and genuine also saw hipsters scouring used record shops to discover artists prominent in past decades whose music had overall or in part been overlooked by the canonization of mainstream classic rock. Hipster classic rock, by definition, isn't what would be heard on a commercial classic rock radio. A hipster's classic rock playlist might include overlooked 1960s-80s deep cuts by Bob Dylan , The Beatles , The Velvet Underground , David Bowie , Cat Stevens , Neil Young , Talking Heads , The Smiths , or Sonic Youth .

The growth of hipster subculture in the late 2000s coincided with the growth of indie-folk music, which blended folk traditions and acoustic instrumentation with hipster-beloved  indie rock style, sometimes differentiated as "hippie-sters." This style has also been jokingly referred to as "stomp clap hey" music. Early innovators in the subgenre like Bon Iver , Fleet Foxes and Iron and Wine gave rise to more mainstream "folk-pop" acts like Edward Sharpe and the Magnetic Zeroes , Mumford & Sons , The Lumineers , Of Monsters and Men , The Head and the Heart , and Vance Joy . As this music period featured the greatest merging of hipster and mainstream styles, these artists are among the most visible representations of hipster music from an outside perspective, and therefore are often cited as representative of the entire very diverse set of styles. It could be argued that as the term "hipster" usually defines an exception from the mainstream, especially in music, then a highly visible, commercially promoted, and accessible hipster artist represents an inherent contradiction.

Hipster aesthetic grew out of young urban alternative communities, and so activities suited to that lifestyle predominate how hipsters spend time.

Making or listening to music , especially live in small clubs, cafés, or festivals, or in jam sessions at home, is a very hipster activity. The more the attendee can brag that not many people would know about an venue, artist, or event, the more the experience aligns with hipster ideals. If live music isn't available that night, then listening to vinyl records is the next best thing.

Attending protests or campaigning for causes can be considered "hipster," as hipsters are often socially active and aligned with progressive politics.

Riding bicycles is a stereotypical hipster activity. Cycling is a mode of transportation that's better for the environment and better for the social fabric of dense cities than driving and car-centric infrastructure, and allows for more independent travel than relying on institutional highways and transit. For these reasons cycling may even be a social cause in itself. It's also the perfect way to show off one's hipster outfits, cruising by upright on a fixie or Dutch-style bike.

Travelling is considered valuable to a well-rounded hipster lifestyle, especially backpacking, couchsurfing, hitchhiking, and such cheaper, more independent, and more "authentic" modes of travel. The hipster traveller is more likely to be found sleeping in dormitory hostels and eating in local markets than in all-inclusive resorts and high-end restaurants.

Hipsters love to eat and drink at hip restaurants, bars, and cafés. If those places have brunch or craft beer , all the better.

Simply hanging out in some places could be seen as a hipster activity. Brew pubs, independent coffeehouses, hip hole-in-the-wall restaurants, record shops, thrift and vintage shops, markets, independent bookstores, or accessible parks and plazas can all be beloved hipster spots. Many cities around the world have stereotypically "hipster neighbourhoods" where many of these spots can be found, and where young artists and independent professionals congregate. Below is a thorough but certainly non-exhaustive list of examples.

Indie Sleaze is a term coined in the '20s to retroactively describe tongue-in-cheek aesthetic that was prevalent from roughly 2006 to 2014. It is a style inspired by the mid-late 2000s party scene, which grew in popularity on sites like Tumblr and MySpace.

Twee is an aesthetic that first emerged in the 1980s as a reaction against the increasing harshness in the post-punk music scene. The term derived from the British slang for "sweet," reflecting the aesthetic's emphasis on the delicate and a childlike innocence. Though the term became derogatory, it was reclaimed by the indie pop music scene in the UK and US.

Rockabilly is a subculture and music genre that first emerged during the 50s in the United States Rock 'n' Roll scene. The name is a combination of "rock" and "hillbilly", the latter being an old term for country music. Thus, the aesthetic is usually used to refer to 1950s fashion and general style, as well as country music aesthetics.

Nowadays, the term describes the subculture of people who want to live a lifestyle and/or wear the fashion themed after the original rock fans of the 1950s. Many of the motifs are exaggerated, with the visual clichés applied to aspects of modern life, such as modern fridges designed to look vintage. Many people also gravitate towards this aesthetic not only because of the music; vintage car, pin-up , Americana , and pop culture enthusiasts often come into this community during the modern day.

Cutester is an aesthetic that invokes the feeling (or appearance) of being cute. This applies to people who wear child-like clothing, acts in a way that invokes cuteness or anything of the sort. This is what it looks like when one takes the Kidcore aesthetic and added a few dashes into the Hipster aesthetic.

A Fixed Gear Hipster (or fixie hipster ) describes a hipster riding atop a fixed gear bicycle often termed as a fixie. Although, the heritage of fixed gear cycling dates to professional couriers, messengers, and track cycling. It is unclear how this style of cycling became popular with them. However, it is generally believed that owning a fixed-gear bicycle has been labeled "trendy" within hipster culture.Horror Punk is a musical genre and subculture that emerged in the late 1970s and early 1980s, primarily in the United States. It fuses the aggressive energy, straightforward song structures, and DIY attitude of punk rock with lyrical themes and imagery drawn extensively from horror films, B-movies , science fiction, and gothic literature. Often characterized by its catchy, anthemic songs and theatrical presentation, Horror Punk consciously embraces a campy and macabre aesthetic, distinguishing itself from other punk subgenres by its consistent focus on monstrous and supernatural subject matter.

The subculture surrounding Horror Punk is intertwined with its musical output, extending the thematic elements into distinctive fashion, visual art, and live performances. While rooted in the sound of early punk, Horror Punk developed a unique identity through its fascination with classic monsters, gore, and Halloween aesthetics, often presented with a kitschy or darkly humorous sensibility. It influenced subsequent genres like Deathrock and Psychobilly .

Horror Punk was pioneered by The Misfits, who formed in 1977 in New Jersey. After recording the album Static Age in 1978, the band began incorporating science fiction and B-movie horror inspirations into their music. Simultaneously, they developed a unique visual identity, adopting the Crimson Ghost skull as their logo, utilizing theatrical makeup, wearing skeleton-patterned clothing during performances, and styling their hair into the distinctive "devilock." This stylistic shift laid the groundwork for subsequent horror punk bands.

Before the Misfits, some artists had already combined horror imagery with rock music. Screamin' Jay Hawkins' 1950s rock and roll, with its voodoo allusions, and teenage tragedy songs from the 1950s and 1960s, which emphasized morbid themes, served as early precedents. The 1970s saw acts like Alice Cooper and Black Sabbath extensively use horror in their presentation. The Cramps also significantly influenced the development of horror punk by merging rockabilly with Shock Theater-inspired imagery and lyrics. In England, The Damned, an early punk rock band, featured vocalist David Vanian, who cultivated a stage persona influenced by Bela Lugosi's portrayal of Dracula. The band Screaming Dead is also occasionally cited as an originator of the term "horror punk," despite their sound leaning more towards deathrock .

In the Misfits' immediate wake, several bands solidified the first wave of horror punk. Bobby Steele, after his departure from the Misfits, formed The Undead. Steve Zing, an early Misfits follower, established Mourning Noise in 1981. Following the Misfits' breakup in 1983, vocalist Glenn Danzig formed Samhain, a band that continued the horror themes within a punk framework, though evolving towards a more gothic or heavy metal sound in his later band, Danzig. The early 1980s also saw the emergence of deathrock in Los Angeles, a genre that shared significant thematic and aesthetic overlap with horror punk, particularly through bands like 45 Grave.

The genre gained renewed attention in the late 1990s and early 2000s. The Misfits reformed in 1995, featuring Michale Graves on vocals, which contributed to increasing the band's notoriety and broader awareness of horror punk. AFI, an established hardcore band, transitioned into a horror punk sound after 1998, with their 1999 album Black Sails in the Sunset being credited for reinventing the Misfits' style for a new generation. AFI's vocalist, Davey Havok, also formed the horror-themed project Son of Sam. Wednesday 13, known for Frankenstein Drag Queens from Planet 13 and Murderdolls, became a prominent figure in this period, carrying on the genre's gruesome lyrical approach and theatrical presentation. Bands such as Blitzkid and Calabrese also gained notability in the 2000s. During this decade, the distinction between psychobilly and horror punk became increasingly blurred, with groups like The Creepshow integrating elements of both genres. More recently, bands like Creeper have been recognized for continuing the horror punk tradition.

Horror Punk fashion is a direct extension of its musical themes, combining the raw elements of punk rock attire with imagery drawn from horror films and classic monster lore. The aesthetic heavily utilizes a color palette dominated by black, often contrasted with stark white (particularly for makeup), vibrant reds, deep purples, and monster-associated greens.

Clothing frequently incorporates traditional punk staples such as leather jackets, ripped denim, and band t-shirts, which are then adorned with horror-themed patches, pins, and screen prints featuring skulls, classic monsters, or B-movie imagery. Accessories include spikes, studs, and chains, reflecting a shared lineage with punk and goth styles. Items like bullet belts are also observed within the subculture.

Hairstyles are a notable component of the look. The devilock , a distinctive long, pointed fringe hairstyle popularized by The Misfits, is a highly distinctive element of the aesthetic. Other common styles include choppy hair or variations of mohawks, sometimes referred to as " death hawks ." Makeup often involves corpse paint , a stark white or pale base with dark contours around the eyes and mouth, designed to create a ghoulish or undead appearance.

Horror Punk's visual style also extends the genre's themes into its imagery and presentation. It is characterized by graphic content (often presented with a campy sensibility) and elements drawn extensively from horror films, B-movies, and science fiction. Common visual motifs include classic monsters such as Frankenstein's monster, vampires , zombies, mummies, and werewolves . Skulls, graveyards, mad scientists , and apocalyptic scenes are also frequently depicted. Gore is often present, typically rendered in a stylized or campy manner rather than overtly realistic.

Album artwork and promotional materials often feature dark, unsettling environments, sometimes with psychedelic influences, using a color palette dominated by black, red, and purple. White is used for sickly pale appearances, and green is often incorporated for monster-related imagery. Iconic band logos, such as The Misfits' Crimson Ghost skull, are widely recognizable elements of the style.

In live perfomances, artists frequently utilize theatrical elements and presentation, including makeup such as corpse paint, and incorporate costumes featuring skeleton patterns or other monster-inspired attire. This stage presence and overall visual style directly reflect the genre's fascination with the macabre and its intention to create a shock-oriented presentation. The visuals maintain a consistent focus on monstrous and supernatural subject matter.

Horror Punk is rooted in a specific ethos that diverges from the overtly political and social commentary often found in conventional punk rock . Instead, the genre’s focus is almost exclusively on themes and imagery drawn from horror, science fiction B-movies, and gothic literature. This deliberate thematic concentration allows for the expression of rebellion and an embrace of outsider status through a different lens.

A core aspect of Horror Punk's philosophy involves a conscious embrace of the macabre, often presented with a distinct sense of camp and kitsch . The genre finds value in stylized gore, classic monster archetypes, and darkly humorous narratives. This approach provides a unique avenue for shock value , setting it apart from other punk subgenres. The lyrical content rarely extends beyond the realm of monstrous encounters or supernatural events, channeling any political or social commentary through a fantastical, often satirical, horror framework. Horror Punk's community promotes sense of independence and individuality, appealing to those who identify with an outcast identity. It romanticizes the unsettling and disturbing, finding creative expression in grotesque scenarios and morbid romanticism.

Horror Punk music is defined by its fusion of punk rock's aggressive energy and straightforward song structures with stylistic influences from 1950s-era doo-wop and rockabilly sounds. The genre typically features fast tempos and prominent, driving guitar work. Instrumentation usually consists of electric guitar, bass, and drums, played with the raw and direct approach characteristic of punk.

Unlike much of conventional punk rock, Horror Punk generally eschews overtly political lyrics, focusing almost exclusively on macabre and supernatural topics. The genre can also incorporate darkly humorous or even morbidly romantic lyrical content. Song structures tend to be catchy and anthemic, maintaining the accessible nature of early punk rock.

The Horror Punk aesthetic draws its primary visual and thematic inspiration from a specific set of horror subgenres, prioritizing camp , kitsch , and iconic monster lore over psychological or prestige horror. These films are the genre's key inspirational material.Hyperpop is a loosely-defined electronic music movement and online cultural phenomenon that originated in the United Kingdom during the early 2010s and gained mainstream popularity in the early 2020s. It is characterized by a maximalist and deconstructed approach to pop music, blending avant-garde sensibilities with elements of electronic, hip-hop, and dance music. The movement is closely associated with a vibrant and often LGBTQ+-centric internet subculture.

Rather than a single, monolithic style, Hyperpop is best understood as an umbrella term for a collection of distinct but often overlapping sonic and visual aesthetics. This page serves as a historical overview of the movement and a hub for the various aesthetics that flourish within it.

The sonic and aesthetic foundations of Hyperpop were established in the early 2010s by producer A. G. Cook and his London-based record label and art collective, PC Music . Artists associated with the label, such as Cook, SOPHIE, and Hannah Diamond, pioneered a surreal and exaggerated take on pop music that would become known as "Bubblegum Bass." This early sound was defined by high-pitched, processed vocals, bright synths, and experimental electronic textures, paired with a glossy, futuristic visual style that played with themes of consumerism and internet culture.

The term "Hyperpop" was officially coined and popularized in August 2019, when a Spotify editor created a playlist of that name to categorize the music of artists like A. G. Cook and 100 gecs. The playlist's success helped to solidify Hyperpop as a recognized genre. The movement's popularity exploded in the early 2020s, largely through the social media platform TikTok, where its high-energy and often chaotic sound became the backdrop for numerous viral trends.

The Hyperpop movement is not a single aesthetic but a constellation of several distinct visual styles and genres. The following are some of the key aesthetics from the movement.

The PC Music aesthetic is the foundational style of the Hyperpop movement. Emerging in the early 2010s, it is defined by a clean, glossy, and hyper-real visual language that draws inspiration from corporate branding, advertising, and Y2K-era futurism. Its sound, often called Bubblegum Bass , is a deconstructed take on pop music, featuring high-pitched vocals and bright, experimental synth production.

Glitchcore is a visual aesthetic and musical microgenre that gained popularity on TikTok in the early 2020s. It is characterized by a chaotic, over-saturated, and visually "glitchy" look, often incorporating elements of early internet graphics, anime, and meme culture. Musically, it is associated with a more distorted and aggressive form of Hyperpop, pioneered by artists like 100 gecs.

Scenecore is a 2020s revival and reinterpretation of the 2000s Scene subculture, filtered through the lens of Hyperpop. The aesthetic blends some of the visual motifs of original Scene fashion (such as bright colors and checkered patterns) with the sounds and internet-native culture of Hyperpop. It often incorporates samples from video games and anime and utilizes edgier lyrical themes.

HexD is a microgenre characterized by heavily bit-crushed, often sped-up and pitched-up vocals, and highly compressed production. Visually, it employs a low-quality, DIY aesthetic that draws on video game and 2000s nostalgia, frequently using imagery from anime.

Sigilkore is an experimental trap subgenre that evolved alongside HexD in the SoundCloud underground. It is defined by a dark, brooding, and lo-fi atmosphere, with a maximalist visual style that incorporates demonic symbology, deep web imagery, and other occult elements.

Krushclub is a microgenre popular on TikTok that combines the energetic, rhythmic patterns of Jersey Club with the bit-crushed vocals and lo-fi production of HexD. Its visuals often feature monochrome pixelated imagery, stars, and hearts, reminiscent of Y2K and old web aesthetics.Icepunk , also known as Coldrave , is described as a microgenre that shares similarities with Steampunk , but set in an ice age environment. The term is attributed to rapper Drrty Pharms, who, in a 2013 interview, characterized Icepunk as more of a meme than a genre. Drrty Pharms stated that he released what he considers the first Icepunk song in October 2011, aiming to evoke the feeling of being cold and numb. The development of Icepunk is presented as a reaction to the Seapunk aesthetic, with early online groups forming around the concept. It has sometimes been described as a "forced meme."

As he described it in an interview for the blog of the clothing label Mishka NYC back in 2013:

Icepunk art evokes a cold, wintery vibe, utilizing lots of blues , cyans , purples , whites , and other monochromatic colors, but other than that shares a lot in common with seapunk.

In many ways, Icepunk music is very similar to seapunk in terms of content, but the music evokes more of a wintery vibe, like you're stranded in the middle of a blizzard and you're drunk and high as hell, and it tends to have more of an early-to-mid 90's R&B vibe compared to the more house influences of seapunk.Incelcore (also known as E-Punk ) is an Internet rock microgenre and visual aesthetic that originally emerged from online imageboards (specifically 4chan's /r9k/ and /mu/) in the late 2010s. Musically, it blends the lo-fi home-recorded instrumentation of bedroom pop and indie with the aggressive, simple chord structures of classic Punk , Grunge , Pop-Punk and Alternative Rock, while drawing influences from Internet culture. The music is characterized by a style of home-recorded internet rock commonly made using digital drum machines, stock plugins and amp simulators in a Digital Audio Workstation (DAW).

The aesthetic is defined by the appropriation of stylistic conventions associated with online communities and movements as well as 4chan culture, the " incel " subculture, Internet gaming culture, edgelord culture and " Doomer " memes. Lyrically, songs often express themes of 21st century alienation, particularly, social isolation, self-hatred and depression. These themes are delivered through layers of heavy irony that blur the line between genuine belief and "shitposting". Some American incelcore artists have referenced right wing politics in their music and aesthetics through an irony poisoned lens which has led to associations with online alt-right movements. The scene has also had a degree of overlap with Scenecore with early incelcore artists such as xo_willow (crucify april) pioneering the scenecore genre. The Doomer wave microgenre which grew out of Vaporwave would also have an influence and overlap in the scene.

Negative XP largely distanced himself from the scene in 2022 after disavowing the term "incelcore" and coining E-punk on Twitter, releasing an album annually at the end of each year. Other artists, including Anhero, Gjallahornit, Gezebelle Gaburgably, Hard Christ, Spree, and Owen Adamcik, also abandoned the scene. By 2024–26, the scene remained largely inactive until it was revived by the success of Fried By Fluoride’s 2023 single "The Love I Lost" on TikTok. This resurgence coincided with the rise of underground rap artists such as jaydes and wifiskeleton who pioneered a new style of incelcore relying on text-to-speech samples and trap-based influences. The style is referred to as "online indie", “losercore,” “incelcore,” or “wifiskeleton-clone music.”

The term "incelcore" was coined by Alan S. Kim (born 1992), known professionally as Negative XP, who began making music in 2016, recording an early demo for his song "Cry For Help" under the alias 'kilmaan' and posting it on Soundcloud that same year, he later made Vaporwave under the alias Ecco Plus and DaDa_Digital, initially gaining recognition in the underground vaporwave scene with his material being reposted on the infamous vaporwave archive channel "Vapor Memory". He then changed his name to "school shooter" and "shooterdude69", releasing music under both aliases before settling on NegativeXP.

Kim also had a side project in 2019 named "ROPEFUEL" which focused on incelcore songs sang from the perspective of a woman. Though the name "incelcore" suggests a focus on "involuntary celibacy". Despite usage of incel terminology, most of the scene does not consider themselves a part of the online incel community nor subscribe to "blackpill" ideology, though a small minority do. The genre acts similar to something like “goregrind” where violent imagery is used to repel and offend outsiders, those in this particular scene use incel aestheticism and imagery to offend people, and as an artistic device without really being active in that particular movement, as most artists do not visit websites such as 4chan or incel forums. Which has led to members in the incel subculture to view the genre as "fakecel-core". The label was chosen as a deliberately provocative gatekeeping mechanism, with no consistent lyrical focus across incelcore—songs range from misanthropic and satirical to introspective or purely stylistic. The scene is difficult to delineate strictly by sound, besides being predominantly internet-driven. Though a rock based sound is most popular, the genre has equal examples in hip-hop, post-punk and electronic music.

The scene's attempt to move offline resulted in the infamous "Virgin Fest" in Atlanta (2021). The festival was plagued by venue cancellations due to the headliners' controversial online history (specifically the use of the name "School Shooter" and incel rhetoric). This failure reinforced the community's insular, "us vs. them" mentality and cemented the genre's reputation as toxic and unmarketable in the mainstream.

While the community initially embraced the “incelcore” label for shock value, in 2022 Negative XP disavowed the term and coined the label “E-punk” on Twitter. He issued copyright strikes against several incelcore fan edit music video channels, which led to their termination, most notably Up to the Wolves . Negative XP had always been a devoted Christian, with many artists in the scene overlapping with the Internet based conservative "Trad Cath" movement. This event led to a fracture in the community, with several artists adopting the E-punk label, such as Sodaboy64, Hard Christ, Greens on Toast, and Zen Michelin, as a way to rebrand and distance themselves from the negative connotations associated with incelcore. While others such as h4rtbrkr, UhOhSlater, Cameron Phlodge, Fried By Fluoride, NEET, Crustsox and Tzarbombah saw e-punk as sanitizing and commodifying the authenticity of the movement's culture with UhOhSlater releasing the song "Fuck Bedroom Punk" in 2022. The fracturing is similar to that of the "Don't Call It Punk" campaign in the 1970s, where American artists began adopting the phrase "new wave", because "punk rock" was associated with negative connotations due to the Sex Pistols and emergence of the UK punk subculture.

In 2023-24, underground rap artists such as jaydes and wifiskeleton rose to prominence, the latter formed the Gothangelz collective alongside  keepsecrets, and witchbox. Wifiskeleton collaborated with Fried By Fluoride in 2023 on the song "twenty sucks ＜/3 bury me in liquor". This new style of incelcore drew influence from indie artists such as Alex G and sigilkore pioneer islurwhenitalk, although the collective Reptilian Club Boyz's hi-c, lazygod and domd, along with 6snot and trassh vampire had released DAW-based rock music within the underground rap scene years prior. The style is defined as a strain of online indie music relying on text-to-speech samples and trap-based influences and has been referred to as “losercore,” “incelcore,” or “wifiskeleton-clone music.” While this style has largely dominated the scene, artists such as blehh, chickentender, bleeder and without a life have been active in reviving the movement's original sound. The visual aesthetic of this strain of the genre has frequent overlap with Olderbrothercore , Femcel or Hikikomori culture and other forms of TikTok influenced 2000s revivalism.

Certain artists in the scene have passed away. Though it is assumed because of the genre's depressive nature that most of the cases have been related to that, a lot of the deaths were accidental or relating to certain illnesses. The first death in the scene was artist ave true to ceasar who passed away in 2022 as a result of suicide with a gunshot to the head. Musician ratlip would also pass away in 2022 under unknown circumstances. On April 7, 2023, Ryan Michael Costelloe (born December 31, 1998), known professionally as steakfry would pass away after a long battle with cancer, he would be described as one of the most talented and innovative artists in the genre. On October 22, 2024, Ian Matthew Mockler (born December 6, 2004), known professionally as Lil Watermark passed away due to a car accident in Owego PA, after reportedly having "the best week of his life". Though not associated with the original incelcore scene, on May 5, 2025, Jeremiah Justin Simms (born July 24, 2003), known professionally as Wifiskeleton would pass away due to an accidental drug overdose.

The Epunk aesthetic can be characterized as "post-Internet" as it's visually radically distinct from traditional Punk or Emo due to its reliance on "terminally online" imagery. It rejects the fashion-focused rebellion of Scenecore in favor of a "give up" or "Lay Down And Rot" (LDAR) aesthetic. The primary visual language of the genre are 4chan symbols such as Pepe the Frog or the Wojak (or "Feels Guy") meme. Album covers and promotional art frequently feature crude MS Paint drawings. Associated iconography include the act of "bedrotting".

To mimic the look of early 2000s imageboards, visuals often use "dithered" black-and-white filters or low-bitrate compression. A recurring setting is the cluttered bedroom of a "NEET" (Not in Education, Employment, or Training), featuring piles of trash, energy drink cans, old CRT monitors, and gaming consoles. This serves as a visual metaphor for the artist's social isolation.

A common trend among Epunk artists (e.g., Fried by Fluoride, Negative XP) is the wearing of deliberately provocative or taboo clothing. This serves as a visual signal of the genre's "anti-PC" and "contrarian" ethos. Fans and artists of the aesthetic, heavily incorporate "Criminal Chic," such as the infamous FTP (Fuck The Population) "Columbine Physical Education" shirt or merchandise featuring Charles Manson and Varg Vikernes (Burzum). 4chan culture accessories such as the "Please be patient, I have autism" baseball cap (often black or blue) are also worn. While artists such as Fried by Fluoride wore Trump / MAGA clothing as a form of provocation.

Incelcore lyrics are often about social commentary and the current state of the society as seen from the worldview of incels, while other songs are about self-hate or just being edgy for the sake of being edgy. Many songs do so by mocking women, such as in XO_Willow's controversial track titled Bianca Devins (referencing a girl who got murdered).

The original incelcore / e-punk rock sound commonly features drum programming rather than live percussion with artists favoring fake sounding MIDI drums and a DAW oriented rock aesthetic. Cymbal beats are typically absent. Songs tend to rely on a limited set of chord progressions, most notably I–III–IV–V, I–III–IV–II, I–III–vi–IV, I–vi–IV–V, and I–vi–III–IV. Melodic parts frequently consist of eighth-note lead patterns. Synthesizers are sometimes common, particularly Moog-style sounds inspired by Egg Punk groups like Gee Tee.

"Male Manipulator music" is a related internet slang term often overlapping with the Epunk fanbase. It refers to a canon of mainstream indie/alternative rock bands (e.g., Weezer, The Smiths, Radiohead, Deftones) that are stereotypically associated with "pretentious" or emotionally manipulative men. While musically distinct from the lo-fi punk of the Epunk genre, these bands share the same themes of male self-pity and romantic obsession, often appearing alongside Epunk tracks in "Doomer" or Incelcore playlists.

The Epunk/Incelcore genre is one of the most controversial internet aesthetics of the 2020s. The central criticism is the lyrical content, which often features violent fantasies about women (e.g., XO_Willow's track referencing the murder of Bianca Devins) or glorifies school shootings (e.g., the Columbine massacre). Defenders argue this is "post-ironic" venting or satire of the incel mindset, while critics argue that ironic usage of alt-right language, hate-speech and symbols paves the way for serious alt-right / extremist presence in the scene.

The ADL and other extremism watchdogs such as the Atlanta Antifascists have noted that the genre often serves as a "soft" entry point to extremist "Blackpill" ideology. The 2025 Antioch shooter reportedly referenced Negative XP, highlighting the real-world danger of the subculture's rhetoric.

The Epunk/Incelcore aesthetic relies heavily on a curated list of films, video games, and graphic novels. These works are frequently sampled in songs, used as album art, or referenced lyrically to signal an alignment with themes of male alienation, nihilism, and "anti-hero" narratives.Indie Sleaze is an aesthetic that describes the hedonistic, global party scene that flourished from roughly 2005 to 2014. It represented a more "authentic" and debaucherous reaction to the polished McBling culture of the early-mid 2000s, reflecting the economic uncertainty and creative energy of the late-aughts. The era's visual identity is inextricably linked to the raw, voyeuristic, and high-flash photography of documentarians like The Cobrasnake, which captured the messy, maximalist fashion of the time. The look was an eclectic mix of high and low: American Apparel basics were paired with ripped tights, vintage band t-shirts, skinny jeans, and neon accents.

Musically, the aesthetic is synonymous with the Bloghouse phenomenon, where indie rock, electro, and dance-punk acts like LCD Soundsystem, M.I.A., and Crystal Castles gained popularity through music blogs and MySpace. During its time, Indie Sleaze also overlapped with the Hipster scene, coming from the taste in music, fashion, and lifestyle that differed from mainstream available multinational brands and pop music and required "being in the know" to understand.

The term "Indie Über-Sleaze" was coined in 2018 by Dalia Barillaro of CARI , later shortened to "Indie Sleaze." In 2021, the term went viral on TikTok, leading to renewed interest in the aesthetic. Indie Sleaze captures a specific "grimy-glam" moment, that existed between the decline of mainstream McBling and the rise of polished Instagram influencer culture.

One of the most influential people in this aesthetic is the photographer Mark Hunter, also known as The Cobrasnake. He attended parties and clubs populated by celebrities and people who would later be considered "it" in order to document this culture. His use of flash photography and candid shots made his website ( thecobrasnake.com ) become viral online, and later influenced the way others shot Indie Sleaze photos.

As for fashion, the virality of the brand American Apparel made it the de facto source of many Indie Sleaze staples, while their advertisements inspired the raunchy, realistic images of the aesthetic. Because of these photos, certain figures became "it girls" online, as fashion bloggers noticed their look and admired their style. Cory Kennedy, Alexa Chung, and Sky Ferreira are some examples of people who were photographed. The aesthetic also received more mainstream recognition after the release of Skins (UK). The television show's promotional material mimicked Indie Sleaze photographers' styles, and the plot focused on partying and drugs.

The aesthetic later declined due to increasing mainstream popularity and the advent of Instagram and other social media. With the popularization of social media, people felt the need to be more polished and curate the image posted online or else familiar people would recognize them and take offense to the uninhibited activities of candid photos

However, Indie Sleaze influenced its successor Pale Grunge on Tumblr. Specific garments such as the American Apparel tennis skirt, jelly shoes, and ringer tees remained popular in that aesthetic, albeit in black and white as opposed to the mismatched bright colors of Indie Sleaze. The use of flash photography also carried over into Tumblr Grunge, where people utilized this style to depict exciting happenings in the dark. Also, the hipster desire to be "indie," or separate from the mainstream and ahead of trends, continued throughout internet and aesthetic culture in general.

In 2018, Dalia Barillaro of the Consumer Aesthetics Research Institute (CARI) coined the term "Indie Über-Sleaze" and created a Facebook group for documenting examples of the aesthetic. In 2021, the term was shortened to "Indie Sleaze" by the group admins. Different figures also specifically pushed for the revival of Indie Sleaze early on, such as Meg Superstar Princess and The Dare.

In 2021, TikTok trend forecaster Mandy Lee (@oldloserinbrooklyn) posted videos on Indie Sleaze. This led to Generation Z users on TikTok developing an interest in the aesthetic, some of which had been too young to participate in its original era; the Instagram account indiesleaze started reposting these sorts of images in 2021. Another possible reason for this revival is that after the pandemic, young adults wanted to return to nightlife and celebrate crowded parties.

However, some people (often those who participated in the original era) argue that the revival is a shadow of the original. Largely, the aesthetic has become more performative and polished due to social media and the use of aesthetic categories. Another argument is that much of the original Indie Sleaze did not exist, as it was not a unified aesthetic. Rather, they were disparate looks by people who did not attempt to follow a single scene.

The revival was also partially brought on by " brat summer ," the viral internet meme created by Charli XCX and her release of the album brat, which is composed of the same electronic dance music popular during this era. Music videos and promotional materials also emphasized a visual aesthetic based on messiness and partying.

A large part of the aesthetic's look is the usage of flash photography . This was done out of necessity because clubs and parties are typically dark, with the flash highlighting the people. As a note, all images relating to Indie Sleaze include photographs of people.

Beyond the practical necessity of lighting, this photographic style developed into a distinct visual aesthetic characterized by the limitations of mid-2000s technology. The imagery was typically captured using compact digital cameras (like the Canon Powershot or Nikon Coolpix) or early smartphones, resulting in low-resolution, grainy photos that reflected the compression artifacts of platforms like MySpace. The harsh direct flash often flattened subjects and created hard shadows, resulting in "red-eye" that was intentionally left unedited to signal a sense of raw authenticity. Unlike the polished content of later social media eras, these photos aimed to capture the movement, sweat, and chaos of the party in a candid and voyeuristic manner.

Part of Indie Sleaze photography originally was the unique outfits of every person at the party, which make the setting look varied but communicates the personal style of the attendees. So, Indie Sleaze includes a mix of different fashion styles and aesthetics , but there are still a relatively common number of trends resulting from the era the style comes from. One of the biggest markers of the fashion is the use of statement pieces, often found in thrift stores . This would be incongruous to the rest of the outfit and are outlandish in size, texture, or color.

As a note, the sections below are not "substyles," but rather general motifs that people draw from. Much of the appeal of Indie Sleaze in the 2010s was that it reflects the wearer's own personal style and was not worn for social media, so styling was often experimental and laid-back, picking and choosing from the trends listed below.

Kinderwhore fashion is one pre-established style that often appears in Indie Sleaze, especially with certain It Girls like Sky Ferreira and Alexa Chung. In it, the wearers (always female) wear girly, vintage dresses with collars and lace , which connects to the thrifted clothing motif. This "innocent" garment would contrast with grunge-y legwear and shoes and the debauched setting of an Indie Sleaze party.

As discussed above, Indie Sleaze was originally part of the Hipster umbrella, meaning Hipster trends crossed over because people who followed other types of Hipster "aesthetics" would also appear at these parties. Twee fashion trends , such as bubble hems, lace, tights under shorts, and retro-inspired pieces could be seen in these photos.

Indie Sleaze fashion is heavily inspired by Hedi Slimane, whose work from 2000 to 2007 for Dior Homme featured inspiration from alternative fashion and music subcultures. During the 2000s, Justice, Daft Punk, The Libertines, and The Strokes (the musicians making music considered Indie Sleaze) were styled by Slimane, but much of the look is now retroactive, with the Indie Sleaze revival in the 2020s coining the " Hedi Slimane boy ." This is especially popular among those interested in archive fashion and fans of the band "The Hellp," who wear Slimane pieces.

The female counterpart for the look can be inspired by Slimane's work for Yves Saint Laurent from 2012 to 2016, when he was creative director for both men and women's clothing.

The look Hedi Slimane designed is characterized by a slim fit. So, suits would be tailored close to the wearer's body, and skinny jeans and tight trousers were the bottoms.

As discussed, alternative fashion and music inspired Slimane, which is reflected in his materials. Black leather, reflective material, flannels (originating from Seattle Grunge ), and studs are some common motifs.

Some specific garments that were commonly featured in this sort of look include:

This look largely originates from American Apparel advertisements, with the company selling basics in a variety of colors . In their catalogue are items such as V-neck tee shirts, colored tights, micro-shorts, ringer tees, dolphin shorts, tank tops, etc. American Apparel's variety of colors, including reflective fabrics , were often styles in a way that does not coordinate, often looking random .

Part of the Hipster scene includes motifs of irony, which, in the context of fashion, includes deliberately "ugly" or goofy pieces that don't fit the context of the setting. For example, fur hats, which are super warm, are worn in contrast with a relatively skimpy outfit. Tee shirts with strange slogans or brands which are childish and strange can also be a example.

The music of the Indie Sleaze era (approx. 2006–2012) is characterized by the collision of indie rock and electronic dance music. It was a time when rock bands began incorporating disco beats and DJs adopted a punk -like attitude. The sound is characterized by high energy, lo-fi production, heavy distortion, and hedonistic lyrics. The primary genres include:

Indie Rock & Post-Punk Revival:

Dance-Punk & New Rave:

Electroclash & Bloghouse:

Indie Pop & Electropop:

Journalists and cultural critics have frequently argued that the Indie Sleaze aesthetic glamorized drug addiction and camouflaged predatory behavior under the guise of "partying." Writing for The Guardian, Jamie Peck described the era's ethos as a "hedonistic nihilism" that often marketed an "even less empowering version of the Playboy lifestyle" to young women. Unlike the political rebellion of punk, the "Sleaze" look specifically commodified visual markers of exhaustion and intoxication (specifically smeared makeup, flash-blinded pupils, and bruises), repackaging the " Heroin Chic " tropes of the 90s for the digital blog era. Emily Maddick of Glamour' noted that this aesthetic relied heavily on "toxic diet culture," where "skeletal thinness" was a prerequisite for the look, effectively shielding wealthy participants from the stigma of addiction while promoting substance abuse as a fashionable lifestyle choice.

A primary criticism of the era concerns the lack of safeguarding for young, often female, subjects. The "unfiltered" nature of early 2000s blog culture frequently involved the publication of images of intoxicated individuals without their sober consent. This environment was heavily influenced by figures like photographer Terry Richardson and American Apparel founder Dov Charney, both of whom faced later allegations of harassment and misconduct. The dynamic is perhaps best exemplified by the relationship between photographer Mark Hunter (The Cobrasnake) and internet "It Girl" Cory Kennedy. Kennedy was just fifteen years old when she began interning for the then-twenty-year-old Hunter, who introduced her to adult nightlife venues where alcohol and hard drugs were prevalent. In retrospect, publications like Dazed and Vice have cited this dynamic as an example of the era's predatory undertones, where adult tastemakers built careers by exploiting the vulnerability of minors who lacked the ability to consent to having their intoxicated images broadcast permanently online.Indie is a broad aesthetic based on individuality; its name comes from the word "independent."  The indie aesthetic includes a variety of independent music genres, including shoegaze. This can also include the indie movie genre, as many movies in the genre add to the original indie aesthetic. The version of the indie aesthetic from the 2000s to 2012 is now named Indie Sleaze . The later iteration of the indie aesthetic in 2019-2020 is labeled Indie Kid . Other variations are usually unlabeled and just generically called indie.

The indie aesthetic originated in the 1980s in the United Kingdom. Sometimes referred to as “ Twee ”, indie fashion mainly consisted of striped t-shirts, jeans, floppy fringes, and anoraks. Musically, indie consisted primarily of jangling guitar bands, typified by the C86 compilation, which marked a pivotal moment in the codification of indie as a distinct music genre and aesthetic sensibility. Indie music became known as "indiepop" and fans were referred to as "cuties," "anoraks," or "indie kids."

During the 80s, indie records were often identifiable by their cover art. While most pop records featured bold and contrasting colours, expensive fashion, and group photos on the sleeve, indie records took a nearly opposite approach. As in many areas, The Smiths exemplified the trend among indie bands to decorate their records with 1950s and 1960s imagery in place of contemporary graphics and group photos. Often, these were monochrome portraits of film or sport stars or past cultural icons, as well as ordinary working class subjects.

In music as in visuals, indie was a rejection of 80s mainstream culture and was heavily inspired by the 1960s. In the late 80s the " Baggy " aesthetic emerged, centered around Manchester (or " Madchester "), marking an aesthetic shift in indie toward brighter, baggier clothing. Occurring in the context of the UK's Second Summer of Love and the rise of acid house , "indie dance" combined 60s psychedelia with modern dance music. After peaking around 1990, indie returned to a more muted color palette and musical flavor with the rise of Shoegaze and Grunge in the early 90s. In the mid-90s, indie music peaked commercially with Britpop , a movement whose aesthetic and musical brashness contrasted sharply with indie's " Twee" image during the 80s (continued in the 90s by indiepop labels such as Sarah Records, and into the 2000s by groups such as Belle and Sebastian).

80s/90s indie has experienced several revivals or reinterpretations, including 2010s Twee fashion, 2000s and early 2010s Indie Sleaze , Art Hoe and the Indie Kid aesthetic of today. The Indie aesthetic was, in many ways, similar to the Pastel aesthetic, however, the color is paler and even less intense.  Another key difference between the two is while the Pastel aesthetic conveys a sense of innocence and sweetness, the Indie aesthetic conveys more of a darker, moodier tone. Photos in this aesthetic often have sad text overlaid to further communicate the mood. Indie blogs also often feature photos of ornate architectural spaces, snow-covered landscapes, and bruised skin. Photos may be low quality and grainy for the vintage look.

Old school Indie fashion was pretty vague and unassuming. Many pieces were thrifted and casual, a bit more digestible and easier to assemble than Grunge although very similar. It does take some influence from Normcore due to how wide the spectrum of the fashion is however old school indie fashion had more characteristics that made it look less basic, the common theme is individuality so personal preference is the biggest value present. Some other common factors include darker colors and alternative tendencies.

Independently released music is not directly financially dependent on any of the four major labels (WMG, Sony BMG, EMI, and Universal).  Specifically, Indie rock, a genre of rock music that originated in the United States and the United Kingdom in the 1970s, is very popular in indie circles. Originally used to describe independent record labels, the term became associated with the music they produced and was initially used interchangeably with alternative rock.  Popular musicians in the Indie scene include:Industrial is a broad genre of experimental music and its associated subculture that emerged in the mid-1970s. It is defined by its transgressive and provocative themes, and its use of harsh, mechanical, and "anti-musical" sounds. The genre originally blended avant-garde electronic experiments (such as tape loops, musique concrète , and synthesizers) with the confrontational ethos of Punk .

The term "industrial music" was coined by artist Monte Cazazza and adopted by the band Throbbing Gristle for their independent record label, Industrial Records, which was founded with the slogan "industrial music for industrial people." The genre's thematic content often explores controversial and disturbing subjects, including totalitarianism, violence, sexual perversion, and the occult, frequently using shock value as a tool for social critique.

As the genre evolved beyond its experimental roots in the 1980s, it diversified into numerous post-industrial styles. A key development was Electronic Body Music (EBM), which fused industrial's harshness with danceable, electronic rhythms. EBM fostered a dedicated youth subculture whose members were known as EBM-heads or, particularly in North America, Rivetheads . This scene, with its distinct militaristic and fetish-inspired fashion, later contributed significantly to the development of the Cybergoth subculture in the late 1990s.

Industrial music's history has been consistently marked by its experimental approach and often confrontational nature, originating in the mid-1970s. While sharing elements with punk and the DIY movement, its sonic exploration has influenced various strands of modern music. Acts like Nine Inch Nails, Marilyn Manson, and Ministry acknowledge a debt to industrial pioneers, and techniques developed by early industrial bands have been utilized in genres such as dubstep, gabber , and techno.

The genre often incorporates electronica, tape loops, treated guitars, field recordings, and samples from radio, TV, and other sources. Its subject matter frequently explores controversial and disturbing themes. Early industrial performances were known for their use of noise, strobes, and confrontational elements, sometimes incorporating performance art. Venues for these performances often deviated from traditional pubs and clubs, including art centers, derelict factories, and unconventional spaces.

The origins and influences of industrial music are diverse. Figures such as William S. Burroughs and Brion Gysin are considered important influences. Burroughs' cut-up technique, rooted in Dada , had a notable impact, and he appeared on recordings within the genre. Gysin also employed the cut-up technique and experimented with tape-splicing.

Avant-garde composer John Cage's experiments with indeterminacy and noise are also cited as influential. His approach to musical instrumentation and the use of chance elements resonated with industrial's departure from conventional musical forms. La Monte Young's Theatre Of Eternal Music also explored experimental drone music, a style that found its way into industrial.

Sonically, industrial music drew from a range of sources. These included the work of Frank Zappa, Captain Beefheart, Kraftwerk, The Velvet Underground, and Lou Reed's Metal Machine Music. The BBC Radiophonic Workshop's electronic experimentation and the improvisational approach of groups like AMM also contributed to the genre's development as a significant influence on Genesis P-Orridge's COUM Transmissions, an early version of Throbbing Gristle.  Similarly ahead of its time, Cromagnon’s 1969 album Orgasm foreshadowed the industrial rock sound. AllMusic described it as resembling a Ministry record from 1989, while Pitchfork called the track “Caledonia” a “pre-industrial stomp.”

Krautrock, particularly bands like Kluster and Faust, played a significant role. Kluster's use of unorthodox instruments and electronica, and Faust's use of scrap metal and found objects for rhythmic creation, foreshadowed elements of the industrial sound. Other songs included Neu!’s “Negativland” as well as Can’s “Peking-O” and “Soup". Furthermore,  experimental rock band Red Krayola’s “Free Form Freak-Out” all showcased dissonance and industrial instrumentation (notably a Harley Davidson motorcycle) associated with later industrial styles.  Frontman Mayo Thompson would go on to produce Cabaret Voltaire’s debut single, “Nag Nag Nag” as well as join post-punk band Pere Ubu, another early industrial rock progenitor, whose debut The Modern Dance was described by critics of the time such as Jim Irvin as “industrial.”

Other major influences include Einstürzende Neubauten, Alien Sex Fiend, and Come, as well as Suicide, whose self-titled 1977 debut provided a blueprint for industrial's abrasive, minimalist aesthetic. Iggy Pop's  solo debut The Idiot , produced by David Bowie also incorporated early elements of industrial rock, particularly on the closing track “Mass Production,” which featured “proto-industrial” tape loop noises. Music critic Hugo Wilcken described the song as “early industrial electronica.” The Idiot significantly influenced Joy Division, who signed with the industrial-themed Factory Records in 1978. Their albums Unknown Pleasures (1979) and Closer (1980) further shaped the genre, inspiring later acts like Nine Inch Nails, who notably covered their track “Dead Souls.”

The foundation of industrial music as a distinct genre is attributed to the mid-1970s and the establishment of Industrial Records. Genesis P-Orridge of Throbbing Gristle and Monte Cazazza founded the label. Cazazza is credited with coining the phrase "Industrial Music for Industrial People," which became the label's slogan. Industrial Records released material by Throbbing Gristle, Clock DVA, The Leather Nun, and Cazazza.

Throbbing Gristle evolved from the performance art group COUM Transmissions. Their music utilized pre-recorded tape samples, live instruments, and electronica to create layered and often distorted soundscapes. Their performances and recordings were characterized by a confrontational aesthetic and exploration of transgressive themes. The band's debut single, " United/Zyklon B Zombie ," was released in 1977, followed by the album The Second Annual Report.

Following Throbbing Gristle's dissolution, members pursued various projects. P-Orridge and Christopherson formed Psychic TV, while Cosey Fanni Tutti and Chris Carter recorded as Chris & Cosey. Christopherson later formed Coil with John Balance.

Other artists who contributed to the early development of industrial music included Cabaret Voltaire, Leather Nun, and Boyd Rice/Non, all of whom released material on Industrial Records.

Cabaret Voltaire, formed in Sheffield, experimented with synthesizers and electronics. Their early work was documented on the cassette 1974-1976, and they released several albums on Rough Trade.

Boyd Rice, while associated with Throbbing Gristle, is often described as a performance artist. His work as Non involved sonic experiments with tape loops and altered vinyl records.

Leather Nun, a Swedish act, signed to Industrial Records in 1978. While initially part of the industrial scene, they later incorporated a more rock-oriented sound.

Daniel Miller, though known for his work in electronica and pop, is considered a pivotal figure. His single " TVOD/Warm Leatherette " as The Normal, released in 1978 on his own label Mute, is seen as an important early release. Mute Records went on to release material by artists such as Depeche Mode, Yazoo, and also continued to release more experimental work by Boyd Rice, Throbbing Gristle, DAF and Fad Gadget.

The late 1970s and early 1980s saw the emergence of a new wave of industrial artists. Nurse With Wound, formed by Stephen Stapleton, drew from free improvisation and Krautrock. Nocturnal Emissions, featuring Nigel Ayers and Caroline K, incorporated elements of musique concrète and conceptual art. SPK, an Australian group, blended post-punk with industrial elements. Whitehouse developed the "power electronics" style, characterized by its extreme and confrontational sound. Clock DVA incorporated elements of funk and dance music. 23 Skidoo blended industrial sounds with dance, funk, and world music influences.

The 1980s marked a significant period of diversification within industrial music, with the development of industrial rock, Electronic Body Music (EBM), and industrial metal. These subgenres, sometimes referred to as "post-industrial," represented a fusion of industrial's core elements with other musical styles, contributing to the genre's evolution and broadening its appeal.

Industrial rock emerged as artists began to incorporate elements of rock music, particularly post-punk and alternative rock, into the industrial sound. This often involved the use of electric guitars, more traditional song structures, and a greater emphasis on rock instrumentation alongside industrial's electronic and experimental approach. Bands like Ministry, initially rooted in synth-pop, evolved to incorporate a heavier, guitar-driven sound, combining industrial textures with elements of hard rock and metal. Nine Inch Nails, formed by Trent Reznor, also became a key figure in industrial rock, achieving mainstream success with a sound that combined industrial's electronic experimentation with rock songcraft and introspective lyrics.

Electronic Body Music (EBM) developed primarily in Europe, particularly in Belgium and Germany. EBM fused industrial's rhythmic and sonic elements with dance music, synth-pop, and punk influences. It emphasized driving, repetitive rhythms, often created with synthesizers and sequencers, and a more dance-oriented structure. Bands like Front 242, DAF, and Nitzer Ebb were prominent in the EBM scene, characterized by their energetic performances, militaristic aesthetics, and use of chanted or shouted vocals, alike to commands.

Industrial metal emerged in the 1980s as a hybrid genre combining elements of industrial and heavy metal. This development involved the integration of heavy metal's characteristic guitar riffs, often distorted or downtuned, and aggressive vocal styles with industrial's electronic instrumentation, sampling techniques, and use of unconventional sounds. Godflesh, formed in Birmingham, UK, is recognized as a key early proponent of industrial metal. Their sound incorporated the dense, distorted guitar work and rhythmic intensity of metal with industrial's mechanical soundscapes and themes of urban decay. Swans, while also drawing from post-punk and noise rock, employed high volumes and abrasive instrumentation, contributing to the development of the genre's sonic intensity, though their instrumentation remained more rock-oriented. The emergence of industrial metal expanded the sonic possibilities of industrial music, leading to further subgenre development and cross-pollination with other musical styles.

Industrial aesthetics are characterized by a deliberate embrace of harshness, functionality, and transgressive themes. Early proponents like Throbbing Gristle established this foundation through their music and visual presentations. Their performances and album art frequently incorporated disturbing imagery, including ironic uses of fascist and Nazi symbolism, alongside references to pornography. This was combined with a sonic palette dominated by noise and manipulated sound, influenced by the experimental techniques of William S. Burroughs and Brion Gysin. The confrontational nature extended to their performance style, often aiming to shock and unsettle audiences.

A key aspect of the industrial aesthetic is its frequent use with the sounds of industry and machinery. These sounds, initially created using actual machinery and later through synthesizers and samplers, evokes a visceral sense of the mechanical, the factory floor, and often a bleak, dystopian future. The deliberate use of these typically "non-musical" sounds aims to directly reflect and critically comment on the perceived alienation, dehumanization, and oppressive nature of industrialized society. This is further emphasized by the frequent incorporation of samples from dystopian films, which often vividly depict decaying urban environments dominated by obsolete or malfunctioning technology and are characterized by harsh, metallic sounds like banging, clanking, hissing, grinding, and scraping.

Vocals in industrial music often deliberately lack traditional melodic structures, instead serving as another textural element that blends into the overall sonic fabric. Male vocals are overwhelmingly predominant and are frequently subjected to various forms of distortion, including fuzz, filtering, and phasing, creating an effect ranging from mechanical speech and robotic pronouncements to raw, guttural aggression. Even though some listeners interpret the vocals primarily as another instrumental layer contributing to the sonic density, the often distorted, rasping, and growling timbres can convey anger, urgency, and a sense of societal breakdown, contributing to the overall confrontational nature of the genre.

The visual aesthetic of industrial music often starkly mirrors its sonic elements, consistently featuring dark and often muted colors, raw and unrefined metallic textures, and a generally monochromatic or limited palette dominated by blacks, greys, and occasional harsh reds or metallic tones. Imagery of industrial decay , urban blight, technological dystopia, and the often-stark realities of labor and its potential for exploitation are common visual motifs. This extends to fashion choices within the subculture, sometimes incorporating utilitarian elements of workwear, rigid military styles, and fetish gear , directly reflecting the themes of control, power dynamics, and societal constraint explored in the music. The use of stark, often brutalist graphic design in album art and promotional materials reinforces this aesthetic.

The deliberate use of controversial symbolism, such as fascist or Nazi imagery, has been a recurring and highly debated element, especially in early industrial and related genres like EBM . This was intended as a form of extreme provocation, a confrontational means of subverting conventional social norms and challenging established power structures. In some instances, as seen in the work of Laibach and the Neue Slowenische Kunst collective, such imagery was employed for satirical purposes, aiming to critique authoritarianism, nationalism, and the seductive nature of totalitarian aesthetics. However, this practice remains contentious and has frequently led to misunderstandings and accusations regarding the political leanings of some artists.

Industrial music is an unapologetically confrontational and socio-political genre. Pioneering bands, such as Cabaret Voltaire, Throbbing Gristle, NON, Z'EV, SPK, and Einstürzende Neubauten, often drew inspiration from the Dada movement and avant-garde art of the 1960s and 1970s. They employed electronic and synthesized sounds, or noise generated by machines and homemade instruments, often describing their output as "anti-music." This "anti-music" and their performances were conceived as disconcerting, with the artists presenting themselves as non-musicians. This approach, alongside the philosophy shared with artists like Monte Cazazza and Mark Pauline, led to the broader application of the term "industrial culture."

Industrial music followed punk and experimented with the decline of Western consumer capitalism. Industrial groups operated independently, producing their own recordings. Their music and performances functioned as a form of discussion, incorporating extra-musical elements like films and videos to enhance information dissemination. While sharing similarities with 1960s psychedelia in its use of sensory overload and extreme sound effects, industrial music replaced the utopianism of that era with depictions of brutality and dehumanization. The genre addressed themes including torture, cults, wars, murder, concentration camps, psychological manipulation, and suffering.

Industrial musicians frequently referenced theorists such as Walter Benjamin, Marshall McLuhan, Michel Foucault, Gilles Deleuze, and Félix Guattari. The concept of the "post-industrial society," as defined by Daniel Bell, was an early influence. Industrial music often addressed the concept of "control," a term derived from William S. Burroughs and later expanded upon by Deleuze in his work on societies of control, and the "information war." Industrial musicians also drew inspiration from authors like Philip K. Dick and J.G. Ballard, whose works explored the consequences of technology and media. These influences reflect an attempt to understand the societal shifts that would follow the decline of industrial societies.

The use of shock tactics is a key characteristic of early industrial music. This approach, analyzed through the theories of Deleuze and Guattari, positions industrial music as a socio-theoretical experiment, a practical application of philosophy, and a transformation of art into philosophy and critical thought. The boundaries involve a deliberate embrace of risk, including the potential for destruction and disintegration.

Performance art, particularly Viennese Actionism, was a major influence on industrial music's use of shock value. The Viennese Actionists, including Otto Mühl, Hermann Nitsch, Rudolf Schwarzkogler, and Günter Brus, used the body as an artistic medium, often subjecting it to violence and torture. These performances have been interpreted as a reaction to the atrocities of World War II within the context of 1960s conservative Austria. Their actions aimed to transgress social taboos and challenge established norms related to the state, religion, and sexuality.

Examples of these performances include Günter Brus's " Art and Revolution " (1968), which resulted in his imprisonment for degrading state symbols through acts of self-mutilation, urination, defecation, masturbation, and the singing of the Austrian national anthem. Hermann Nitsch's performances incorporated Christian mythology and Dionysian rites, featuring the crucifixion of living humans and the slaughter of animals. These actions, influenced by Antonin Artaud's " Theatre of Cruelty ," sought to explore the limits of sensory experience.

This transgression, exemplified by the Viennese Actionists, Artaud, and other performance artists, creates a "line of flight," a rupture in the social system, as described by Deleuze and Guattari. These "lines of flight" represent paths of escape and new beginnings. Industrial music adopted this approach, utilizing shock to challenge social norms and established power structures.

The industrial music genre has spawned a diverse range of subgenres, each utilizing different sonic textures and thematic elements. The following subgenres are listed in chronological order.

Early industrial music, an experimental style drawing influence from musique concrète , krautrock, and noise, was pioneered by bands such as Throbbing Gristle and Einstürzende Neubauten. These early artists often emphasized the performance art aspects of their shows alongside their intense, repetitive music, adopting a provocative stance similar to punk rock. This focus on both visual and sonic elements led to the development of a dark, brooding industrial aesthetic, frequently incorporating mechanical imagery and sounds to reflect what the bands perceived as the bleak and mechanized nature of modern life.

These foundational artists influenced later groups like Psychic TV and Skinny Puppy, who integrated the initially stark electronic sound with elements of rock, metal, and electronic dance music, broadening the genre's appeal. The name of the genre originates from Industrial Records, the label founded by Throbbing Gristle members. Their late-1970s releases by artists like Monte Cazazza, The Leather Nun, and Thomas Leer & Robert Rental showcased the revolutionary sound of this emerging genre.

Industrial rock is a genre combining rock music with post-industrial elements. It typically features heavily distorted guitars, abrasive percussion, and vocals. Keyboards, synthesizers, drum machines, and samplers are also common. San Francisco’s Chrome is often cited as a key originator of industrial rock. Their albums Alien Soundtracks (1977), Half Machine Lip Moves (1978), and Red Exposure (1980) are considered foundational to the genre.

The scene would be further popularized by the post-punk band Killing Joke, particularly their 1980 debut album, they later reached mainstream success with Night Time (1985), a major influence on Nine Inch Nails’ Trent Reznor. By the 1980s, Chicago’s Wax Trax! Records had become a major hub for industrial rock in the U.S., thanks in large part to Ministry. Their 1988 album The Land of Rape and Honey fused hardcore punk, thrash metal, and electronic sampling, redefining their sound. Ministry frontman Al Jourgensen also led several Wax Trax! projects—Revolting Cocks, 1000 Homo DJs, and Pailhead—that helped expand the genre’s reach. Meanwhile, New York’s Swans and Cop Shoot Cop, heavily influenced by the No Wave movement (notably Glenn Branca's band Theoretical Girls "You Got Me"), pushed boundaries by employing dual bass guitars and no traditional guitars, alongside artists like Foetus  and The Young Gods, who notably used samplers in place of guitars.

Industrial rock, along with industrial metal, gained mainstream recognition in the 1990s with artists such as Nine Inch Nails and Marilyn Manson. The genre has also influenced artists in the broader pop and rock music scenes, including David Bowie and Gary Numan.

Electronic Body Music (EBM) is a club-oriented post-industrial style characterized by straightforward song structures, significant use of sequencers, precise rhythms suitable for dancing, and strong beats, often incorporating samples. Vocals range from aggressive to monotonous, complementing the often provocative lyrics and dystopian, martial visual themes inherited from industrial music.

Pioneered in the early 1980s, primarily by European bands such as Deutsch Amerikanische Freundschaft and Front 242, EBM initially drew from post-punk, synth-punk, synth-pop, progressive electronic music, and electro-disco. In the mid-to-late 1980s, bands like Nitzer Ebb and Depeche Mode further developed EBM's sound by emphasizing its punk aggression and incorporating a melancholic aesthetic influenced by synth-pop, respectively. During this time, Ministry and Wax Trax! Records played a role in introducing EBM to North American audiences.

As EBM gained international popularity, its sound continued to evolve, leading to subgenres such as New Beat , which integrated Hi-NRG and acid house influences at slower tempos; Futurepop, a crossover with synth-pop incorporating trance elements; and Dark Electro, which emphasized harshness and a horror-inspired atmosphere, later incorporating hardcore electronic dance music influences to create Aggrotech. Beyond its direct subgenres, EBM was also influential in the development of electro-industrial, cyber metal, and various forms of electronic dance music.

Industrial metal is a subgenre of metal that integrates elements from industrial music with traditional metal instrumentation, incorporating electronic instruments such as synthesizers, samplers, and drum machines alongside repetitive, downtuned guitar riffs that lend the music a mechanical quality. Distorted vocals and a heavier, abrasive sound are also common characteristics.

The genre was initially defined in the late 1980s by bands like Ministry, who played a faster, more energetic style of industrial music influenced by thrash metal, and Godflesh, who created a heavier, slower form drawing from the dark atmospheres of Swans, Whitehouse, and early Killing Joke. Industrial metal entered the mainstream alternative music scene in the 1990s with albums such as Nine Inch Nails's Broken and Ministry's ΚΕΦΑΛΗΞΘ [Psalm 69]. Other industrial metal acts also achieved success, including Fear Factory, who blended the style with groove metal and death metal, as well as Devin Townsend's Strapping Young Lad and shock rock-inspired artists like Marilyn Manson and Rob Zombie.

In the 1990s, industrial metal developed subgenres such as Neue Deutsche Härte and cyber metal. The former, originating in Germany and popularized by bands like Rammstein and Oomph!, mixed industrial and alternative metal with electronic dance music. The latter, pioneered by The Kovenant, placed less emphasis on repetitive riffs, featured more melodic songwriting, and drew from EBM and aggrotech. In the late 1990s and 2000s, industrial metal saw further success through nu metal, with bands like Dope, Static-X, and Spineshank combining nu metal's rhythmic qualities with industrial elements, and acts such as Thorns, Blut aus Nord, and Mysticum blending the tremolo-picked guitars and atmosphere of black metal with the mechanical production of industrial metal.

Electro-Industrial is a genre that emerged in the late 1980s and early 1990s, developing from the convergence of electronic body music (EBM) and industrial music. While retaining some of the rhythmic qualities of EBM, it distinguishes itself by incorporating the more abrasive elements and layered soundscapes characteristic of earlier industrial music, moving away from EBM's cleaner and more minimalist approach. Compared to the industrial music of the 1980s, electro-industrial often exhibits a more contemporary sound, partly due to advancements in technology.

Dark Electro is a subgenre of electro-industrial that originated in Europe in the early 1990s, with artists like YelworC and Placebo Effect as early proponents. Like influential electro-industrial bands such as Skinny Puppy, dark electro blends EBM rhythms with the abrasive qualities of early industrial music. However, it places a greater emphasis on creating horror-inspired soundscapes and features harsh, distorted vocals, distinguishing it from electro-industrial bands that adopted a cleaner sound, such as Front Line Assembly.

Following darker, EBM-influenced albums like Leæther Strip's Solitary Confinement and :wumpscut:'s Bunkertor 7 , bands such as Hocico began integrating prominent elements from techno and hardcore electronic dance music, pushing dark electro into a more aggressive and fast-paced style known as Aggrotech. This style rapidly became the dominant form, leading some to use the terms interchangeably

Neue Deutsche Härte (New German Hardness) is a genre that emerged from alternative metal and industrial metal, integrating various elements of electronic music, particularly electronic dance music (leading to the alternative name Tanzmetall, or dance metal, a term coined by Rammstein). It gained popularity through bands such as Oomph!, Eisbrecher, and Rammstein, following the increased commercial success of industrial rock and industrial metal in the early 1990s. Beyond the inclusion of synthesizers and electronic beats, Neue Deutsche Härte is characterized by its prominent use of downtuned and palm-muted guitar riffs. It typically features male vocals sung in a low register, with occasional use of death growls..

Aggrotech is a subgenre of dark electro that emerged in the mid-to-late 1990s in North America and Europe. It combines aggressive-sounding synthesizers and apocalyptic atmospheres with harsh 4/4 beats and fast tempos. The genre draws influence from hardcore electronic dance music, techno, trance, and power noise, with some artists also incorporating elements of darkwave, futurepop, and industrial metal. Vocals are typically heavily processed to sound distorted and high-pitched, often featuring screaming. Lyrical themes frequently explore disturbing and taboo subjects such as death, misanthropy, violence, and technology.

The name "aggrotech," a combination of "aggressive" and "techno" (or "technology"), was coined by the San Francisco industrial club Aggrotech in 1990. The Mexican band Hocico is widely regarded as a pioneer of the genre, blending Skinny Puppy-influenced vocal effects and aggressive rhythmic beats with darkwave on their debut Odio bajo el alma . In Germany and Belgium, the style developed under the name Hellektro. Funker Vogt gained popularity within the genre with their album Thanks for Nothing . Bands known as dark electro acts, :wumpscut: and Suicide Commando, also began experimenting with aggrotech on their albums Embryodead and Mindstrip, respectively.

Aggrotech achieved underground success in the mid-to-late 2000s, coinciding with the rise of the cybergoth subculture. Prominent acts of this era include Combichrist, Aesthetic Perfection, Psyclon Nine, and Grendel. The genre gained broader attention with the song " Pong " by Eisenfunk. However, aggrotech has also faced controversy due to its dark lyrics, simple melodies, fetishistic imagery, misogyny, and romanticization of violence.

By the early 2010s, the genre's popularity began to wane, leading many bands to disband or transition to other genres. Some electro-industrial artists, such as Street Sects, Ada Rook, and Blanck Mass, have integrated aggrotech influences into their work. The genre experienced a degree of mainstream exposure in 2019 when Hatari performed " Hatrið mun sigra " at the Eurovision Song Contest.

Futurepop , a more contemporary style, emerged in the mid-to-late 1990s as the popularity of EBM began to decrease. This genre features a dance-oriented sound with significant synth-pop influences and has gained popularity primarily in clubs worldwide, especially in Europe. Futurepop maintains the dystopian themes found in EBM and its more distant predecessor, industrial music, but typically incorporates the more melodic aspects of synth-pop and some trance-like elements suitable for club environments. The foundational artists of this genre are generally considered to be VNV Nation, Apoptygma Berzerk, and Covenant.

Cyber Metal is a subgenre of industrial metal that emerged around 1999 with bands like The Kovenant. The genre incorporates elements prevalent in EBM and aggrotech. Characteristics include more melodic and less repetitive riffs, contrasting with the predominantly metallic and mechanical sound of traditional industrial metal. Electronic layers often create a vast, "cosmic" feeling, with symphonic structures borrowed from EBM. Vocals are typically harsh, ranging from techniques common in aggrotech to black metal shrieks and death metal growls. Guitar melodies are often played in a style similar to melodic death metal, and keyboards reminiscent of symphonic black metal are frequently used. Some bands, such as Deathstars, incorporate a totalitarian aesthetic into their image and sound. In the 1990s, the term "cyber metal" was sometimes used to describe bands like Fear Factory, though their sound remained closer to traditional industrial metal aesthetics.

The use of Nazi-inspired symbolism within industrial music presents a complex issue. Early industrial acts like Throbbing Gristle employed such imagery, including pictures of the Holocaust, as a means of provocation and subversion of traditional social norms. Laibach and their associates of the Neue Slowenische Kunst collective utilized it for satire, aiming to critique nationalism and populism, while also rejecting irony. Some artists adopted these symbols for shock value . While the prevalence of Nazi imagery in alternative music was sometimes overlooked due to its distance from contemporary fascism, its use remains contentious. A vast majority of industrial bands actually identify with left-wing political views. However, there is still a risk of misinterpretation, particularly when the intent behind the symbolism is unclear.

Academic analysis suggests that the ambiguity inherent in industrial music's critique of authority contributes to these misunderstandings. The genre often focuses on tearing down existing power structures without explicitly proposing alternative systems. This ambiguity, combined with the use of potentially offensive imagery, can lead to misinterpretations of the artists' political stances.

A common misconception, particularly among outsiders, is that Industrial and Goth are the same subculture, or that "Industrial Goth" is a correct term. While the two scenes often share a fanbase and club nights, they are two distinct subcultures with separate origins, philosophies, and aesthetics.

The confusion between the two began in the late 1980s and 1990s as the genres began to cross-pollinate. The rise of danceable genres like EBM (Electronic Body Music) and industrial rock/metal (e.g., Nine Inch Nails) created a significant musical overlap in clubs. However, the foundational origins and core identities remain separate. The term "Industrial Goth" is a misnomer that inaccurately merges two distinct cultural identities. While an individual can be a fan of both, the subcultures themselves are not the same.

Following the 1999 Columbine High School massacre, the industrial subculture, particularly its more commercially successful offshoots, was subjected to intense moral panic in North America. This panic primarily targeted popular Industrial Rock and Industrial Metal acts, whose confrontational aesthetics and political themes were wrongly cited by media and politicians as the motivation for the violence.

The focus initially centered on bands like KMFDM (an acronym for "no pity for the majority") and Marilyn Manson, who were widely and inaccurately scapegoated. Experts and the bands themselves widely disputed the interpretation that the music was the cause, with KMFDM issuing multiple statements to affirm their music stands against violence, oppression, and fascism. Despite the subsequent revelation that the shooters' musical preferences were varied and that the music was often misinterpreted, the media continued to run sensationalist stories. This led to further legal and political scrutiny of the music industry.

Industrial music figures and critics argued that the true purpose of the media panic was to shift blame away from fundamental societal issues. This strategy allowed politicians to avoid discussing gun culture and violence, pointing instead to music and fashion as easily digestible scapegoats; a phenomenon critiqued by music historians as outsourcing difficult conversations to symbols.Italo Disco is a music genre and associated visual aesthetic that originated in Italy in the late 1970s and peaked in the 1980s. It is defined by a unique visual style that is futuristic, romantic, and often unabashedly campy , serving as the visual counterpart to the genre's synthesizer-driven sound. The aesthetic is most famously expressed through the cover art of its vinyl records, which feature a distinct airbrushed style, sci-fi themes, and glamorous, high-fashion imagery.

While the music was an evolution of American disco , the visual aesthetic developed a unique identity, combining inspirations from science fiction, fashion magazines, and a romanticized vision of a high-tech future. It served as a form of escapism for Italian youth during a period of social and political turmoil, offering a world of glamour, romance, and futuristic adventure.

The Italo Disco aesthetic emerged alongside the music in the late 1970s as Italian producers began creating their own electronic-driven versions of disco . The visual style was a departure from the gritty realism of the era, instead offering a polished, aspirational, and often surreal fantasy world. The term "Italo Disco" was coined in 1983 by Bernhard Mikulski, the head of the German record label ZYX, who used it to market compilations of Italian dance music to an international audience.

The aesthetic flourished throughout the 1980s, becoming the visual style for a vast number of releases from labels like Baby Records and DiscoMagic. It was also the soundtrack and style for the Paninaro youth subculture in Milan, which embraced Italo Disco's brand of aspirational consumerism. The aesthetic's influence waned in the early 1990s as dance music evolved into Eurobeat, house and techno, but it has since been rediscovered and celebrated for its unique visual contribution to 1980s visual culture.

The visual and sonic aesthetic of Italo Disco has experienced several periods of re-appraisal. While its original run ended in the late 1980s, the genre's sound became a primary source of inspiration for later internet-based aesthetics. Specifically, Italo Disco's often-obscure tracks from the 1980s are a notable source of sampling for genres like Future Funk and Vaporwave . These later movements often recontextualize the original genre's melodic synthetic sound and its associated retrofuturistic visuals (such as neon grids, space themes, and bold typography) to create a nostalgic or melancholic aesthetic.

The visual style of Italo Disco is defined by the artwork on its 12-inch single record sleeves. The style is instantly recognizable and consistent across the genre.

A key characteristic is the use of a soft, airbrushed illustration style, which gives the artwork a dreamy, hyper-real quality. The subject matter is often a blend of glamour and science fiction. It frequently depicts elegantly dressed, often melancholic figures in futuristic or surreal settings. Space travel, robots, and futuristic technology are common themes, reflecting a cultural fascination with the Space Race and a technologically advanced future.

The aesthetic also has a strong connection to fashion, with figures on the covers often depicted in stylish, 1980s-era clothing, including sharp suits, glamorous dresses, and bold makeup. This is often blended with more exotic or fantastical elements, such as tropical landscapes with palm trees, neon-lit cityscapes, and cosmic backgrounds. The overall mood is one of romantic melancholy, combining a sense of futuristic wonder with a distinctly European sensibility.

While this page primarily documents the genre's associated visual aesthetic, it is inseparable from its musical counterpart. The sound of Italo Disco is defined by its use of synthesizers, drum machines, and often robotic-sounding vocoders. The melodies are typically strong, catchy, and highly emotional, creating a sound that is simultaneously danceable and melancholic. The lyrics, usually sung in heavily accented English, often revolve around themes of love, loss, and futuristic fantasies.The Jiggy Era (also known as the Shiny Suit Era ) is a distinct visual and cultural aesthetic within Hip-Hop and R&B that dominated the mainstream from approximately 1997 to 1999. Emerging in the immediate wake of the murders of Tupac Shakur and The Notorious B.I.G., the aesthetic marked a deliberate industry-wide pivot from the gritty realism of Gangsta Rap toward hyper-commercial escapism, wealth display, and futuristic optimism.

The era is characterized by the high-budget, avant-garde cinematography of director Hype Williams (specifically his pioneering use of fisheye lenses, illuminated industrial tunnels, and zero-gravity sets) and the "Ghetto Fabulous" fashion of the time. The most iconic marker of this style is the reflective metallic vinyl suits popularized by Sean "Puffy" Combs (Diddy) and Mase in videos like " Mo Money Mo Problems ."

This aesthetic served as the primary stylistic bridge between 1990s Hip-Hop and the broader Y2K Futurism movement, eventually declining with the re-emergence of hardcore rap (led by DMX) in 1998.

The movement's overcommercialization, as well as the advent of DMX, Lauryn Hill, and Outkast, contributed to its demise in early 1999. The overall dazzling appearance began to give way to something more balanced and grounded.

Popular visual cues of the era include:A Juggalo (or Juggalette for women) is a fan of the hip-hop group Insane Clown Posse (ICP) and their record label, Psychopathic Records. The term, coined by ICP member Violent J in 1994, has evolved beyond a simple fan label to describe a distinct and often misunderstood subculture . Juggalos are known for their strong sense of community, referring to themselves as a "family," and for a unique aesthetic that combines horror movie imagery with clown-like face paint.

The subculture is characterized by a deep connection to ICP's "Dark Carnival" mythology, a series of concept albums that critique societal hypocrisy and elitism. Core tenets include an embrace of being an outsider, loyalty to the community, and a rejection of mainstream social hierarchies.

The term "Juggalo" originated during an Insane Clown Posse concert in 1994, when Violent J ad-libbed the word while performing the song "The Juggla." The name was quickly adopted by the fanbase. The subculture grew throughout the 1990s and 2000s, centered around ICP's music and the expanding roster of artists on their Psychopathic Records label.

A defining event for the community is the annual Gathering of the Juggalos, a multi-day music festival that began in 2000. Described by fans as a "Juggalo Woodstock," the event features performances, wrestling, and various contests, serving as the central hub for the subculture's community and traditions.

In 2011, the subculture gained national notoriety when the FBI's National Gang Threat Assessment controversially classified Juggalos as a "loosely-organized hybrid gang." This classification led to reports of individuals facing discrimination from law enforcement and employers. In response, ICP and thousands of their fans organized the Juggalo March on Washington in 2017 to protest the designation and demand they be removed from the gang list.

The Juggalo aesthetic is a distinctive fusion of horror , hip-hop , and circus or carnival imagery. It is designed to be confrontational and to visually signify membership in the community.

The most recognizable element of the Juggalo look is the use of clown-style face paint, typically in black and white, to create a sinister or demonic appearance. This practice is inspired by ICP's own on-stage look. Clothing is often merchandise from Psychopathic Records artists, particularly items featuring the Hatchetman, the running man logo for the record label. This logo is the primary symbol of the subculture and is worn on clothing, jewelry, and as tattoos. The fashion is otherwise casual, often drawing from hip-hop and skater styles.

Certain objects and rituals are central to the Juggalo identity. The most famous is Faygo, an inexpensive brand of soda from ICP's home state of Michigan. At concerts, ICP sprays thousands of bottles of Faygo into the audience in what is known as a "Faygo shower," a ritual that has been described as a "baptizing of poverty" that embraces the community's working-class roots. The call-and-response chant of "whoop, whoop" is used as a greeting and a sign of camaraderie among members.

The music of the Juggalo subculture is almost exclusively Horrorcore , a subgenre of hip-hop characterized by lyrics and imagery drawn from horror films and macabre themes. The scene is centered around the artists signed to Psychopathic Records, with Insane Clown Posse being the foundational act. Other key artists include Twiztid, Blaze Ya Dead Homie, and Anybody Killa. While the primary focus is on Horrorcore, there is also some overlap with Nu-Metal and other adjacent genres.Krushclub is an electronic music microgenre that emerged in the early 2020s, gaining significant viral popularity on TikTok in 2023. The sound is a high-energy fusion of Jersey Club rhythms, the distorted, bitcrushed production of HexD , and the pitched-up vocal styles of Hyperpop . The genre is defined by its short, punchy song structures designed for social media, and a distinct visual aesthetic that pairs a monochrome color palette with nostalgic imagery from early 2000s internet and gaming culture.

The origins of Krushclub can be traced to the online underground, where artists began blending the bouncy, chopped-up drum patterns of Jersey Club with the harsh, lo-fi audio distortion central to the HexD scene. While precursors to the "bitcrushed club" sound appeared earlier, the genre was pioneered and brought to mainstream attention by the artist Lumi Athena. Their 2022 single, " SMOKE IT OFF! ", became a viral sensation on TikTok, its energetic and distorted sound serving as the blueprint for the genre.

Following this breakout success, the artist Odetari further popularized the sound, achieving significant commercial success and multiple entries on the Billboard Hot Dance/Electronic Songs chart in 2023. His music, which he sometimes calls "Odecore," solidified Krushclub's association with lewd lyrics and frequent references to 2000s video game franchises like Sonic the Hedgehog and Kingdom Hearts . The rapid proliferation of the genre on TikTok, used in countless video edits and memes, cemented its status as a prominent microgenre among Gen Z and Gen Alpha listeners.

The Krushclub aesthetic is heavily defined by its visual style, which is primarily seen in cover art and social media edits. It is characterized by a stark monochrome color scheme, using only black, white, and shades of grey. The imagery is inspired by nostalgia for early 2000s digital culture, featuring pixelated graphics, low-poly 3D models, and the use of scanline filters to emulate the look of old CRT monitors. Common motifs include simple, bold symbols like stars, hearts, and butterflies, which are often arranged in repeating patterns. A heavy use of bloom and glowing light effects gives the visuals a radiant, ethereal quality, creating a distinct look that is both futuristic and retro.

Krushclub's sound is energetic, danceable, and intentionally lo-fi. The core of the music is its rhythm, which is almost always based on the distinctive, bouncy kick-drum patterns of Jersey Club. This is combined with the signature production technique of bitcrushing, which heavily distorts vocals and synthesizers to give them a crunchy, low-resolution texture reminiscent of old video games and the HexD genre.

The song structures are typically very short, often under two minutes, with minimal introduction before launching directly into a high-energy hook or drop. This format is optimized for the short-form video content on TikTok, where the songs gained their popularity. Vocals are often high-pitched and heavily processed with autotune, drawing influence from Hyperpop, while the lyrical themes are frequently hedonistic or referential to internet and gaming culture.

While Krushclub achieved rapid viral success, the genre has faced criticism from some listeners for being overly formulaic and repetitive. Detractors argue that the reliance on a consistent sonic palette (the combination of Jersey Club drum patterns, bitcrushed vocals, and short, hook-driven structures) has led to a large number of tracks that are difficult to distinguish from one another. This perceived lack of originality is often attributed to the genre's optimization for TikTok, where a familiar and easily digestible sound is more likely to become a viral trend.Lithuanian Eurodisco (Lithuanian: Lietuviška pop muzika or simply Popso ) refers to a localized electronic dance music scene that flourished in Lithuania roughly between 1992 and 1999. Emerging during the immediate post-Soviet transition period, the genre is characterized by its reliance on cassette tape distribution, amateurish but enthusiastic synthesizer production, and a visual aesthetic that combines Western pop aspirations with post-Soviet resourcefulness.

Unlike the polished Eurodance industries of Germany or Sweden, the Lithuanian scene was largely maintained by a network of rural "culture houses" ( kultūros namai ) and village discos, creating a distinct sonic bubble where 1980s Italo Disco influences persisted well into the late 1990s.

Following the dissolution of the Soviet Union in 1990 and the subsequent withdrawal of Russian troops in 1993, Lithuania experienced a cultural vacuum. Western music was increasingly accessible but often prohibitively expensive or culturally distant. A homegrown industry emerged to fill this void, utilizing affordable digital synthesizers (such as Yamaha keyboards) to replicate the high-energy sounds of Western Eurodance acts like 2 Unlimited or Ace of Base.

The scene was primarily propelled by the cassette market. Due to economic limitations, Compact Discs were rare luxuries; music was almost exclusively produced, distributed, and consumed on cassette tapes. This format influenced the longevity of the genre, as piracy was rampant and official distribution networks were informal. The era is often associated with the "village disco" phenomenon, where local DJs and performers played in repurposed Soviet infrastructure, converted synagogues, sports halls, or community centers that had fallen into disrepair. Photographer Andrew Miksys documented this environment, noting that these spaces served as antidotes to the dreary post-Soviet landscape, offering technicolor escapism during times of economic hardship.

By the late 1990s, as Lithuania's economy stabilized and integration with the West accelerated, the "naive" sound of cassette-era Eurodisco fell out of fashion, replaced by more polished, Western-aligned pop production and the influx of global club trends.

The visual aesthetic of Lithuanian Eurodisco is encapsulated within the dimensions of the cassette J-card. The graphic design of the era is defined by the early adoption of desktop publishing tools, resulting in a distinct "amateur" maximalism.

Album art from this period frequently utilized primitive computer-generated imagery. Covers for artists like Lektra and Karališka Erdvė feature fractal geometry, psychedelic swirls, and lens flares, attempting to signal technological modernity. Typography often mimics the "WordArt" style of early Microsoft Office, utilizing warped text, metallic gradients, and heavy drop shadows. The title font for DJ Dainius’s Balansas , for example, uses jagged, ransom-note style lettering overlaying a flat red background, creating a visual vibration that mirrors the chaotic energy of the music.

Artist photography typically avoided the airbrushed perfection of Western pop stars. Images were often high-flash studio shots or awkward candids imposed over digital backgrounds. Fashion captured in these covers (such as those of Astutė or Neringa) showcases the transitional style of the mid-90s Baltic states: oversized button-down shirts with large collars, high-waisted denim, vests, and dark sunglasses worn indoors. A recurring visual element is the "Euro Star" or similar holographic authenticity sticker placed prominently on the artwork. Intended to prove the cassette was a legitimate copy in a market flooded with bootlegs, these stickers became an unintentional part of the aesthetic, adding a layer of shimmering "official" texture to the low-budget designs.

The genre is characterized by a melodic naivety and structural simplicity. Producers often worked with limited hardware, leading to a sound that was thinner and more treble-focused than Western Eurodance. The music relies heavily on preset synthesizer patches, simple 4/4 drum loops, and the "1671" chord progression common in minor-key dance music.

Lyrically, the genre is almost exclusively Lithuanian, which imposes a different rhythmic cadence on the melodies compared to English-language Eurodance. The songwriting often oscillates between two extremes: "diary entry" melancholia and aggressive absurdity. Tracks like Monika’s " Atostogos prie jūros " (Holiday by the Sea) express a specifically teenage wistfulness about summer romances ending, set against upbeat synthetic backdrops. Conversely, acts like GRM United or DJ Dainius incorporated aggressive, rapid-fire rapping and nonsense English catchphrases ("Boomshakalaka," "Come on DJ"), leaning into the high-BPM energy of Hard Dance and Rave music.Lo-fi Art is a visual aesthetic that gained prominence in the 2010s, characterized by imagery that evokes feelings of nostalgia, calm, and introspection. It is inextricably linked to the rise of "lofi hip-hop" music streams on platforms like YouTube, which pair downtempo beats with a distinct visual style. The aesthetic often features muted color palettes, vintage-inspired filters, and scenes of mundane, quiet moments, such as a person studying in a cozy room or looking out at a rainy cityscape, frequently rendered in a Japanese anime style.

The visual aesthetic of Lo-fi Art evolved from its musical counterpart. The term "lo-fi," short for "low-fidelity," originally (and still) described a quality of music production where audible imperfections like tape hiss and vinyl crackle were present due to the use of analog recording equipment. This DIY sound was popularized in the 1980s and was valued for its perceived warmth and authenticity. This musical ethos was later adopted by the underground "lofi hip-hop" scene, which blended instrumental beats with a deliberately unpolished, nostalgic sound. The visual language for this music began to form through the influence of animated bumpers on television blocks like [adult swim] and the art styles of anime such as Samurai Champloo .

The definitive codification of Lo-fi Art occurred with the launch of the YouTube channel Lofi Girl (formerly ChilledCow) in 2017. Its 24/7 livestream, "lofi hip hop radio - beats to relax/study to," became a cultural phenomenon, largely due to its looping animation of a girl studying at her desk. This character, officially named Jade and created by artist Juan Pablo Machado, encapsulated the core elements of the aesthetic: a cozy, relatable domestic setting and a Studio Ghibli-esque anime art style. The massive popularity of the Lofi Girl stream cemented this visual identity in the public consciousness, making the calm, animated study scene the iconic face of the entire lo-fi movement and inspiring countless similar works.

The primary goal of Lo-fi Art is to create a visual atmosphere that complements the calming and nostalgic mood of the music it accompanies. This is achieved through a consistent set of themes and techniques designed to evoke a "chill-cozy" feeling. The settings are often mundane and familiar, such as bedrooms, quiet city streets at night, coffee shops, or train interiors. This familiarity brings a sense of comfort and safety to the viewer. These scenes are frequently populated with comforting details like sleeping pets, well-kept houseplants, and characters engaged in solitary, relaxing activities like reading or listening to music.

The color palette is typically muted and limited, often using analogous cool colors like blue, pink, and purple to depict nighttime or rainy scenes. This is contrasted with soft, warm lighting from sources like desk lamps or glowing screens, which draws focus and enhances the cozy mood. A significant influence is drawn from the background art of 1990s and 2000s Japanese animation, which provides the slice-of-life tone and detailed environments. To complete the aesthetic, artists often apply filters and effects that mimic vintage analog media. These intentional imperfections, such as a soft focus, film grain, or VHS-style static, degrade the image quality to enhance the feeling of nostalgia for a pre-digital era.Lolicore is a microgenre of electronic music that originated in the mid-2000s within online otaku communities. Musically, it is a fusion of high-tempo genres such as Speedcore, Breakcore, J-core, and Happy Hardcore. The sound is defined by its extremely fast tempos, often exceeding 250 BPM, and the prominent use of high-pitched, sped-up samples sourced from anime, video games, and Eurodance tracks. A central characteristic of the genre is the intentional juxtaposition of these sonically " cute " or kawaii elements with harsh, chaotic noise, distorted bass, and often violent or disturbing thematic content.

Emerging as an early internet-centric music scene, Lolicore's identity was defined more by a shared aesthetic sensibility than a rigid sonic formula. It was created by artists like Onomatopeee and Loli Ripe, a collective of anonymous users from 4chan. The genre's original purpose was to function as a self-aware satire of weeaboo and otaku culture, using shock value and dark, often offensive humor to critique and mock what its creators perceived as the fandom's problematic obsessions with underage or otherwise child-looking fictional characters.

Lolicore was primarily distributed within dōjin (self-published) music circles and gained a notable following within the rhythm game community, particularly in games like osu! . The scene's activity saw a significant decline in the mid-to-late 2010s. This was largely attributed to the ongoing controversy surrounding the genre's name and its reliance on dark humor, which has faced increased criticism for its problematic origins and potential for misinterpretation outside of its original satirical context.

Elements contributing to the development of Lolicore can be traced to the late-1990s in Akihabara, where Japanese DJs such as USAO, Cycheouts, and DJ Sharpnel began incorporating samples from otaku culture into their music, leading to the emergence of J-core (Japanese Hardcore) or Nerdcore Techno (as termed by DJ Sharpnel). Additionally, Breakcore music had already incorporated anime imagery since the 1990s, albeit in a manner distinct from the later Lolicore aesthetic.

The online development of Lolicore involved non-Japanese DJs who integrated darker themes into these existing styles. The origin of the term "Lolicore" is disputed. An anonymous 4chan user is alleged to have coined it, a claim contested by the anonymous collective Loli Ripe, who asserted they introduced the term circa 2006 with their album "Little Sweet Dolores." Due to the lack of archived online interactions, the precise origin remains unclear. However, the emergence of Lolicore involved contributions from multiple artists.

The term "Lolicore" originated within Western internet communities, not in Japan. A key distinction between Lolicore and J-core (Japanese Hardcore) is the artists' geographic origin and intent. J-core artists are typically Japanese, and their music is generally not intended to be offensive. Lolicore, predominantly produced in Western countries (primarily the United Kingdom, United States, and Central/Eastern Europe), often utilizes parodic elements directed at perceptions of Japanophiles. While exceptions exist, such as Japanese artists CDR, Shako Pani, sHimaU, and Mo, Western production is the norm.

Lolicore began to solidify as a genre in the late-2000s. Loli Ripe's intent was to satirize the perceived behaviors of Japanophiles on internet platforms like 4chan, Gaia Online, MySpace, Something Awful, Newgrounds, and DeviantArt. The genre's initial aim was to critique the self-identification as " Otaku " or "lolicon," which is often negatively perceived in Japan. Early Lolicore artists like Onomatopee, CDR, and PAWC pioneered the genre's sound, incorporating elements of Noise music.

By 2010, the genre had established a distinct identity. Early examples, such as Onomatopee's 2006 " Anicore " album, had paved the way by remixing J-Pop with screams and gabber kicks. Lolicore's connection to 4chan is evidenced by a /mu/ (music board) chart created around this time, solidifying it as an early internet-based music genre predating scenes like Vaporwave .

Lolicore music was predominantly self-published. In its early stages, the genre spread through anonymous imageboards like 4chan and 2chan, and later through MySpace. Platforms such as Last.fm and YouTube played a role in its dissemination, with channels like ItsLike3AM , Bread Memes , and godgodgod123 uploading related tracks. Rhythm games, notably osu! , also often featured Lolicore, with players like Cookiezi showcasing songs like Goreshit's " MATZcore ".

Goreshit became the most significant artist of this era. Initially a duo comprising Leon Makepeace and Shred Wilson, their 2007 album " watashi wa baka yaro desu " featured anime samples and chaotic sounds. Leon Makepeace later continued as a solo artist, producing notable albums such as " My Love Feels All Wrong " and " Tomboyish Love For Soda Pop And Apple Sweets ." In a 2012 interview, Goreshit stated that he had limited awareness of the broader scene, characterizing it as "temporary."

By the mid-2010s, the original Lolicore scene experienced a decline as artists and fans shifted to other genres, and record labels ceased operation. Efforts to maintain the scene were made by artists like Himeko Katagiri, RaevLoli, and FoxxyDekay, including the "Lolicore Artists Association" and the 2012 founding of the "Tsundere Violence" record label.

The early 2020s social media resurgence of Breakcore resulted in renewed, albeit limited, attention to Lolicore. Artists such as Rory in Early 20s and Sewerslvt gained more visibility on TikTok and Spotify, coinciding with increased controversy compared to previous decades. The genre's name became a focal point of criticism, particularly from those unfamiliar with Lolicore's origins as a satire of otaku subculture. This led to criticism without a full understanding of the genre's intended parodic intentions. Many artists who make music in the same style prefer labelling their music as "Mashcore" to distance themselves from these controversies.

Lolicore's visual aesthetic is deeply rooted in the chaotic and "trashy" internet culture of the mid-2000s. It functions as a visual extension of the music's satirical nature, often utilizing a "lo-fi" or amateurish design philosophy that mocks the polish of mainstream anime media. A ubiquitous trope in the genre is the placement of black bars over the eyes of anime characters, as seen in album art by Japshitfun and Lolicore Nation. This visual shorthand mimics the privacy censorship used in news reports regarding criminals or in adult media. It serves a dual purpose: it implies that the content is "forbidden" or "illicit," and ironically frames the viewer or the subject as participating in something shameful.

Central to the aesthetic is the concept of "Grotesque Cute" ( Gurokawa ), where "moe" imagery is juxtaposed with violence or disturbing themes. Album covers frequently feature blood splatters, firearms, or gore superimposed over cheerful anime characters (exemplified by Onomatopeee and Verbal Shutdown). This contrast is intended to shock the viewer and subvert the innocence of the source material. These visuals often utilize a "horror vacui" (fear of empty space) approach, resulting in digital maximalism. Similar to Vaporwave 's remix approach, covers are dense collages of stolen fan art, logos, graffiti fonts, and internet slang, often heavily compressed or saturated to the point of visual noise.

Another distinct technique is "reality intrusion," where artists such as Nekrock or Japshitfun incorporate low-quality photographs of real people (often adult or middle-aged men) superimposed over anime backgrounds. These images often depict messy rooms, otaku memorabilia collections, or individuals in hoodies, grounding the satire by contrasting the idealized 2D fantasy with the often gritty or mundane reality of the "hardcore otaku" lifestyle.

While this "collage" style defined the golden age (2006–2010), with some artists such as Reizoko Cj utilizing MS Paint edits and rage comics instead of the signature style, the visual aesthetic has since evolved into " Glitchbreak ." Contemporary artists in the 2020s, like Sewerslvt and Rory in Early 20s, have shifted toward Glitch Art and Old Web -inspired aesthetics. This newer style focuses less on shock value and gore, leaning instead toward melancholic digital abstraction, databending, purple or blue color palettes, and 3D render aesthetics reminiscent of the PlayStation 1 era.

Lolicore is a microgenre characterized by the manipulation of vocal samples, often from anime, Akibapop/Denpa , and bubblegum dance music, set against a backdrop of complex high-tempo breakbeats. Vocal samples are typically altered through techniques such as pitch-shifting, time-stretching, and granular synthesis, resulting in heavily distorted or high-pitched sounds. Tracks are generally concise, ranging from a few seconds to approximately three minutes in length.

Common sampling sources include dialogue from 1990s-2000s anime, J-Pop vocals and cheesy Eurodance tracks, exemplified by Loli Ripe's use of Caramell's " Om du var min ." Some tracks, such as Goreshit's " Winkles Twinkle ," sampling a song from the "lolibait" anime Moetan , directly distort soundtracks associated with controversial anime. This manipulation and the escalating intensity of the track can be interpreted as a deliberate recontextualization or subversion of the original material, making it appear illicit and framing the listener as participating in something illegal. Rhythmic structures frequently incorporate the "amen break" and Gabber kicks, with tempos often exceeding 200 BPM.

Prominent figures in the scene argue against a rigid definition. Himeko Katagiri states that "to define the lolicore sound is impossible," emphasizing the diverse range of styles within the scene, which includes noisy breakcore, speedcore "moetone," mashcore, and even traces of trance or musique concrète . Katagiri describes the presence of "light" and "dark" Lolicore, as well as the emergence of internal micro-styles like "reizokore."

While Lolicore shares similarities with Breakcore in its use of manipulated samples and rhythmic complexity, members of the original scene (such as Reizikini) argued that it was more of an independent, "incredibly isolationist" music scene.

Lolicore is a highly controversial genre, primarily due to its name and associated imagery. The term "loli" is derived from Vladimir Nabokov's novel Lolita and is used in anime and manga culture to refer to child-like female characters, while "lolicon" describes the sexualization of those characters. Consequently, the genre has faced persistent accusations of normalizing or promoting pedophilia.

Proponents and some artists within the scene argue that its provocative nature is intentional satire. They contend that Lolicore functions as a form of shock value meant to critique and parody the sexualization of underage characters within otaku and weeb culture. This interpretation is supported by the genre's origins in the 4chan collective Loli Ripe and by examples of blatant self-parody in song titles (e.g., " I Would Amputate My Legs To Be With These Girls " by Japshitfun). However, critics argue that ironic participation in these themes can be indistinguishable from genuine endorsement, and that using "cute" imagery to frame disturbing content, regardless of intent, risks desensitizing audiences to the underlying subject matter. This interpretive ambiguity is similar to debates within the Vaporwave community, where the use of corporate imagery is seen as both a critique and a celebration of consumerism.

A nuance in this debate lies in the frequent disconnect between the genre's provocative branding (artist names, song titles, and album art) and its actual sonic content. Musically, a vast number of Lolicore tracks contain no explicit or inappropriate material; for example, Loli Ripe's foundational track " Om du var min " is fundamentally a distorted, sped-up remix of an innocent 1990s Swedish Bubblegum Eurodance song. In these instances, the "controversial" nature of the art is not inherent to the audio itself, but is constructed entirely through the application of the "Lolicore" label and the associated shock-value imagery. This suggests that for many producers, the genre functioned less as a vehicle for distributing illicit content and more as an exercise in aesthetic transgression; forcefully recontextualizing innocent pop culture through a deliberately "edgy" or "deep internet" lens to provoke a reaction.

The impact of this controversy is reflected in the varied stances of the artists themselves. Himeko Katagiri, founder of the Tsundere Violence label, acknowledged the genre's "degenerate" connotations but defended it as a form of unapologetic self-expression, especially for those with NEET status (Not in Employment, Education, or Training). Conversely, other key artists have publicly distanced themselves from the genre. Goreshit has not produced Lolicore since at least 2018, having previously described the scene as temporary in 2012. Japshitfun, whose true identity remains unknown, explicitly aimed at offending listeners with their music. In 2022, Rory in Early 20s changed their project's name after facing false accusations when their music gained traction on TikTok. Similarly, Reizoko Cj quit the genre and removed his work from Bandcamp to focus on other styles of music.

Lolicore extensively draws its samples and imagery from a specific set of media, primarily consisting of anime that was popular during the 2000s, reflecting its parodic intent towards the weeb subculture of the time.Madchester , also known as Baggy or the Second Summer of Love , denotes a broad musical and cultural phenomenon originating in Manchester, England in 1987. The scene emerged as a manifestation of an emerging music driven youth culture within the city, gaining prominence from the late- 1980s and peaking into the early- 1990s . Madchester has a wide range of associations, including 1960s pop culture and psychedelia , baggy and casual fashion (typified by the bucket hat), a vast range of musical genres such as indie rock , post-punk , acid house , dance and electronica, as well as a vibrant hedonistic nightlife which emerged as part of the developing rave scene. The movement achieved widespread recognition through the British music press in 1989-90 after various Mancunian musical acts achieved mainstream success.

Key musical groups associated with the Madchester scene include the Stone Roses, Happy Mondays, Inspiral Carpets, The Charlatans, James, and 808 State. The prevalence of drug use (notably MDMA), and the seminal Haçienda nightclub significantly shaped the scene. The Haçienda was opened in 1982, owned by Factory Records and New Order; it became the focal point of the Mancunian music scene during its tenure, with Madchester acts, as well as pre-Madchester bands (such as the Smiths) performing there on various occasions. The club's manager, Tony Wilson, coined the term 'Madchester'. The Stone Roses' Spike Island gig in May 1990 was also regarded as a key moment for Madchester, referred to as "Woodstock for the E generation". This was followed by a period of domination by Manchester acts in the British music charts during the summer, making 1990 the peak of Madchester.

The movement's momentum slowly dissipated following the inactivity of central groups such as the Stone Roses and Happy Mondays. James, the Inspiral Carpets, the Charlatans, and 808 State continued to record with varying degrees of success throughout the 1990s, but they were no longer seen as part of a localized Manchester movement. Happy Mondays and the Stone Roses released follow-up albums in 1992 and 1994 respectively, but both were troubled and didn't live up to expectations. The Haçienda also experienced decline and financial strain, closing in temporarily in 1991 and permanently 1997. Going into the mid-1990s, bands who were influenced by the Madchester scene with similar indie-rock roots came to be regarded as Britpop and other guitar-driven genres as the zeitgeist shifted. More dance-orientated parts of the movement became absorbed by the broader rave and techno scenes, as well as the more working class 'Casuals' who continued with football hooliganism and ' Lad Culture '.

The music scene preceding Madchester was largely shaped by bands such as The Smiths and Joy Division/New Order, all of whom became influential to the emerging Manchester scene. The opening of The Haçienda nightclub in May 1982 by Factory Records and New Order was a pivotal event in the development of this underground scene. During its early years, the club primarily featured club-oriented pop music, hosting gigs by local bands including the previously mentioned local acts the Smiths and New Order, as well as international acts such as Madonna, cementing the club's important reputation. In 1986, the Haçienda became one of the first British clubs to begin playing house music, broadening the club's appeal and playing a large part in the popularisation of Acid House in the UK and the development of the Second Summer of Love . In 1987, the club's increased popularity and esteemed reputation was reflected in the fact it went from making a consistent loss to being full every night of the week; it hosted performances by American house artists such as Frankie Knuckles and Adonis during the same year.

From 1989-91, the Haçienda was massively popular, becoming the epicentre of the boundary pushing musical innovations that were happening within Manchester, fusing dance, electronica, and rock. However, On 14 July 1989, the UK's first ecstasy-related death occurred at the nightclub; this catalysed a series police clampdowns on the club, exacerbated by future financial struggles caused by a lack of alcohol sales due to clubbers' preference for drugs, meaning the Haçienda rarely made a profit. The resulting problems caused the club to close for a short period in early 1991, before reopening with increased security later the same year. However, the momentum for Madchester had halted as a result of this, as well as the inactivity of many Madchester groups. In culmination, the Haçienda went bankrupt and closed in 1997, being demolished by 2002.

Warehouse parties and raves organized also played a crucial role in the scene's development. The Stone Roses' warehouse parties  were particularly significant. DJ Dave Booth often supported The Stone Roses' live performances at these events, including the notable "Warehouse 1, The Flower Show" on July 20, 1985, which helped build the band's following and the burgeoning music scene in Manchester. Booth himself was an influential figure in Manchester's music scene, serving as a resident DJ at several key venues that formed the network of Manchester's alternative club scene. Emerging bands frequented these clubs and drew inspiration from the diverse music played by DJs.  The Impromptu and often illegal nature of these warehouse parties emphasised the DIY and working class ethos Madchester embodied, helping to develop the intense nightlife which typified the movement.

Madchester bands emerged to the mainstream in the late-1980s, initially receiving minor success in the British charts. The Happy Mondays' debut album went to number four on the UK Independent Albums Charts, and the Stone Roses' breakout single, 'Sally Cinnamon', went to number three on the UK Indie Singles Charts in 1987. In October 1988, the Stone Roses released "Elephant Stone" as a single. Around the same time, the Happy Mondays released the single "Wrote for Luck," followed by the "Bummed" album. In November, A Guy Called Gerald (an early member of 808 State) released his first solo single, "Voodoo Ray." By 1989, a sense had begun to emerge in the British music press that something was happening in the city.

The Stone Roses built a growing fanbase as they toured across the country and released the single "Made of Stone" in February 1989. Although the track did not chart, excitement around the band in the music press surged with the release of their self-titled debut album in May. Almost immediately following the release of the album, it received universal acclaim and praise, heralded as one of the greatest albums and debut albums of all time. The Stone Roses peaked at number nineteen in the UK Albums Chart, cementing the band as an influential and rising force in music and being integral to the mainstream success of Madchester.

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The Madchester scene had a distinctive fashion that reflected the era's music and cultural influences. The style conveyed a confident Northern identity, drawing on earlier working-class street styles such as Scallies and Perry Boys, which were prevalent among North West football crowds and part of the Casual subculture.

Baggy clothing was a key feature, facilitating the loose-limbed movements of dancers. Comfort was prioritized, with both girls and boys often wearing similar clothing, creating a seemingly egalitarian and almost non-gendered look. The cut of the clothes defined the look, sound, attitude, and lifestyle. The most distinguishing feature of the "baggy" style was flared jeans. The black drainpipes of C86/shoegaze gave way to extra-wide flares, reminiscent of the Northern Soul scene and the 1967 Summer of Love.

The Manchester flare revival began in 1982/83 when former patrons of the Northern Soul club, the Twisted Wheel, sourced deadstock for their clothing businesses. Flares became popular, with early wearers including the nascent Happy Mondays. By 1985, flare fashion had declined, and "baggies" – baggy all the way down to the hems – emerged. The Happy Mondays were again early adopters, with John Squire of the Stone Roses also embracing the style. However, a small group remained dedicated to flares. In 1987 and 1988, they gained attention from i-D, described as a "surreal youth cult roaming the Hacienda," wearing 25-inch flares, outdoor jackets, and Reebok trainers.

The Stone Roses initially came late to flares, with early photos showing members in baggies or straight-leg jeans. However, by 1989, flares gained wider acceptance, with Ian Brown of the Stone Roses wearing them "for that slight swish" and to provoke a reaction. The width of the flares varied, with 18, 21, 24, and 25-inch bottoms holding subcultural cachet at different times. Ian Brown in 21-inch green Wrangler cords and the 'banknotes' t-shirt became an iconic look.

Baggy t-shirts, often bootlegged, were essential, featuring designs on the front, back, and sleeves. The "AND ON THE SIXTH DAY GOD CREATED MANchester" t-shirt was popular, even worn by Madonna and Jean-Paul Gaultier. Other regionally focused designs were also produced. Kagoules, practical in Manchester's climate, became fashion accessories. Madchester hairstyles included Shaun Ryder's centre-parted "curtains" and Bez's short crop.

When the Stone Roses and Happy Mondays appeared on Top Of The Pops in November 1989, Ian Brown and Happy Mondays' drummer Gaz Whelan wore the same Jean Paul Gaultier jacket. While such designer clothes were often unaffordable for fans, they could improvise, obtaining gear from shops like Stolen From Ivor and Joe Bloggs, whose affordability provided an alternative to designer brands. Regional variations existed in London, Liverpool, and Brighton, where football tops were popular, but flares were less common. The Farm, for example, favored Paul Smith gear and saw themselves as "neo- mods ," with a more understated style.

The Madchester fashion scene saw the rise of cut-off denim, logo tees with baggy sweaters, edgy looks, loose clothes, and bucket hats. The Britpop influence of the 90s, led by Oasis, further influenced clothing, styles, and trends, with polo shirts, khaki jackets, and sportswear becoming associated with the Madchester movement. The baggy outfits with bucket hats remain a recognizable aesthetic.

The Madchester brand itself has seen a modern resurgence, with the MDCR label being worn by Manchester City players and staff, including Pep Guardiola. This has created renewed interest in the Madchester aesthetic. The core of the look remained loose fitting clothing, allowing for movement on the dance floor, and a sense of artful, imaginative expression. Some individuals, however, did not follow the main trend, and instead preferred glam metal and grunge fashions.Mallsoft is a musical and visual subgenre of Vaporwave that emerged in the early 2010s. It is characterized by its focus on the atmosphere and architecture of shopping malls, grocery stores, and other public mercantile environments. By sampling background music such as muzak, smooth jazz, and easy listening, mallsoft aims to conjure hazy, dream-like memories of 1980s and 1990s consumer culture.

The aesthetic often emphasizes the "space" around the music, utilizing heavy reverb to mimic the acoustics of massive, empty atriums. While it frequently evokes comfort and nostalgia, mallsoft also explores themes of hyper-capitalism, loneliness, and the eerie nature of abandoned commercial spaces.

Mallsoft originated in the early 2010s within internet communities, primarily on 4chan and Bandcamp. The release of the album Vacant Places by Hantasi in 2012 is cited as an early foundational work of the genre, though it was not explicitly tagged as "mallsoft" until early 2013.

The genre's sound was further defined by subsequent releases from artists such as Disconscious, 식료품groceries, and Cat System Corp (猫 シ Corp.). Cat System Corp.’s 2014 album, Palm Mall , is frequently identified by music journalists as the definitive mallsoft release, featuring a 22-minute title track that blends distant muzak with field recordings of mall ambiance. Over time, the aesthetic became inextricably linked with the "retail apocalypse"—the widespread decline and abandonment of physical shopping malls—leading to a branch of the genre that focuses specifically on "dead malls" and liminality.

The visual identity of mallsoft is deeply rooted in the architecture of late 20th-century commercialism. It prioritizes imagery of large, enclosed spaces designed for public transit and commerce. Common visual elements include:

Visual media associated with mallsoft often uses low-fidelity video filters or grainy photography to enhance the feeling of a "reconstructed" or half-remembered past. This aesthetic choice heightens the sense of isolation and the "cold" nature of meandering through corporate environments.

The mallsoft sound is a derivative of ambient and electronic music. Producers often take 1980s pop songs or corporate lounge tracks and "chop and screw" them—slowing the tempo and significantly increasing the reverberation.

A defining feature of the genre is the integration of "external natural human ambiance," which includes field recordings of muffled conversations, footsteps on tile, the hum of air conditioning units, and intermittent PA system advertisements. This creates an immersive sound where the music sounds as if it is emanating from distant overhead speakers in a cavernous space.

The philosophy of Mallsoft revolves around the concept of the mall as a " liminal space "—a place that exists for transit rather than habitation, offering a sense of "joyful apathy" where the individual can exist without personal expectation. It represents a form of "reconstructed nostalgia" for an era that has passed and will not return.

Listeners often derive pleasure from the act of remembering itself, using the music as a conduit to a time when information and commerce were localized in physical hubs. The aesthetic acts as a commentary on degree-zero capitalism, ranging from the sincere romanticization of communal consumerism to the ironic or haunting portrayal of hyper-capitalist decay.Meme Rap is an internet-native music genre that emerged in the early 2010s, achieving widespread visibility between 2016 and 2020. The style utilizes a parodic deconstruction of hip-hop tropes, prioritizing nonsensical humor and quick viral distribution over conventional production standards.

The genre's aesthetic relies on the intentional juxtaposition of disparate cultural motifs. It places sanitized pop-culture iconography, such as characters from Caillou or Barney & Friends , alongside the stylistic signifiers of mid-1990s Gangsta Rap . These compositions frequently utilize compression artifacts, pixelation, and aliased typography to replicate the aesthetic of low-bandwidth internet media.

The origins of Meme Rap are credited to early 2010s internet personalities and rappers who utilized social media platforms to build followings independent of major label support. Lil B is frequently cited as a progenitor for his 2010 single " Wonton Soup " and his extensive use of "Thank You Based God" memes to cultivate a digital subculture. Simultaneously, the group Das Racist achieved virality with the 2010 track " Combination Pizza Hut and Taco Bell ," which utilized corporate satire and repetitive lyricism to subvert rap conventions. The South African group Die Antwoord also contributed to the early aesthetic through their " Zef " persona, blending aggressive talent with absurdist visual performance in videos like " Enter the Ninja ."

The aesthetic solidified with the emergence of George Miller's Filthy Frank and Pink Guy personas. Pink Guy focused on music characterized by shock comedy and vulgarity, famously creating the "Harlem Shake" viral meme. This era of Meme Rap transitioned from SoundCloud to mainstream platforms as artists like Matt Ox and Bhad Bhabie parlayed viral internet moments—such as the fidget spinner craze and an appearance on Dr. Phil—into major label recording deals. By 2017, the genre saw an influx of YouTube vloggers, including Jake and Logan Paul and RiceGum, who utilized rap as "content" for their channels, often through staged rivalries and diss tracks.

The Meme Rap aesthetic faced a significant decline following major policy changes on its primary distribution platforms. On March 22, 2022, the gaming platform Roblox implemented audio privacy changes that set all audio files longer than six seconds to private. This effectively dismantled the "bypassed audios" scene that had been a fertile ground for Meme Rap dissemination. Furthermore, the genre's dependence on juvenile humor and shock value led to a "maturity wall," where its audience (typically 9-15 years old) aged out of the style as they grew older.

Critics frequently cite the genre as a case study for how viral fame does not always lead to technical longevity. High-profile artists like George Miller (Joji) and Rich Brian successfully transitioned to serious musical careers by disowning their comedic personas. However, many artists struggled to pivot away from their meme-based images (such as MC Virgins), leading to rapid declines in viewership and cultural relevance as the novelty of the initial shock expired.

Similar to the contemporaneous Trap Metal genre, the decline of the Meme Rap aesthetic is characterized by a shift from transformative satire to performative incompetence. As the initial shock of ironic rap dissipated, creators prioritized increasingly erratic and low-quality output to maintain relevance within online communities. This process eventually hit a "maturity wall," where the audience (typically aged 9–15) outgrew the juvenile humor, leading to total cultural obsolescence.

In conclusion, the Meme Rap aesthetic has effectively exhausted its cultural capital. As the original audience aged out and the "viral escalation" reached a state of performative incompetence, the shock value and novelty tactics lost their efficacy. Today, the genre exists primarily as the subject of retrospective analysis video essays (e.g., "The Rise and Fall of Meme Rap") and a "cultural time capsule" for the Generation Z demographic that matured during the mid-to-late 2010s peak of the genre.

The visual aesthetic of Meme Rap utilizes bizarre, surreal, and intentionally low-quality imagery to mirror its lo-fi sonic characteristics. A primary technique involves "bootleg hood surrealism," which modifies traditionally "safe" mascots or childhood characters with adult themes. This is seen in album art depicting characters like Caillou with tattoos and firearms or using Doge in music videos for tracks like " Breakfast in Heaven ." These visuals frequently utilize rapid editing, distorted filters, and amateur green-screen effects to capture immediate attention on digital feeds.

A secondary visual pillar is "Moe Swag," also known as "Gangstas with Waifus" (named after the banned subreddit of the same name), which juxtaposes imagery related to gangster culture with moe anime girls. This style consists of digital edits, graffiti, and artwork featuring rappers, gangsters, or controversial political figures alongside popular anime characters. Graffiti artist Lushsux is credited with popularizing this aesthetic through murals of real-life people alongside anime figures. The visual appeal stems from the combination of reality and fiction, blending two disparate worlds to create an unexpected and often humorous contrast. Common features of this trend include warm color filters, anime body pillows, and the depiction of real-life people hugging or driving with fictional characters.

In the early 2010s, artists like Yung Lean and the Sad Boys incorporated motifs from early 2000s product culture, such as Arizona Iced Tea and Northface jackets, to create a visual language rooted in existential apathy and mass-market consumerism. This visual fusion extended beyond hip-hop to Future Funk remixes and satirical rap videos, where animations and distorted anime samples were used to create a stark contrast between disparate cultural elements. The visual aspect of Meme Rap is designed for rapid shareability, aiming for temporary fame within digital environments like TikTok and Roblox.

Meme Rap music is defined by DIY production and the use of copyrighted samples drawn from non-traditional sources. A prominent trend involves sampling familiar melodies from children's television programs or video games and layering them with explicit or shocking lyrics. This creates a jarring juxtaposition intended to provoke a humorous or visceral reaction from the listener. The sound typically features minimal mixing, distorted 808 patterns, and "lazy" rhymes.

The genre is broadly and subjectively categorized into major substyles based on production intent. "Ironic Meme Rap" focuses on intentionally poor quality, using excessive distortion and screaming to achieve a "so bad it's good" appeal. "Conventional Meme Rap" maintains more standard trap production values and focuses on the charisma of the artist, exemplified by the viral success of Yung Gravy and bbno$. Lyrical themes frequently parody gangsta rap stereotypes by taking boasting and material wealth to absurd extremes, often incorporating nonsensical humor.

Critiques of Meme Rap focus on its reliance on performative transgression and its disruptive nature. Analysis of the genre characterizes its shock value as a formulaic tool that trivializes sensitive topics to achieve rapid virality, prioritizing online engagement over musical substance. The inclusion of slurs is documented as aesthetic bait intended to provoke attention rather than provide social commentary.

This practice led to the term being used as a derogatory label on platforms like 4chan’s /mu/ for repetitive DIY content. The aesthetic's low maturity threshold (generally limited to audiences between the ages of 9 and 15) combined with the 2022 Roblox audio privacy purge, signaled its disposability and total eventual cultural obsolescence.This page is currently under construction. See Metalhead for relevant information.

Metal describes a style of heavy, aggressive music. It evolved from the acid rock/heavy psych of the late 1960s, a heavier form of psychedelic rock originating in the San Francisco music scene. Metal music is typically characterized by loud guitars, fast drumming, and often intense lyrics.

Early bands credited with the origins of metal range from the heavy blues of Led Zeppelin, Blue Cheer, and Jimi Hendrix, to the occult rock of Coven and Blue Öyster Cult, and artists like Alice Cooper and Pentagram. MC5 and The Stooges also played a crucial role in foreshadowing the development of rock music into both punk and metal. Black Sabbath is often credited with crystallizing the genre in the early-mid 1970s.

The late 1970s and early 1980s saw the rise of the "New Wave of British Heavy Metal." During this period, bands from the United States and continental Europe established early subgenres, notably doom metal and power metal, as well as the popular Thrash Metal scene. This sonic and subcultural diversification within heavy metal continued into the 21st century.

The aggressive sound of metal led to a moral panic among some Christian parents in the 1980s, who feared the music was Satanic and a negative influence. Despite this opposition, metal remains popular and has influenced genres such as Grunge , Groove Metal, Alt Metal, Nu-Metal , and Metalcore among numerous other subgenres. Fans of metal are commonly known as headbangers or metalheads .

Heavy metal (or simply metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States. With roots in Blues rock, Psychedelic rock, and Acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. The genre's lyrics and performance styles are sometimes associated with aggression and machismo.Metalheads are dedicated fans of Heavy Metal music who adhere to a subculture characterized by shared fashion, rituals, and an ideology of authenticity and alienation from mainstream society. The subculture emerged in the 1970s alongside pioneering bands like Black Sabbath and Judas Priest and has persisted far longer than most rock genres due to the growth of this intense, exclusionary youth community.

The Metalhead community maintains a rigorous "code of authenticity," which demands that both performers and fans demonstrate deep loyalty to the music, a disinterest in commercial appeal (a refusal to "sell out"), and a general opposition to established authority.

The foundation of the Metalhead subculture was laid in the late 1960s and early 1970s in the United Kingdom and the United States, as the music evolved from the heavy blues and psychedelic rock scenes. Bands such as Black Sabbath are widely credited with crystallizing the genre with their thick, massive sound, establishing the sound's characteristic heavy distortion and dark lyrical themes. Judas Priest was instrumental in formalizing the aesthetic with their iconic use of leather, studs, and denim.

In the 1970s, the fan base was predominantly characterized as white, male, and working-class. The subsequent rise of the New Wave of British Heavy Metal in the late 1970s and early 1980s, alongside the emergence of early subgenres like Doom Metal, Power Metal, and Thrash Metal , sparked significant global and subcultural diversification. By the 1980s, female fans developed a growing interest in the style, and in recent times, metal culture has expanded its popularity among various ethnic groups, including African Americans.

The aggressive sound of metal and its themes of darkness and rebellion led to a high-profile moral panic among some conservative groups in the 1980s, who feared the music was "Satanic" and promoted negative influence. Despite this opposition, the intense subculture solidified its identity, ensuring the longevity of the genre.

Despite its initial demographic being largely white, male, and working-class, the Metalhead subculture has achieved global reach, with active scenes in virtually every country, including places where it faces religious opposition, such as orthodox Muslim communities in the Arab World.

The subculture is also sometimes characterized by a narrow appreciation of music. Some dedicated metalheads are notably resistant to non-metal musical styles and can be resistant to musical evolution within the genre, a rigid attitude sometimes labeled as "metal elitism." Conversely, the genre has spawned numerous successful fusion subgenres (e.g., Nu-Metal , Folk Metal) and many metal musicians express deep appreciation for non-metal genres, including classical music and hardcore punk, contradicting the notion of metal as an entirely isolated genre.

The general Metalhead aesthetic is highly formalized yet simple, built on a foundation of durability, darkness, and visible iconography. The classic uniform emphasizes function and defiance, drawing on elements of motorcycle and working-class culture. It typically comprises tight blue jeans or drill pants, motorcycle boots or hi-top sneakers, and black T-shirts. Long hair is a recognizable staple of the subculture, although a significant minority, exemplified by Rob Halford of Judas Priest, wear their hair short or shaved. In recent decades, it is common for metalheads to also adopt numerous piercings and tattoos.

The most defining piece of apparel is the battle jacket (sometimes called a "cut-off" if the sleeves are removed), which is an element shared with the Punk subculture. This garment, usually a sleeveless vest made of denim or leather, is covered with a dense collection of band patches and button pins featuring logos, album artwork, and motifs from metal bands. The jacket functions as a visual archive, allowing the wearer to immediately communicate their specific interests and allegiance within the metal community. Patches are often sourced directly from the bands at concerts to affirm monetary support and authenticity.

While the general aesthetic is broadly defined by leather and denim, certain subgenres developed their own extreme visual canons:

See the Metal page for more information about the various subgenres of metal music and their respective visual aesthetics.

The Metalhead subculture is sustained by specific, ritualized activities that affirm community identity and solidarity.

The main ritual of the subculture is attending metal concerts and festivals. This activity is crucial for affirming the collective identity and celebrating the music. In place of conventional dancing, metal fans engage in moshing and headbanging (violently shaking the head up and down in time with the music). Fans also frequently use the corna hand gesture ("devil's horns"); a widely accepted symbol invented by vocalist Ronnie James Dio.

Metal culture is stereotypically associated with alcohol and drug use, riding motorcycles, and exhibiting a strongly masculine community structure. However, while songs celebrate drinking and partying, many others, such as Metallica's " Master of Puppets ," actively warn against the dangers of addiction.

A "code of authenticity" is paramount to the metal scene. The term poseur (or poser ) is used to describe fans or performers who adopt the visible appearance and clothing style of the subculture but are deemed to lack genuine musical appreciation or sincerity. Fans of "heavier" subgenres, such as black metal and death metal , are often the most rigorous in applying this label. Similarly, a band that shifts its sound to become more commercially viable or "radio-friendly" is accused of being a "sell out," an act that breaches the community's anti-commercial ethic.

The subculture's identity is inextricably linked to the trailblazing bands of its first two decades:

See the Metal page for more information.Midwest Emo , or Midwestern Emo , is an Emo scene that surged in the Midwestern United States during the 1990s.

Midwest Emo is a sub-genre of emo music that began in the 1990s as a response to the Washington, D.C. emotional hardcore scene, such as Rites of Spring, Moss Icon, and Embrace. Key traits of the genre include emotional and unconventional vocal deliveries, personal and introspective lyrics, and “twinkly” arpeggiated guitar melodies. Bands such as Sunny Day Real Estate, Cap'n Jazz, Mineral, Braid, Christie Front Drive, and The Promise Ring introduced indie/math rock-inspired elements to the D.C. emo-core sound to polish its more abrasive components into a unique style that, while more accessible, maintained its introspective and expressive roots. A key difference between the scenes is that Midwest emo bands prioritized melodic riffs and vocal lines over the furious, punk sensibilities of the emo-core bands they succeeded.

Midwest emo experienced a slight rise in popularity within DIY movements across the United States throughout the 90s, with notable scenes in the Midwest (Cap’n Jazz, The Promise Ring, American Football, Braid), Texas (Mineral, At the Drive-In, The Gloria Record), the Pacific Northwest (Sunny Day Real Estate, Pedro the Lion), and the East Coast (Texas Is the Reason, Jawbreaker, Rainer Maria, The Jazz June, Penfold). Because of the notable stylistic changes of the emo genre over time, this period is often referred to as the second wave of emo. The low-budget, DIY roots of the genre heavily influence both the music and aesthetic of Midwest emo. This manifests in several ways: raw emotional delivery takes precedence over production quality, audiences formed through word-of mouth rather than label promotion, and fashion was decidedly uninspired, favoring comfort and accessibility over artistic expression—which was largely relegated to the music itself.

With the decline of grunge in the late 90s, the future of the alternative rock landscape was uncertain. Bands across the subgenera of alternative rock (such as pop-punk, nu-metal, and post-grunge) found themselves competing for label attention, and though Midwest emo acts such as Texas Is the Reason and The Get Up Kids received considerable exposure on MTV, it was unclear whether any of them could sign to a major record label and propel the Midwest sound into the mainstream. By the early 2000s, it became clear that labels favored more accessible, pop-influenced emo acts such as Fall Out Boy, My Chemical Romance, Taking Back Sunday, and Jimmy Eat World. These bands have been described as "mall emo," emo-pop, and, debatably, the third wave of emo. Following the massive commercial reach of these emo-pop bands and the continued success of pop-punk acts like Blink-182 and Green Day, it seemed that Midwest emo was all but forgotten.

Midweste emo experienced a resurgence in the early 2010s in a period which came to be known as the "Midwest emo revival," or the fourth wave of emo. Bands such as Algernon Cadwallader, Street Smart Cyclist, Snowing, Into It. Over It., Empire! Empire! (I Was A Lonely Estate), Everyone Everywhere, Brave Little Abacus, and CSTVT (formerly Castevet), Merchant Ships were greatly influenced by the Midwest emo acts of the 90s. Emo revival bands utilized "twinkly" math-rock-esque riffs even more often than their predecessors, and while relationship issues remained a common theme, revival acts also more often utilized surrealist imagery and lyrics, not unlike those written by Cap'n Jazz over a decade prior. Bands of the revival often used extended chords and brass instrumentation, which had previously been characteristic of bands like American Football, to further enhance the  "jazzy" qualities of their songs.

The Midwest emo revival quickly diversified in the following years, with bands pulling influence from a broad swath of genera. Pop-punk and punk influence found their way into the revival on the backs of acts including Title Fight, Dikembe, Joyce Manor, The Hotelier, You Blew It!, Citizen, Glocca Morra, and Free Throw. Indie music also had considerable influence on the revival. Examples of bands that straddle the border of indie and emo include Tigers Jaw, Modern Baseball, Marietta, Sorority Noise, Microwave, and Foxing. Bands such as Brave Little Abacus and The World Is A Beautiful Place & I Am No Longer Afraid To Die fused Midwest emo with post-rock elements such as texture/timbre experimentation and the implementation of electronic instruments. Bands such as I Kill Giants, Tiny Moving Parts, This Town Needs Guns, and Colour wore their math rock influence on their sleeves.

Common tropes within the Midwest emo aesthetic include suburban living, sports themes, skate culture, recreational drug usage, friendship, and failed romances.

Historically, midwest emo style has functioned similarly to norm-core fashion in that comfortable, conservative styles of dress are more common than outright experimentation. Midwest style is unfashionable and inoffensive by design.

Blue jeans and chinos are the most common bottoms within this style. Touring musicians will often wear khaki shorts or even basketball shorts to maximize comfort while traveling and performing. Plaid and tartan design shirts are Midwest emo essentials, and will typically be on flannel or madras cloth. These can be worn unbuttoned revealing a plain t-shirt or graphic tee, or buttoned, though rarely will they be tucked. Polo shirts in plain colors or patterns are often worn, and plain t-shirts essential, and are actually more likely to be tucked than button-down shirts. Hoodies and sweaters are especially common in the literal Midwest.

The most common accessories include headwear such as dad hats, beanies, and baseball caps. Glasses, if prescribed, are typically worn rather than contact lenses.

Sneakers and casual boots are the most common footwear options for this style. Converse, Vans, and New Balance sneakers in white or black are most often seen, though checkered vans and athletic shoes are not uncommon. Low-top and high-top variants are equally acceptable, and pants will often be cuffed.Minimal Wave is a music genre that encompasses minimal, often atypical and obscure tracks (many of which were initially self-published cassettes or limited releases by private labels ) from the late-1970s and first half of the 1980s. These tracks exist within established genres like New Wave , Post-Punk , Coldwave, Darkwave, and Synthpop, pushing the boundaries of those genres with their experimental nature.

It is characterized by its stripped-down and pre-MIDI sound, limited number of instruments (predominantly analog synthesizers and drum machines), and a sincere sense of detachment and existentialism, often expressed through melancholic melodies, introspective lyrics, and a generally somber atmosphere. The raw and minimalist production, combined with the introspective and sometimes bleak lyrical themes, contributes to the music's distinctive aesthetic. Many of these tracks and albums were initially overlooked or released in limited quantities, adding to its appeal for collectors and music enthusiasts.

A significant amount of tracks and albums were originally recorded during the 1970s and 1980s, but it wasn't until 2005 that the genre was given a name and subsequently experienced renewed interest. The term was coined by Veronica Vasicka, founder of the Minimal Wave Records label, which promotes obscure electronic and new wave music from the 80s through online archival and vinyl releases.

The term "Minimal Wave" was coined by Veronica Vasicka, who founded the Minimal Wave Records label in 2005. In interviews, Vasicka explained that the name emerged from her research into early 1980s Dutch music magazines, where she encountered descriptors such as "minimal electronics," " new wave ," and "coldwave." Feeling a need for a unifying classification for this specific sound, she registered the name "Minimal Wave" for her website and label.

While the term originated as a proprietary name for Vasicka's restoration project, it has since evolved into a broader genre descriptor. As noted by Timothy Gabriele in PopMatters (2010), "Minimal Wave" began as a specific label identity but eventually became the generally accepted term for the obscure, pre-MIDI electronic music that Vasicka and similar archivists championed.

The genre classifies a specific period of "pre-MIDI" electronic New Wave emerging from North America, Europe, and Japan between 1978 and 1985. It is characterized by a "DIY ethos," where artists utilized relatively cheap, portable synthesizers to create what Vasicka described as "electronic pop gems from the underground." Influential works cited as foundational to this sound include Organisation by Orchestral Manoeuvres in the Dark, Speak & Spell by Depeche Mode, Metamatic by John Foxx, The Man-Machine by Kraftwerk, and Solid State Survivor by Yellow Magic Orchestra.

During its initial peak, the scene was bolstered by the availability of affordable equipment in the United States and the United Kingdom. A pre-internet international community formed around the fanzine CLEM (Contact List Of Electronic Musicians), which facilitated collaborations via mail and allowed isolated musicians to share tapes and techniques across borders.

The renewed interest in the genre was solidified by the operations of the Minimal Wave label, which became the subject of a documentary by Radio Kangol. The film featured interviews with artists such as In Aeternam Vale and explored the history of the minimal synth scene. Vasicka noted that the production aligned with her vision, utilizing original source videos and music from the label's archives.

Alongside the documentary, Radio Kangol streamed a mixtape compiled by Silent Servant, a techno artist who has released music on Vasicka's Cititrax label. The collaboration highlighted the genre's integration into modern electronic music, showcasing how DJs weave Minimal Wave tracks into contemporary sets alongside Techno and EBM .

The visual style of Minimal Wave reflects the genre's sonic characteristics. Analog synthesizers and early drum machines, such as the Roland SH-101, Korg MS-20, LinnDrum, and Roland TR-808, are central to the music's sound, creating warm, melancholic tones and mechanically precise drum patterns. This emphasis on analog instrumentation extends to the visual realm. Lo-fi production techniques, prioritizing emotional resonance over technical perfection, are mirrored in the raw, unpolished aesthetic of album art. Techniques like tape saturation and minimal overdubbing, along with the preservation of ambient noise, contribute to the music's intimate feel and are visually represented by rough, unrefined imagery. The DIY recording methods, often employed in home studios, are consistent with the minimalist visual design inspired by 1980s underground zines.

Album covers commonly feature stark, geometric patterns, monochromatic color schemes, and hand-drawn or photocopied elements. Handwritten or machine-typed fonts reinforce the DIY ethos and contribute to a cohesive visual identity. This minimalist approach to visual design complements the stripped-down, analog sound of minimal wave, creating a timeless and nostalgic aesthetic.

Visually, a sense of counterpoint to the artificiality of synthesized music can be seen in the juxtaposition of stark, geometric designs with more organic or hand-drawn elements. Furthermore, minimal wave musicians were often influenced by avant-garde art movements such as futurism and constructivism , and by the literature of science fiction and existentialism. These influences can be seen in the genre's visual style, which often incorporates futuristic or abstract imagery and reflects themes of alienation, technology, and urban life.

Beyond official releases, Minimal Wave's visual culture extends to online platforms like YouTube, where fans frequently pair tracks with clips from 1960s-1980s films, often from the Cold War era. These fan-made videos often create new contexts for the music, juxtaposing the stark sounds of minimal wave with retro visuals to enhance the nostalgic and melancholic atmosphere.

The genre is defined by a sense of "mechanical detachment." Musically, it relies on short, repetitive melodic patterns and thin, trebly synthesis. The vocals are often deadpan, monotone, or distant, exploring themes of urban alienation, technology, and existential dread.Mod Revival is a youth subculture and music scene that emerged in the United Kingdom in the late 1970s and experienced a peak of popularity into the early 1980s. The movement was a conscious and nostalgic revival of the original 1960s Mod subculture, reinterpreting its sharp, tailored fashion and scooter culture through the lens of the punk rock and new wave scenes.

The revival was catalyzed by the 1979 film Quadrophenia and the rising popularity of the band The Jam, led by frontman Paul Weller, who became known as "The Modfather." The subculture adopted the main elements of 1960s Mod style (like three-button suits, fishtail parkas, and Italian motor scooters) but with a grittier and more aggressive energy influenced by punk . While its mainstream popularity was relatively brief, the Mod Revival had a lasting influence and established its own distinct identity separate from the original movement.

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* Quadrophenia (1979)Neofolk is a post-industrial music subculture that emerged in the United Kingdom during the early 1980s as a reactionary evolution of post-punk and industrial music. It is characterized by the use of acoustic instrumentation (primarily acoustic guitars, piano, and strings) to explore themes of European traditionalism, paganism, and the trauma of the 20th century. Unlike traditional folk music, which often seeks to preserve national customs, neofolk utilizes the "folk" medium as a vessel for apocalyptic lamentation and a radical critique of modern, rationalist society. The movement is underpinned by a "culture of the book," drawing heavy influence from 19th-century Romanticism and early 20th-century anti-modernist philosophy.

Neofolk originated within the London post-industrial scene, specifically through a circle of musicians who had previously been involved in radical punk and industrial projects. The transition from the electronic "noise" of the late 1970s to the acoustic "song" was a deliberate aesthetic pivot. Douglas Pearce and Tony Wakeford, both former members of the leftist punk band Crisis, formed Death in June in 1981, initially blending post-punk basslines with militaristic drumming. By the mid-1980s, alongside David Tibet of Current 93, they abandoned electronic templates in favor of a sound they termed "Apocalyptic Folk." This shift was documented internally in periodicals like Misery and Purity, which argued that acoustic instruments provided a more authentic medium for exploring ancestral memory than "disposable" modern technology.

By the 1990s, the center of the subculture shifted toward continental Europe, particularly Germany. Known locally as the " Grufti " scene's intellectual wing, German neofolk synthesized British post-industrial aesthetics with a specific nostalgia for German Romanticism and Expressionism . This era saw the institutionalization of the aesthetic through massive cultural events like the Wave-Gotik-Treffen in Leipzig, which legitimized neofolk as a significant, albeit controversial, European cultural movement. This period also saw the rise of "Folk Noir," a term coined by Tony Wakeford to describe the genre's dark and cabaret-like take on traditional structures.

The Neofolk aesthetic is predicated on high-contrast, monochromatic imagery that juxtaposes ancient archetypes with modern ruins. Insider sources, such as the World Serpent distribution catalogues, established a standardized "Neo-Medieval" look characterized by serif typography, woodcut illustrations, and heavy use of negative space.

Key motifs include runic alphabets (specifically the Algiz and Sowilo runes) and medieval heraldry, which function as signifiers of a pre-industrial identity. These are often juxtaposed with the visual debris of the "European Civil War" (1914–1945), such as high-contrast photography of historical monuments, statues, and military graveyards. The intention is to create a sense of "historical haunting," where the past is shown to be intruding upon the present. The use of grain and film artifacts in photography mimics 1920s German Expressionist cinema.

Neofolk fashion rejects the flamboyant theatricality of Goth in favor of a disciplined, uniform-based presentation. The look is characterized as "apocalyptic traditionalism," merging the ruggedness of military surplus with the austerity of mid-century intellectualism.

Sartorial elements focus on materiality and historical causality. Standard attire includes field jackets in olive drab or field grey, combat boots, and military-grade canvas bags. This is frequently paired with "outdated" formal wear such as turtlenecks, double-breasted trench coats, and high-waisted trousers, referencing the style of early 20th-century philosophers and soldiers. Accessories are minimal and functional, typically limited to silver or iron runic jewelry and historical military insignia (such as the Totenkopf or camouflaged masks), used to signify a "Nietzschean masquerade" or aesthetic provocation.

The Neofolk worldview is rooted in a radical rejection of the modern world, often citing Julius Evola's Revolt Against the Modern World as a primary influence. It posits that the Enlightenment and subsequent industrialization led to a "desacralization" of life, which neofolk seeks to counteract through the revival of archaic symbols and myths. This philosophy is defined by a sense of cultural mourning, a belief that the essential spirit of Europe was lost in the industrial warfare of the 20th century.

The movement values "apoliteic" engagement, a term used by insider sources to describe an artistic stance that is deeply concerned with political history and symbols but refuses to align with contemporary party politics. This creates a culture of "elitist outsiders" who derive status from their knowledge of obscure history, traditionalist philosophy, and esoteric spirituality. The subculture functions as a sanctuary for those alienated by the perceived shallowness of commercial pop culture, fostering an environment where the macabre and the ancestral are treated with gravity rather than kitsch.

Neofolk music is built on a foundation of acoustic minimalism fused with experimental post-industrial textures. The primary instrument is the acoustic guitar, typically played in a repetitive, strummed fashion that emphasizes mood over technical virtuosity. This is often layered with "found sounds," such as wind, bells, or historical speech samples, and strings to create a dense atmospheric soundscape.

Vocal delivery is generally low-toned and melancholic, ranging from whispered spoken word to melodic baritone. Lyrically, the genre focuses on personal mysticism, historical tragedy, and the return of "old gods." Activating the "hidden reverse" of English and European history, bands like Current 93 utilize nursery rhymes and Christian Gnosticism, while Death in June focuses on Euro-nihilism and militaristic lamentation. This creates music that is at once intimate and terrifyingly vast.

Neofolk is a subject of intense controversy due to its systematic use of ambiguous symbols associated with 20th-century fascist movements. Insider sources argue that the use of camouflage, runes, and military iconography is a form of "aesthetic terrorism" meant to provoke a reaction against modern censorship and political correctness. However, this intentional ambiguity has historically attracted far-right infiltrators, leading to a persistent "moral panic" surrounding the scene. While many artists maintain an "art over politics" stance, the subculture remains a battleground for competing interpretations of European identity, with some factions moving toward militant traditionalism while others (such as the "A Blaze Ansuz" movement) attempt to reclaim the runes for anti-fascist purposes.Neon Noir is an aesthetic that first emerged out of the Neo-Noir film genre during the 1980s. It creates a dreamlike atmosphere with stylized visuals with a vibrant saturation, neon text, and an overall feeling of existential isolation. Neon Noir is heavily associated with Synthwave , with most Neon Noir media incorporating it to emphasize the loneliness.

Neon Noir combines the dark and mysterious elements of Noir films with a vibrant and futuristic aesthetic akin to neon lights. It has a strong focus on dark scenery that is contrasted by the the vivid and surreal glow of neon sights in the nightlife of cities. Characters are often depicted as only dark silhouettes against a neon-lit backdrop with fog or smoke creating a dreamlike atmosphere. The scenes are sometimes accompanied by rain, which reflects the neon lights and intensifies the contrast between the wet, reflective surfaces and the darkness of the night.

Despite its loud and bright presentation, Neon Noir in media retains the classic elements of the Neo-Noir film genre of violence and characters with moral ambiguity.

If any medium can compete with movies and TV in terms of taking on the Neon Noir aesthetic, it's video games. While most Neon Noir video games look like games that could've been played on an original Nintendo, there are some that have very polished next-gen graphics.Neon Ooze is an aesthetic that developped in the 80s and 90s and was used most commonly for targeting children through gross-out marketing. The driving visual element were fluids such as slime, goop or toxic waste, with other related elements often thrown in such as nuclear, mad science or "creepy crawly" imagery.New Beat was a short-lived but highly influential electronic music genre and subculture that originated in Belgium in the late 1980s, flourishing between 1987 and 1989. The genre's signature sound was famously created by accident when a DJ began playing 45 RPM records (typically dark and heavy EBM and New Wave tracks) at the slower 33 RPM speed, resulting in a dark, hypnotic, and mid-tempo beat.

The subculture was centered in legendary Belgian nightclubs such as Boccaccio, where its eclectic and androgynous fashion style developed. The look was a unique mix of cycling shorts, BDSM-inspired leather gear, religious iconography, and quirky accessories like "Bomma badges"; brooches made from repurposed gravestone portraits.

While it emerged concurrently with Acid House in the UK, New Beat had a distinctly darker and slower industrial edge, and it is considered a European precursor to the wider rave movement and harder electronic genres like Hardcore Techno and Gabber .

New Beat originated from a unique convergence of underground music scenes in Belgium during the mid-to-late 1980s. Its foundations were laid by the country's dark and industrial EBM (Electronic Body Music) scene, pioneered by bands like Front 242, and the much slower, soulful Popcorn scene. Popcorn was a long-running Belgian subculture focused on obscure R&B records that shared similarities with British Northern Soul but was defined by a slower tempo, which set a precedent for the mid-tempo rhythms of New Beat.

The genre's definitive sound was famously created by accident in 1987 when DJs, most notably Marc Grouls, began playing 45 RPM EBM singles like " Flesh " by A Split-Second at the slower 33 RPM speed, often with the pitch adjusted. The resulting dark, heavy, and hypnotic sound became a sensation in clubs like the Ancienne Belgique in Antwerp and, most famously, the megaclub Boccaccio in Ghent, which became the epicenter of the movement. This new sound quickly spread, incorporating elements from the contemporaneous Acid House movement but retaining a distinctly slower, heavier, and darker character.

Between 1987 and 1989, New Beat exploded in popularity, with artists like Confetti's, Lords of Acid, and the internationally successful Technotronic producing numerous hits. The scene was characterized by its rapid production cycle, with tracks often recorded on a Monday and pressed to vinyl in time for the weekend club nights. However, this success also led to its rapid decline. The market became oversaturated with cheap, formulaic imitations, derisively termed "Nougat Beat" by insiders, which diluted the genre's credibility.

By 1990, the novelty had worn off, and the scene began to evolve into faster and harder styles. Despite its short lifespan, New Beat's legacy is significant; it is considered an European precursor to the wider rave movement and the development of Hardcore Techno and Gabber . The full history was later documented in the 2012 film The Sound of Belgium and had a surprising pop culture influence, with New Beat pioneer Praga Khan composing the iconic " Techno Syndrome " theme for the 1992 video game Mortal Kombat .

The visual identity of New Beat, seen on record sleeves and event flyers, was simple, bold, and provocative. The most prevalent symbol was the yellow smiley face, an icon it shared with the co-existing Acid House scene. However, in Belgium, it was often used subversively, placed over the faces of politicians and public figures to mock authority. The color palette frequently used black, yellow, and red, a direct reference to the Belgian flag, which served to ground the homegrown movement in a distinct national identity, setting it apart from the dominant American and British electronic scenes of the time.

New Beat fashion was an extravagant, highly specific, and often androgynous style that complemented the dark, hypnotic mood of the music. It was largely codified by designer Idriz Jossa and his "New Beat Fashion" collection created at the Antwerp Fashion Academy.

The look was characterized by an overwhelming use of black clothing, frequently made from materials like lingerie fabrics for both men and women. Key garments included cycling shorts and knee socks, paired with heavy black shoes to withstand the frenetic " bocca-dans-mania " dancing popular at clubs like Boccaccio. Accessories were dense and macabre, featuring bowler hats, layered rosaries, and chains. Makeup was typically pale-faced, accented by dark-rimmed eyes and bright red lipstick.

Two specific forms of iconography were central to the aesthetic's provocative, dark humor:

The adoption of the Smiley Face was also an act of baroque subversion. The iconic yellow motif was frequently used as a badge, referencing Flower Power but in an ironically dark and overly exaggerated context, often alongside political or subversive badges. Bands like Confetti's, Tragic Error, 101, and Erotic Dissidents all wore this distinctive dramatic style, including in their music videos and other promotional materials.New Rave (sometimes written as Nu-Rave or Neu-Rave ) was a short-lived but highly hyped British music scene and subculture that peaked between 2006 and 2008. The term, coined by the music press, is a play on " New Wave " and was used to describe a scene that blended guitar-based indie rock and dance-punk with the aesthetics of 1990s rave culture. Contrary to its name, the music was not actual rave or hardcore techno, but rather indie rock that incorporated electronic elements like synthesizers, sirens, and danceable beats.

The visual style and fashion involved appropriating the signifiers of rave (such as glowsticks, whistles, and neon or fluorescent clothing) and applying them to a typical indie fashion of skinny jeans and band t-shirts. The scene, which included bands like Klaxons, Late of the Pier, Trash Fashion, New Young Pony Club, and Cansei de Ser Sexy (CSS), was known for its hedonistic, DIY, and chaotic live shows.

Despite the initial media hype, the New Rave movement faced significant backlash and was quickly dismissed by many as a joke. Critics argued that the term itself was an inauthentic marketing buzzword manufactured by the music magazine NME, rather than a genuine, organic subculture, cementing its status as a brief but memorable fad.

New Rave emerged in the mid-2000s from the New Cross scene in London as a reaction against the prevailing indie rock climate, dominated by bands like The Libertines, The Rakes, and The Others. The mainstream indie scene was considered musically stagnant and overly serious.

Inspired by a desire for something more exciting and inclusive, Klaxons, the band that protagonized the movement, began incorporating elements of electronic music and rave culture into their sound. Klaxons' founder, Jamie Reynolds, is credited with coining the term "New Rave." Angular Records founder Joe Daniel, who released Klaxons' early singles, helped popularize the term, though even he considered it more of a playful adaptation of existing trends than a distinct genre. Despite their role in its creation, Klaxons later distanced themselves from the New Rave label, calling it a "joke that got out of hand" and even banning glowsticks from their concerts in an attempt to curb the media hype.

The New Rave scene rapidly gained popularity in the United Kingdom thanks to its DIY ethos , colorful fashion, and energetic club nights. It embraced a diverse range of influences, including house, electroclash , grime, and dubstep, fostering an inclusive atmosphere that welcomed those who felt alienated by the prevailing indie scene. This eclecticism contributed to a broader "new rave" dance scene that included artists like LCD Soundsystem, Simian Mobile Disco, Justice, M.I.A., !!! (Chk Chk Chk), and CSS, leading to a resurgence of interest in indie rock and a critical shift in dance music.

Key players in the New Rave scene included DJ collectives like Teens of Thailand, Silvelink, and Str8 Necklin, and designers like Cassette Playa and Carri Munden, who contributed to the scene's visual identity. The scene found its home in warehouse parties and clubs like Foreign, Chalk, and Troubled Minds, where attendees experimented with fashion and danced to eclectic mixes.

However, as New Rave gained mainstream attention, its underground spirit started to disappear in favor of commercial appeal. Major labels signed bands like Shitdisco and New Young Pony Club, and the NME launched a "rave" tour featuring Klaxons, CSS, and The Sunshine Underground. This commercialization led to a dilution of the scene's original aesthetic and values. By the time the E4 series Skins featured New Rave-inspired fashion, the movement had already turned into a caricature of itself, becoming the butt of the joke in British media. The once-innovative styles were now mass-produced by retailers like Topshop and H&M.

New Rave visuals are heavily influenced by the aesthetics of the original rave scene, with a focus on psychedelic effects, bright lights, and fluorescent colors. Glow sticks and neon lights were common features at New Rave events and in related imagery. Participants often wear brightly colored clothing and accessories. The visual identity of New Rave is considered a defining aspect of the movement, arguably even more so than its music. Figures like Jet Storm, lead singer of Trash Fashion, and electro artist Uffie, became style icons associated with the scene.

New Rave fashion is characterized by neon colours, and a playful, eclectic style with influences from 2000s streetwear and previous European rave movements. Fluorescent colors, colorful Wayfarer sunglasses, metallic leggings, oversized t-shirts with eye-catching slogans, and nostalgic references to 1980s and 1990s fashion are defining features of the New Rave look.

Several brands and designers helped popularize New Rave fashion. The London-based label Cassette Playa, known for its psychedelic and cheerful clothing, became a favorite among New Ravers. Carri Munden, the founder and designer of Cassette Playa, described her designs as "psychedelic, but harder and more high end: British streetwear styles, tracksuits, hoodies and Nikes, but on an acid trip and in silk digital prints and other luxury fabrics," drawing inspiration from 90s rave and gaming. T-shirts by the English brand House of Holland, often oversized with bright colors and slogans referencing British personalities, were also popular in clubs.

However, the musicians involved in the scene had varied perspectives on the fashion. Some, like James Smith of Hadouken!, embraced the bright colors and playful style, recalling the "thrill of seeing the Klaxons in purple hoodies and coloured Nikes." Others, like Lovefoxxx of CSS, felt less connected to the "new rave" label, even while experimenting with multi-coloured fashion.

In a 2021 Vice article, Victoria Hesketh recalls the prevalence of American Apparel lamé leggings, while Jamie Reynolds of Klaxons noted the accessibility of the fashion, stating, "It wasn’t expensive. You could look like us for next to no money, and you could come to our shows looking like us and join in." Reynolds also mentioned pushing the aesthetic, recalling a near falling out with a bandmate for wearing black jeans. Sam Potter observed that while the fashion was flamboyant and associated with cool people, it also became a "stick to beat new rave with in the end." Joe Daniel highlighted the accessibility for young people, allowing them to "wear their identity."

New Rave fashion can be incorporated into a wardrobe in varying degrees. For a subtle touch, accessories like fluorescent scarves or brightly colored sunglasses can add a hint of the New Rave aesthetic to an otherwise understated outfit. For those more comfortable in the spotlight, mixing fluorescent colors with patterns reminiscent of Vectordelia creates a truly distinctive look.

The DIY spirit of the early New Rave scene, reminiscent of punk , saw people customizing and creating their own clothing. One example was a Teenage Mutant Ninja Turtles bed sheet hoodie. The influence of queer and club kid culture, along with B-boy and Buffalo styles, also played a role in shaping the aesthetic.

Some, like Carri Munden, acknowledge the influence of their designs on mainstream New Rave culture, including neons, big cartoon chains, and glasses, tracing these elements back to early, low-budget shoots where props were made from cardboard, baby toys, and other found objects. The fashion also represented a rejection of the "tired, retro vagabond bullshit" prevalent in indie music at the time, embracing a more masculine-feminine balance and the use of colour.

New Rave is a hybrid of indie rock and electronic dance music. The production model is predicated on the integration of high-gain synthesizers and sequenced electronic beats with traditional rock instrumentation, specifically electric guitars and live drums. The movement functioned as a rhythmic response to the mid-2000s indie scene, adopting the high-contrast visual signifiers of the 1980s Madchester and rave scenes.

The genre's development was linked to the growth of digital music platforms and overlaps with contemporaneous movements such as Bloghouse and Tecktonik .

The New Rave scene has been the subject of criticism, with some arguing that its connection to the original rave music and culture was tenuous at best. Critics point out that the music of many bands associated with New Rave, such as Klaxons and CSS, bears little resemblance to the sounds of early rave music. Many artists, like M.I.A., who were initially linked to the scene, have distanced themselves from the label.

New Rave has been dismissed by some as a media fabrication, primarily driven by publications like NME (UK) and TRAX (France), who hyped the trend while other media outlets treated it as a passing fad. The scene's association with dance-punk further blurs the lines between genres, leading some to question its validity as a distinct musical movement. One critic from The Guardian even described the genre as a "piss-poor supposed 'youthquake'" that would soon fade away, much like the original rave scene.

Critics also took issue with the perceived commercialism and superficiality of New Rave. The emphasis on fashion and image over musical substance has been seen as a cynical attempt to market to a young, trend-conscious audience. The resurgence of glow sticks and brightly colored clothing has been met with particular disdain, with some viewing it as a nostalgic regression rather than a genuine fashion statement. This sentiment resonated with those who experienced the rave era, perceiving New Rave's aesthetic as a poor imitation.

Overall, New Rave's popularity was relatively short-lived, which supports the claims of its detractors. Whether it was a genuine subculture or a manufactured trend, its impact on music and fashion was fleeting and relatively minor. However, some argue that the scene's embrace of partying and self-expression, regardless of its musical merit, might hold some value.New Romantic was a fashion-led youth subculture and music scene that originated in the United Kingdom in the late 1970s and peaked in the early 1980s. Emerging from exclusive London nightclubs like Billy's and The Blitz, the movement was a flamboyant and escapist reaction against the austerity of the era and the perceived drabness of punk .

Influenced heavily by David Bowie and Roxy Music, the New Romantics embraced androgyny, theatricality, and a DIY approach to glamour. The aesthetic was eclectic, blending historical costumes with futuristic elements. The scene was closely tied to the rise of synth-pop, and its visual extravagance was perfectly suited for the nascent medium of the music video, which helped propel associated bands like Duran Duran, Spandau Ballet, and Visage to international fame via MTV.

The New Romantic movement began in 1978 with a weekly David Bowie-themed club night at a Soho club called Billy's. Hosted by Steve Strange and DJ Rusty Egan, the night attracted a small group of art students and fashion-conscious youths who rejected the punk uniform in favor of more glamorous and individualistic styles. As the scene grew, it moved to the Blitz wine bar in Covent Garden in 1979, where Strange's strict and creative door policy ensured only the most flamboyantly dressed patrons, dubbed the "Blitz Kids," could enter.

The scene was a hub for young designers and artists, and it quickly attracted media attention. The movement was propelled into the mainstream when David Bowie himself recruited several Blitz Kids, including Steve Strange, to appear in his 1980 music video for "Ashes to Ashes." This exposure, combined with the rise of synth-pop and the launch of MTV, created a perfect storm. Bands from the scene, with their striking visuals and electronic sound, became staples of the new music video era, leading the "Second British Invasion" of the US charts. By 1983, the movement's initial creative energy had dissipated as many of its key figures achieved mainstream success and moved away from the original club-based aesthetic.

The New Romantic look was not a single uniform but a philosophy of extravagant self-expression, characterized by androgyny and the blending of historical and futuristic styles. Adherents, both male and female, often wore theatrical makeup, including eyeliner and lipstick, with heavily stylized, often teased, hair. The fashion was largely DIY, assembled from vintage stores, costume shops, and bespoke boutiques like PX in London. There were two main visual strains:

One was a flamboyant, historical style, drawing inspiration from the Romantic era, pirates, and rococo dandies. This look, heavily influenced by designer Vivienne Westwood's "Pirate" collection, featured frilly poet shirts, sashes, velvet, and brocade. Artists like Adam and the Ants and the early Spandau Ballet epitomized this style, mixing historical costumes with tribal and punk elements.

The other strain was a sleeker, more futuristic look influenced by glam rock and German electronic bands like Kraftwerk. This style featured sharp suits in unconventional colors or fabrics like gold lamé, geometric haircuts, and a cool, detached elegance. It evoked a sense of film noir and futuristic decadence, and was famously adopted by bands like Duran Duran, Ultravox, and the later work of Spandau Ballet.

The music most associated with the New Romantic movement is synth-pop . The scene's DJs at clubs like the Blitz moved away from punk and rock, instead favoring the electronic sounds of European artists like Kraftwerk and Giorgio Moroder alongside the art-rock of David Bowie and Roxy Music.

This preference for synthesizers and danceable rhythms was adopted by the bands that emerged from the scene. The resulting sound was polished, melodic, and often futuristic, a stark contrast to the raw aggression of punk. While synth-pop was the dominant genre, the movement also incorporated the soulful, polished sound of New Wave and "blue-eyed soul." Key bands that defined the New Romantic sound include Duran Duran, Spandau Ballet, Visage, Ultravox, and Culture Club.New Wave is a broad catch-all term for a music genre and associated visual aesthetic that emerged in the late 1970s as a pop-oriented evolution of Punk . While it retained punk's rejection of the corporate "Old Wave" (the perceived stagnation of 1970s progressive rock), New Wave replaced raw aggression with a philosophy of "synthetic modernity." The aesthetic is characterized by a celebration of the artificial and the plastic, manifesting in a visual style of geometric precision, bright fluorescent colors, and a "retro-futuristic" appropriation of 1950s atomic-age design subverted by 1980s irony.

Visually, New Wave is defined by a radical shift in graphic design pioneered by figures like Barney Bubbles and Malcolm Garrett, who deconstructed the rigid rules of Modernism . Musically, it favored jittery, robotic rhythms and synthesizers that mirrored this visual angularity. Unlike the darker, more serious tone of Post-Punk , New Wave embraced a " campy " or quirky pop sensibility, establishing the aesthetic of the early MTV era.

Much confusion has arisen over the term's usage in the United Kingdom versus the United States. In the UK, New Wave referred to primarily guitar-based acts of the late 1970s such as The Jam, The Stranglers, XTC, The Police, and Elvis Costello and the Attractions, who created music in a punk -inflected pop style. Similarly, U.S. acts like Blondie, The Cars, Devo, Talking Heads, and The B-52's were also noted as having a punk-influenced pop style termed "New Wave".

In the early 1980s, colourful pop groups like Duran Duran, ABC, and Spandau Ballet were referred to in the UK as New Romantic , New Pop , or synthpop, seen as following the original New Wave. They were often derided by some listeners as 'chartpop' or 'Thatcherite pop', inciting attacks from Paul Weller himself on the 'New Pop Aristocracy'. However, the American general public (such as on the MTV music channel) continued referring to British New Pop acts as 'New Wave', despite the term being out of favor in the UK.

By the mid-late 1980s, New Wave declined in popularity as other music genres gained commercial success, such as Hair Metal (Bon Jovi, Poison, Guns n Roses), Alternative Rock (R.E.M., The Pixies, Jane's Addiction), and more general Dance-Pop (Kylie Minogue, Rick Astley, Paula Abdul). Later decades saw various revivals of New Wave, such as the New Wave of New Wave in the 1990s, and Electroclash and Bloghouse in the 2000s.

The New Wave visual aesthetic was primarily established through record sleeve design and concert posters before migrating to fashion and video. It is described by critics as a "riotous mix" that blended high and low culture, synthesizing influences from Bauhaus , Constructivism , and Pop Art into a commercial package.

New Wave graphic design arose as a reaction against the Swiss " International Typographic Style "; the clean, rigid, grid-based modernism that had been co-opted by corporate branding in the 1960s and 70s. New Wave designers, particularly those associated with the movement in Manchester (such as Peter Saville) and London, sought to render these grids "dysfunctional." The aesthetic often featured skewed angles, layered compositions that defied logic, and the mixing of clean sans-serif fonts with decorative scripts or stenciled lettering. A key technique involved the visible use of "low-fidelity" production tools; designers utilized photocopiers to create grainy, high-contrast textures, and applied "Chartpak" films (adhesive textures) to create moiré patterns and optical illusions.

In contrast to the primary colors of the earlier modernists, New Wave favored a specific palette of "tertiary" tones (purples, oranges, and greens) alongside the aggressive use of hot pink and electric yellow. The use of pink was a deliberate reassignment of the color, stripping it of its traditional gendered associations and applying it as a signifier of modern artificiality. Geometric shapes such as triangles, circles, and squares were abundant, often floating in space or arranged in erratic patterns that visually mirrored the "herky-jerky" rhythms of the music.

A defining trait of New Wave visuals was " Retrofuturism ," specifically the appropriation of American 1950s suburban aesthetics (the "Eisenhower Era"). Bands like Devo and The B-52s utilized imagery of atomic science, space travel, and kitschy suburbia, but recontextualized them through a lens of neurosis and satire. This created a "time-out-of-joint" sensation where the optimism of the 1950s collided with the cynicism of the 1980s.

New Wave fashion was a highly stylized rejection of the unkempt, denim-heavy look of 1970s rock. It relied on a silhouette that was sharp, angular, and deliberately synthetic. The look was famously "androgynous" and colorful, prioritizing an "art school" appearance over traditional sex appeal.

The archetype of New Wave fashion involved the "Mod" suit reinterpreted with futuristic exaggeration. Key items included skinny ties, drainpipe trousers, and jackets with exaggerated shoulders (the "Big Suit" popularized by David Byrne). This was often paired with buttoned-up shirts and distinctive eyewear, such as thick-rimmed glasses or angular sunglasses, which contributed to a "neurotic" or intellectual persona.

Hair and makeup were highly important to the "plastic" aesthetic. The era popularized the use of inorganic hair dyes in lurid shades of neon blue, pink, and orange. Hairstyles were often teased, sculpted into geometric wedges, or asymmetrical cuts that defied natural growth patterns. Makeup was applied theatrically, often using the same harsh geometric lines and bright colors found in the graphic design of the era, emphasizing the face as a canvas for artistic expression rather than natural beauty.

If the hippie counterculture of the 1960s valued the "natural" and "organic," New Wave was ideologically centered on the "plastic." The aesthetic embraced "authentic inauthenticity," where artists acknowledged their status as products of a media-saturated world. This was articulated in songs like The Buggles’ "The Plastic Age" and Poly Styrene's "The Day the World Turned Day-Glo."

This philosophy manifested in a rejection of rock music's traditional roots in blues and R&B. Instead, New Wave artists cultivated a persona of hollow-souled suburbanites or robotic observers. The goal was not to express "soul," but to express modernity. This "plastic" ethos extended to the physical production of the culture: the preference for synthesizers over guitars, the use of fluorescent colored vinyl for records, and the adoption of synthetic fabrics in fashion.

Terms such as Coldwave and Darkwave have been used retrospectively to describe various goth -adjacent developments in post-punk/new wave, particularly in continental Europe, during the 1970s and 80s. NDW ( Neue Deutsche Welle ) was a contemporary term used in West Germany, typically applied to quirkier, more avant-garde German new wave acts like Trio.

Coldwave is a loosely defined music genre that emerged in Europe in the late 1970s, characterized by its detached lyrical tone, use of early electronic music instruments, and a minimalist approach and style. It emerged from punk rock bands who, influenced by early electronic groups such as Kraftwerk, made use of affordable portable synthesizers.

Darkwave is a music genre that emerged from the new wave and post-punk movement of the late 1970s. Darkwave compositions are often dark, romantic, and bleak, with an undertone of sorrow. The genre embraces a range of styles including coldwave, etherealwave, gothic rock, neoclassical darkwave, and neofolk.

Neue Deutsche Welle (meaning literally "New German Wave") like New Wave was more a genre linked by a common aesthetic than any particular sound, although the intentionally simplistic and quirky lyrics (in German) and hyper-minimalism were certainly key characteristics of the German sound. Musically, the early Neue Deutsche Welle underground began with Punk roots but featured styles of electronic, post-punk, early dance-punk, and the earliest EBM . Neue Deutsche Welle began to find commercial and Pop music success by the beginning of 1982 with a batch of new artists and by the mid 80's was used to describe many other German pop acts with tenuous connections to the genre's original underground nature. A few artists in neighboring countries were included in the grouping (such as Switzerland and Austria) and a handful of NDW had international success in America with most songs still in their native tongue.

While this page primarily focuses on the visual aesthetic due to the broad nature of the term, the sound of New Wave was inextricably linked to its imagery. It was defined by a "nervous" energy, utilizing choppy guitar rhythms, fast tempos, and a prominent use of technology. The music was often described as "white," in that it deliberately severed the connection to the "swing" and "groove" of African-American rhythm and blues, opting instead for a stiff robotic beat that complemented the angular movements of the fans (who danced with side-to-side hand movements rather than hip-swaying). As the 1980s progressed, the genre split, with the "New Pop" and " New Romantic " scenes taking the synthesizers into a lush club-oriented direction, while the "college rock" scene maintained the guitar-based, quirky angularity.

The New Wave aesthetic encompassed several distinct scenes. While they shared a philosophy of irony and modernity, they often differed in instrumentation and visual presentation.

Defined by "Retro-Futurist" visuals, geometric fashion, and heavy irony. Often associated with the US art-school scene.

The "classic" New Wave sound closest to Punk. Defined visually by skinny ties, mod suits, and bright colors. In the UK, this was often the strict definition of "New Wave."

The commercially dominant era (early-to-mid 80s) driven by MTV. Defined visually by high fashion, androgyny, and sleek production. Often overlaps with New Romantic and Synthpop.

Bands that bridged the gap between the darker, experimental Post-Punk sound and the pop sensibilities of New Wave.

New Wave was a global phenomenon with distinct regional variants.No Wave is a short lived underground avant-grade and anti-art movement and music scene in New York City started as an reaction to New Wave and the state of NYC at the time. It began in the late 70s and fizzled out in early 80s, although later groups carried on the legacy after the original scene by adopting the aesthetic and a similar approach to music. The term was coined during the creation of the split album " No New York ."

No wave emerged in New York City during the 1970s, one of its earliest proponents was the band Jack Ruby who formed in Albany, New York in 1973, they are generally known for being an early influence on Sonic Youth and Thurston Moore and as pioneers of the aesthetic, philosophy, and sound of no wave. The band's lineup included Randy Cohen on drums and synthesizer, and Boris Policeband, who played viola through an FM transmitter while strapping police walkie-talkies around his waist. Later, bassist George Scott III joined the no wave group James Chance and the Contortions and also collaborated with Lydia Lunch of Teenage Jesus and the Jerks in the band 8 Eyed Spy.

Other artists such as DNA, Mars, Glenn Branca, the Contortions, Rhys Chatham, Teenage Jesus and the Jerks and more would later emerge.

No Wave reacts angst the commercialization of rock music in the 70s by trying to make it as uncommercially viable as possible. It achieved this by using elements such as atonality, dissonance, non-unified tempos, abrasiveness, angularity, buzzing guitars and skronk, tribal drumming, etc with vocal delivery that sounds really anxious and often off-key (Assuming the song even has a key). The idea was that anybody could pick up a guitar and make something interesting with it if they were creative enough, even if they have no knowledge of the instrument or music theory.

The first pioneer in the scene was the synth-punk duo "Suicide" consisting of Alan Vega and Martin Rev in the mid 70s. While their sound was a bit different the bands that followed, they laid down the key elements and motifs that other no wave artists would follow

The scene really kicked off around 1978 when DNA, Theoretical Girls, and Teenage Jesus & The Jerks were formed, with other bands soon following. In 1978, Brian Eno was in new york city to produce the talking head's 2nd album when he saw the bands playing and wanted to document the strange music he heard. So he invited 4 of the bands to Big Apple Studio to produce the split album "No New York" which became the de facto no wave album in the original scene.

The most notable performance of no wave music was the music festival "Noise Fest" which was conducted by Thurston Moore of Sonic Youth at the White Columns art space in June 1981. Each night 3 to 5 acts performed including Glenn Branca, Rhys Chatham, Jeffrey Lohn, Dog Eat Dog, Built on Guilt, Rudolph Grey, the Avant Squares, Mofungo, Red Decade, Robin Crutchfield's Dark Day, Ad Hoc Rock, Smoking Section, Chinese Puzzle, Avoidance Behavior, and Sonic Youth.

By 1982 almost all of the bands in the original scene had disbanded. Bands after the original scene such as Sonic Youth and The Swans took heavy inspiration from the original no wave scene and created their own take on the style (Especially in their early music) albeit relatively more melodic than the previous no wave scene. The had genre also had an influence on noise and industrial bands in the coming years such as Big Black, Lev Six, Helmet, and Live Skull

The no wave scene also bleed into local cinema and visual arts

No wave fashion took a more satirically "Professional" approach to fashion of punk. Wearing things such as Rumpled, second-hand suits, button-up shirts, biker jackets and old sweaters. As well as more tight clothing and short proto-goth haircuts

Resources to listen to and learn more about No waveNorthern Soul is a music and dance movement that originated among the working-class communities of Northern England and the Midlands during the early 1970s. It is centered on up-tempo African-American soul music, typically rare and obscure records (known as "rare grooves"), which would be played in all-night dance parties. It was influenced by the Mod subculture of the 1960s.

The term "Northern Soul" was first coined in 1968 by Dave Godin, owner of the Soul City record shop in London. Godin used the term to differentiate the fast-tempo soul music favored by young people in Northern England from the smoother soul popular in London and the South. The sound of Northern Soul was characterized by its heavy beat and fast tempo, which was perfect for the dance style developing in Northern clubs and dance halls, involving stomping, floating, and shuffling. These rare records were known as "stompers."

The Northern Soul scene evolved in clubs like the Twisted Wheel Club in Manchester, originally a Beatnik coffee bar in the 1950s. The scene emerged from the mod scene in Northern clubs like the Wigan Casino, The Torch in Stoke-on-Trent, Catacombs in Wolverhampton, Manchester's Twisted Wheel, and Blackpool Mecca. These clubs hosted underground club nights in the late 1960s and 70s, playing records with sped-up tempos and soulful vocals, often from mid-1960s Motown. DJs introduced audiences to rare American vinyls.

Northern Soul was more of a cultural movement than a specific genre. Frank Wilson's "Do I Love You" is considered the most famous Northern Soul record, and Gloria Jones' "Tainted Love" was a staple in early 70s Northern Soul nights. Popular artists included Frankie Valli and the Four Seasons, Edwin Starr, Marvin Gaye, Tobi Legend, Jimmy Radcliffe, and Dean Parrish. The music often featured a rigorous beat, soulful vocals, and brass instruments. Enthusiasts favored lesser-known artists and B-sides from American labels like Vee Jay Records, Chess Records, and Brunswick Records.

n the early 1970s, the favored heavy beat and fast tempo became even more frantic, and the dancing became more athletic, with moves inspired by American soul acts like Jackie Wilson and Little Anthony and the Imperials. The music provided an escape from the difficult economic circumstances and social unrest of early 1970s England.

Northern Soul is considered a precursor to the modern dance club and rave scenes because of its demographic of primarily young people and all-night events. It has seen a resurgence in popularity, with events like the Deptford Northern Soul Club bringing the music back into modern dance music. The event's popularity led to a monthly recurring event at Manchester's YES venue. Northern Soul is increasingly appearing at events across the United Kingdom alongside other popular genres. South London's Soul Train, a popular event featuring Soul, Funk, Disco , and Motown, takes place twice a month at the Bussey Buildings in Peckham.

There are many visual symbols associated with Northern Soul. The black clenched raised fist, a symbol adopted from the 1960s Black Power movement in the United States, is the most representative icon of the scene, representing unity and resistance. Some suggest it was possibly also adopted in solidarity with black Americans given the appreciation for African-American music. In 1971, at the Twisted Wheel club, attendees wore black racing gloves and raised clenched fists between records, sometimes shouting " right on now! "

The widespread use of this symbol led to a trademark dispute in 2014 when a Manchester bag retailer attempted to register the clenched fist logo. The UK Intellectual Property Office denied the application, deeming the symbol generic due to its extensive use by the public and within the Northern Soul scene.

Beyond the fist, sew-on badges were common, which typically displayed club affiliations and sewn onto clothing and record bags. Record bags were essential for carrying vinyl records, often customized with patches and badges. The turntable is another prominent motif in flyers.

Northern Soul fashion was initially influenced by the Mod and Skinhead subcultures. Common items included braces, tank tops, button-down Ben Sherman shirts, Gabicci knit polo shirts, and flared trousers. As the scene changed, the fashion adapted to suit the needs of the dancers. The comfortable clothing specifically picked for greater mobility would influence the succeding Rave scene.

Men began wearing looser-fitting clothing, such as high-waisted trousers with wide legs and skimpy knitted vests. Women's fashion also changed from the A-line skirts of the mod era. They began wearing ankle-length circle skirts, vests, patterned slim-fit shirts, and platform shoes. Knitted tanks and bowling bags with Northern Soul patches were also popular.

In the 21st century, Northern Soul fashion has been revived in catwalks and inspired brands like Topman and Gucci. This can be attributed to the 2014 film " Northern Soul " by Elaine Constantine, which portrayed the subculture's fashion and dance scene.

Northern Soul dance developed alongside the music. It is characterized by improvisation and individual expression, with dancers drawing inspiration from diverse sources, including black American soul artists such as James Brown. The fast tempos and heavy beats of the music encouraged energetic movements.

The dance style typically involves fast footwork, including shuffling, stepping, spinning, flipping, kicking, and fast footwork. Dancers frequently perform spins and turns, sometimes at high speeds. Kicks and acrobatic flips are also common, as is floorwork, which includes drops, slides, and spins on the floor. Dancers are encouraged to improvise and develop their unique styles.Nu-Metal is a subgenre of alternative metal that originated in the mid-1990s and achieved massive mainstream popularity in the late 1990s and early 2000s. The genre is defined by its fusion of heavy metal and alternative rock with a wide range of other influences, most notably hip-hop , industrial , funk , and grunge .

Pioneering bands like Korn and Deftones established the genre's sound, which is often characterized by down-tuned guitars, rhythmic and groove-oriented riffs, and a vocal style that can range from rapping and melodic singing to aggressive screaming.

The genre is inextricably linked to the Mallgoth subculture, which served as its primary visual aesthetic. This fashion style, popularized in the Y2K era, is defined by baggy clothing (especially JNCO jeans), oversized band hoodies, wallet chains, spiky hair, and facial piercings. Lyrically, Nu-Metal often explores themes of angst, anger, and personal pain, which resonated with a generation of suburban youth.

Nu-Metal's rise began in the early 1990s as rap metal band Rage Against the Machine started gaining some buzz with their fresh and unique sound at the time. The band KoЯn helped to  define the nu-metal sound with their 1994 debut album and gained further popularity with their 1998 album Follow the Leader . By the late 1990s, other bands started to help push Nu-Metal into the mainstream like Deftones, Limp Bizkit, and Sugar Ray (yes, THIS Sugar Ray . They used to have a very different sound). Eventually, whole concerts were held that catered to the Nu-Metal crowd, such as the Family Values Tour and Ozzfest.

Despite the popularity of Nu-Metal, some Metalhead purists had a strong disdain for the genre because of its strong departure from much of metal's previous traditions, and were glad to see its eventual decline. In the mid-to-late 2000s, Nu-Metal began its fall after some of its stars started evolving away from the Nu-Metal sound into other genres (like death metal, pop, punk, hard rock, or pure alternative rock), though some Nu-Metal songs (like Limp Bizkit's "Rollin'" and "My Way", Disturbed's "Down With The Sickness", Linkin Park's "In the End", and Drowing Pool's "Bodies") remained popular via early YouTube AMVs and Myspace pages at at this time. Around this time, the youth of America had found emo , a new genre of music to express their negative feelings of anxiety, depression, and anger, which later gave way to scene .

While there has been some interest in a "Nu-Metalcore" that takes a lot inspiration from Nu-Metal, which has also taken on names like "emo rap" and "trap metal", it does seem like original Nu-Metal is being examined in a more neutral-to-positive light in today's day and age (which could have some ties to the Y2K resurgence in recent years) with most of the heavy hitters in the genre being looked back at fondly (such as KoЯn, Deftones, Linkin Park, Slipknot, and even Limp Bizkit).

The visual identity of Nu-Metal was as aggressive and eclectic as its sound, blending streetwear, sportswear, and DIY punk/goth elements into a distinctly late-90s/early-2000s suburban rebellion aesthetic. Album art, music videos, and live performances leaned heavily into dark, gritty, and surreal imagery—think dystopian urban decay, horror-movie motifs, anime-inspired graphics, and raw, handheld camerawork.

A key difference between the Nu-Metal and Metalhead fashions is Nu-Metal fashion borrowed more from Hip-Hop , Raver , Skater , and Grunge fashions of the time and often times crossed over into those other subcultures. A lot of Nu-Metalheads wore band shirts, wife beaters and heavy cotton athletic tees, fitted baseball caps, baggy pants and JNCOs, Dickies brand clothing, skater shoes, sports jerseys (especially MLB, NFL, and NBA jerseys), stainless steel ball necklaces, short-sleeves over long-sleeves, wallet and pocket chains, cargo shorts and pants, camo print, and beanies, often emulating the style set forth by the members of various Nu-Metal acts at the time. Popular hairstyles and facial hair included short and long spikes, "frosted tips", sideburns, chin straps, soul patches, and goatees, dreadlocks, mohawks, and buzzcuts. Hair was often bleached, highlighted, and/or dyed vibrant colors, with sometimes clashing patterns. Sometimes, nu-metalheads would adopt goth-adjacent trends, like dark nail polish, fingerless leather gloves, and even dark eye shadow or lipstick. Facial and body piercings were also popular among nu-metal heads - this includes septum, lip, and tongue piercings, nipple bars and rings, and multiple large earrings, studs, or stretchings.

The Classical Nu-Metal Pose (specifically the "Fisheye Reach") is the definitive visual signature of the nu-metal era, characterized by an aggressive, "in-your-face" energy directed at the viewer.

Popularized by icons like Fred Durst , this pose utilizes extreme foreshortening to create a sense of kinetic tension. It is designed to make the artist appear as if they are physically breaking through the frame to grab the audience.

Nu-Metal music has a tendency to take the metal sound and strip it down, taking inspiration from Grunge before it (which has lead to a lot of bands in the Nu-Metal genre getting the label "Post-Grunge"), and some bands incorporating elements of Hard Rock, Funk, Hip-Hop, and Industrial sounds, the songs often playing on pure shock factor or raw emotion with songs about drug use, self-harm, depression, sex, death, and other dark, macabre, or otherwise controversial subjects. While nu-metal had a large following of fans and listeners, some critics and metal purists of the time had a disdain for the genre, because of its strong departure from a lot of the traditions of metal music, and its association with the Jock/Frat stereotype. Some purists derided Nu-Metal with terms like "Mallcore".Nu-Punk emerged in the late 1990's and came to prominence in the early 2000's, primarily in the Chicagoland area and New Jersey, but later spread to other regions.  It's generally much less overtly political than other punk genres and tends to focus more on general themes of personal struggle, feeling downtrodden, and having a good time, not a long time.  The Fest, a musical festival in Florida, was/is a major hub for Nu-Punk.  Riot Fest was, and to some extent continues to be, another hub.

Both visually and musically, Nu-Punk tends to show it's rust belt, working class, decaying city, industrial roots.  This comes through in its pragmatic and inexpensive fashion, with places like Good Will and the Salvation Army being frequent sources of clothing.  In Chicago, Ragstock, a punk thrift store, is another hub for Nu-Punk fashion.  It also sometimes incorporates elements of classic horror, like imagery. taken from the Universal Monsters movies for example.

Nu-Punk is generally "low fashion," which is to say that it's not polished and generally not "Instagram ready."  It tends to be a bit rough around the edges and grimy, but not to the extent of an aesthetic like Gutter Punk.  It's also not as bombastic as earlier punk styles, so it tends not to include things like brightly colored hair, liberty spikes, or overly studded clothing.  It also tends to stay away from bright colors generally.  In Chicago, the store, The Alley, is a hub for Nu-Punk fashion and culture generally.Opium , also known as Vamp , is a fashion and musical aesthetic that originated in the early 2020s, stemming from the artistic direction of Playboi Carti and his record label of the same name, Opium.

Visually, the aesthetic is defined by a fusion of avant-garde high fashion (specifically the "darkwear" of Rick Owens and Balenciaga) with the rebellious iconography of 1970s Punk and Black Metal . It represents a shift in hip-hop fashion away from the colorful designer streetwear of the 2010s (e.g., Hypebeast culture) toward a monochromatic, gothic, and silhouette-focused look.

Musically, it is associated with "Rage" beats; heavy, distorted synthesizers and erratic vocal performances that mimic the energy of a punk rock mosh pit.

While dark themes in Trap music existed previously through artists like SpaceGhostPurrp (Raider Klan) and Lil Tracy (GothBoiClique), these iterations were largely lo-fi and grounded in underground internet culture. The specific "Opium" look began to coalesce around 2019 as Playboi Carti began working with designer Matthew Williams (Givenchy/Alyx) and adopting a "Vampire" persona.

The aesthetic was formally established with the release of Carti's album Whole Lotta Red in December 2020. The album's creative direction abandoned traditional hip-hop luxury for a jagged, aggressive punk aesthetic. This era introduced the "Vamp" archetype: leather pants, mesh tops, erratic behavior, and Satanic imagery.

The aesthetic exploded in popularity with the rise of Opium signees Destroy Lonely and Ken Carson. Destroy Lonely's 2022 viral hit " No Stylist " and the subsequent leak of " If Looks Could Kill " popularized the "Fashion Demon" look on TikTok, transforming niche avant-garde fashion (Rick Owens boots, Vetements hoodies) into a widely replicated internet aesthetic. By 2023, the aesthetic had fractured into sub-styles, such as Ken Carson's Goreweb (Chaoscore) visual identity.

Opium fashion is distinct from standard " Goth " or " Emo " styles due to its reliance on luxury avant-garde brands and specific silhouette play. The look is almost exclusively monochromatic black, rejecting the colorful palettes of the previous " hypebeast " era.

The "Opium uniform" typically plays with extreme proportions to create a non-human silhouette. Tops are often either extremely cropped and tight (such as compression shirts or mesh tanks) or massively oversized and draped, seen in items like Vetements bombers or Balenciaga raver hoodies. Bottoms frequently consist of waxed denim, leather trousers, or wide-leg cargo pants, exemplified by the popular Rick Owens Bolan Banana cuts.

Footwear is a highly important component of the look, with heavy, brutalist boots serving as a mandatory anchor for the outfit. Iconic models include the Rick Owens Kiss Heels, Bozo Tractor Boots, and the Balenciaga Crocs Boots or Trooper Boots. Accessories further define the style, heavily favoring silver chains and iconography from Chrome Hearts or Parts of Four, alongside futuristic, wrap-around sunglasses that obscure the face.

The Opium aesthetic draws heavily from German Expressionism (e.g., Nosferatu ), occultism, and anarchist imagery. Photography often utilizes "deep-fried" editing, thermal/infrared cameras, or high-flash night photography to create a disorienting, drug-induced atmosphere. Graphic design within the aesthetic references Black Metal logos with illegible, spiky typography, anarchy symbols, and the pervasive "00" numeric branding. Through artists like Ken Carson, the aesthetic often incorporates shock-site imagery and digital decay, documented specifically as Goreweb .

The Opium sound is a subgenre of Trap often called Rage. Production is characterized by "sawtooth" synthesizers, distorted 808 bass, and a lack of melodic progression, creating a hypnotic, aggressive wall of sound. Producers like F1lthy (Working on Dying) defined this sound. Vocally, artists utilize "baby voices," deep guttural frying, or erratic screaming to treat the voice as an instrument rather than a vehicle for lyrics.

The Opium aesthetic is frequently criticized for its cost-prohibitive nature and conformity. Critics argue that despite the aesthetic's roots in "punk" rebellion, it has become a rigid uniform where fans simply purchase the same expensive designer items to fit in, removing the DIY ethos of actual punk . Additionally, the heavy use of inverted crosses and pentagrams has drawn ire from religious conservatives, though fans argue this is purely aesthetic shock value borrowed from 80s Metal culture.PC Music is an aesthetic, art collective, and record label founded by producer A. G. Cook in 2013. It is defined by a distinct visual and sonic style that simultaneously critiques and celebrates the artificiality of pop music, consumer culture, and the internet. The aesthetic is characterized by its glossy, hyper-real, and often surreal digital imagery, which draws heavy inspiration from late 1990s and early 2000s corporate branding, advertising, and cyberculture.

Musically, the style is known as Bubblegum Bass , a genre that deconstructs and exaggerates the tropes of mainstream pop. It features high-pitched, often processed vocals, bright, jittery synth melodies, and experimental electronic textures. The fusion of this unique sound with a highly conceptual visual world has made PC Music one of the most influential cultural movements of the 2010s, laying the direct groundwork for the mainstream emergence of Hyperpop .

PC Music was launched by A. G. Cook in 2013 on SoundCloud as a platform for a close-knit group of London-based artists and producers. The label rapidly gained attention for its prolific output and its distinct, fully-formed aesthetic. Early artists like Hannah Diamond, GFOTY, and Danny L Harle were presented not just as musicians, but as highly stylized, conceptual pop personas.

The collective intentionally blurred the lines between art, music, and marketing. A key example was the 2014 project QT, a fictional pop star (a collaboration between Cook, SOPHIE, and artist Hayden Dunham) whose only song, " Hey QT ," was also an advertisement for a non-existent energy drink. This ambiguous relationship with consumerism became a hallmark of the scene. The label's influence grew exponentially through collaborations with mainstream artists, most notably Charli XCX, who enlisted Cook as her creative director, bringing the PC Music sound and aesthetic to a global audience.

The visual style of PC Music is an inseparable component of its art. It is a deliberate blend of high-production gloss with a DIY , internet-native sensibility, drawing inspiration from a nostalgic vision of the early digital age.

The aesthetic is characterized by its use of clean, polished, and hyper-real CGI. The imagery is often sterile and corporate, mimicking the look of stock photos, product advertisements, and the shiny, futuristic graphics of the Y2K era. This is contrasted with a raw, internet-centric approach inspired by early web design , such as custom-coded GeoCities pages and 2000s minisites. The label's signature color is #0000ff blue, the default hyperlink color, a choice made by A. G. Cook to root the brand's identity in the fabric of the internet itself.

Artists are presented as highly constructed avatars or personas. This is most evident in the work of Hannah Diamond, whose early press shots and cover art featured heavily retouched, almost doll-like images of herself that questioned the nature of authenticity in the age of social media. The aesthetic is a mix of minimalism and maximalism , combining clean lines and simple logos with glitchy digital textures.

The sound of PC Music, which is often referred to as Bubblegum Bass, is an experimental and deconstructed take on pop music. It is characterized by high-pitched, often chipmunk-like vocals that are heavily processed with Auto-Tune and other effects to sound artificial or robotic. The instrumentals are built from bright, shimmering synthesizer melodies, jittery electronic beats, and unexpected sound textures, such as metallic clangs or cartoonish sound effects.

The following artists and tracks are considered foundational or highly representative of the PC Music sound.Party Rock is a maximalist and hedonistic aesthetic that dominated mainstream youth culture between approximately 2009 and 2013. Originating from the branding of the electronic dance-pop duo LMFAO, the style evolved into a decentralized zeitgeist that defined the "club boom" of the early 2010s.

Visually, the aesthetic is characterized by a clash of " Hipster " irony and " Rave " excess, featuring animal prints, neon spandex, lensless glasses, and the popularization of the "Melbourne Shuffle" dance. While closely related to Recession Pop (the musical genre) and Swag (the urban fashion trend), Party Rock is distinct for its specific focus on "forced fun," goofiness, and a visual aesthetic centered around "shuffling" and house party chaos rather than coolness or wealth.

The term "Party Rock" was introduced to the public via LMFAO's debut album of the same name in 2009, but the aesthetic did not reach its cultural apex until the release of their 2011 smash hit, " Party Rock Anthem ". While the song was a global chart-topper, the "Party Rock" concept detached itself from the band to become a general descriptor for the era's nightlife philosophy. The aesthetic capitalized on the post-2008 economic crash mood, where youth culture rejected the dark, serious tones of the mid-2000s in favor of mindless and unapologetic escapism.

Unlike other artist-centric aesthetics, Party Rock became decentralized because it encouraged participation through dance. The music video for " Party Rock Anthem " introduced the mainstream world to "Shuffling" (specifically the Melbourne Shuffle), a rave dance style that had previously been underground. By turning a specific dance move into a viral trend, the aesthetic gave teenagers a performative identity; being a "Party Rocker" meant participating in the dance circles at school dances or house parties, often wearing the "uniform" of the subculture.

Like many marketing gimmicks, the aesthetic faded rapidly around 2013-2014. As the novelty of the "Shuffle" wore off and LMFAO went on indefinite hiatus, pop culture shifted toward the more curated and minimalist "Instagram" look and the rise of "wellness" culture. Party Rock was replaced by the cleaner, more composed aesthetics of the mid-2010s, leaving the style to be remembered as a distinct "cringe" period of forced enthusiasm.

The Party Rock look was characterized by its lack of subtlety and its embrace of "tacky" patterns. The fashion was a commercialized mutation of the Scene and Indie Sleaze / New Rave trends that came before it, stripping away the angst and replacing it with neon joy.

The most iconic accessory of the era was the pair of Shutter Shades or, alternatively, thick-rimmed "nerd" glasses with the lenses popped out. This " Geek Chic " element was often paired with deep V-neck t-shirts, skinny jeans (often in bright primary colors like red or electric blue), and high-top sneakers. Animal prints were ubiquitous, specifically zebra and leopard patterns, which were worn on everything from leggings to headbands.

The aesthetic also utilized a "cartoonish" rave -inspired look. Accessories included glow sticks, copious amounts of silicone wristbands (often with phrases like "I Heart Boobies" or "YOLO"), and wild gravity-defying hair, popularized by Redfoo’s signature afro. The imagery often featured the "Shuffle Bot," a character with a cardboard box robot head, which became a generic symbol for the genre's connection to electronic dance music.

In retrospect, Party Rock is often viewed through a lens of " cringe " due to its aggressive insistence on having a good time. The ethos of the movement was best represented by the album title Sorry For Party Rocking , implying that the participants were partying so hard they were a nuisance to society. Retrospective analysts have noted that the era felt like a "dystopian world where society hasn't stopped shuffling," creating a culture where toxic positivity and constant noise were the norm.

Party Rock shares many elements with Crunkcore (popularized by bands like Brokencyde and 3OH!3). Both aesthetics relied heavily on neon colors, sexualized lyrics, and a "party till you die" mentality. However, where Crunkcore was rooted in the alternative/ emo scene and screamo vocals, Party Rock was the sanitized, radio-friendly version adapted for the mainstream "normie" audience. It took the neon chaos of Crunkcore and polished it for the Jersey Shore demographic.

There is frequent confusion between Party Rock and Swag . While they existed simultaneously and shared fashion elements like snapbacks and skinny jeans, the social signaling was different. "Swag" (associated with Odd Future and Justin Bieber) was about looking cool, composed, and sexually desirable. Party Rock was about looking goofy, hyperactive, and "random."Peacock Revolution describes a fashion movement and subculture that peaked in the mid-to-late- 1960s based most prominently around men incorporating feminine fashion elements such as floral prints, bright colours, complex patterns, and longer hairstyles on men. The movement originated from the Mod driven Swinging London subculture typified by pop art, Carnaby Street , boutiques, psychedelia , and discothèques; developing into a more Bohemian style and becoming associated with psychedelic music and the early Hippie movement, the Peacock Revolution was embraced by rock acts from 1966 to 1968 including Pink Floyd, The Beatles, The Rolling Stones, Small Faces, and Cream.

The Peacock Revolution was largely a consequence of the declining Mod subculture, forming into many varied offshoot subcultures. Certain street-focused Mods, often from more modest backgrounds and sometimes known as Hard Mods, remained active well into the late-1960s. Many of the Hard Mods lived in the same economically depressed areas of South London as West Indian immigrants, so they favoured a different kind of attire, evolving into Rude Boys and Skinheads by the end of the decade. They gradually distanced themselves from the Swinging London scene and the bourgeoning Hippie movement. By 1967, they viewed most people in the Swinging London scene as " Soft Mods " or " Peacock Mods ," as fashion there grew increasingly extravagant. Fashion frequently incorporated unconventional elements such as paisley textiles, vivid patterns, vivid colours, and feminine themes.

By the beginning of the 1970s , it was in decline due to popular fashion returning to a more conservative style. Following the Peacock Revolution, menswear in many Western countries became increasingly diverse. It played a key role in enabling men to wear clothing beyond traditional suits in both professional and casual settings. Additionally, it contributed to a wider acceptance of longer head and facial hair lengths and styles socially and professionally while also driving demand for men's grooming and cosmetic products. Moreover, the movement was instrumental in popularizing androgyny in fashion, particularly within rock music.

In the 1950s and early 1960s , the hegemonic style of menswear was business suits in dark and neutral colours, polo shirts and jumpers, with bright colours seen infrequently. The initial signs of rebellion against this dominant style was through the emergence of the Teddy Boy subculture in Britain, wearing clothes partly inspired by the styles worn by Dandies in the Edwardian period, while also embracing elements of fashions in the United States and continental Europe. Under the influence of the Teddy Boys, other subcultures began to emerge in Britain, including the Rockers , and most consequential to the Peacock Revolution , the Mods . The Peacock Revolution emerged at the crossroads of 1950s queer fashion, the sexual revolution, and the Mod subculture. The rise of the Mod movement had made it more acceptable for heterosexual men to take an interest in fashion, while the sexual revolution enabled men to express themselves in an overtly sexual way.

Mods quickly adopted these styles and soon London's Soho area became renowned for its androgynous fashions. As the style became increasingly popular, many prominent womenswear designers began also producing menswear in the style. By 1967, Peacock Revolution clothing from the London pedestrianised shopping area Carnaby Street were being worn publicly by massive pop culture figures such as the Beatles , the Rolling Stones , the Who , the Pink Floyd , Small Faces , Cliff Richard , Sean Connery and Antony Armstrong-Jones . The style became massively popular thereafter.

A consequence of this rapid adoption and popularity among public figures was a distancing between the more street-orientated Mods, who were referred to as "Hard Mods", and the developing psychedelic driven culture in Swinging London , labelled " Soft/Smooth Mods " or " Peacock Mods "; there was now a divide in the Mod subculture, causing its identity to be lost and the movement to dissipate. Consequently, the Peacock Revolution was an ephemeral era of fashion and culture, peaking from 1967-68 and losing popularity as early as 1969. However, following this subculture, menswear in many Western countries became increasingly diverse and the Revolution became crucial in making androgyny in culture and music more acceptable, changing culture greatly and leaving a lasting impact.

Peacock Revolution fashion reached the United States around 1964 with the beginning of the British Invasion , entering major fashion publications including GQ magazine by 1966. The Summer of Love saw many American artists such as Jefferson Airplane and the Jimi Hendrix Experience adopt Americanised versions of "Soft Mod" fashion. By the mid–to late 1960s, the more radical end of the Peacock Revolution in the United States developed into the Hippie subculture.

By the end of the 1960s, Peacock Revolution fashion began to decline due to popular fashion returning to a more conservative style, many growing tired of the increasingly outlandish and unconventional fashion that typified the "Swinging Sixties". Those who preferred flamboyant and glamorised elements of the fashion evolved into Glam Rockers , and those who preferred less exotic clothing defaulted to more casual clothing such as t-shirts and jeans. The style declined simultaneously to the decline of the psychedelic and Hippie subcultures.

See also: Mod , Dolly Girl , Yé-yé (female)

Peacock Revolution 's fashion was primarily characterized by men embracing traditionally feminine style elements, including tight silhouettes, bold patterns, long hair, and makeup. It also incorporated diverse influences, ranging from the Romantic era to traditional African and Asian aesthetics (e,g., Nehru jackets, Afghan coats). Suits were a staple, often reflecting Edwardian or continental European tailoring and crafted from unconventional fabrics such as corduroy, paisley, and brocade. These suits frequently featured bright colours, striking patterns, embroidery, slim fits, large lapels, cravats, Nehru jackets, frilly shirts, and kipper ties. Boots, particularly winkle pickers, were preferred over standard shoes. The style had much overlap with styles such as Hippie and Mod .

The cultural developments within Britain during the mid- 1960s (centered mostly in London) associated with the Peacock Revolution emphasised modernity , fun-loving hedonism (such as clubbing, casual sex, and taking drugs), a general flourishing of the arts with cinema, graphic design, comedy, and music all experiencing ground-breaking developments, and a high emphasis on fashion that challenged convention and gender roles. Politically, those in this subculture were often liberally orientated, participating and/or believing in the activism of the anti-nuclear movement and the sexual liberation movement; these countercultural beliefs were reflected in their lifestyle, completely rejecting conventions of previous generations. This can be seen as a consequence of the conditions of post-war Britain, young people enjoying greater freedom and fewer responsibilities than their parents.

See also: Freakbeat

Music was an essential part of the revolution, with the " London Sound " being regarded as a central part. Bands that were previously considered underground or unthinkable to be part of the mainstream or play in prestigious locations began to play at and sell out large venues such as the Royal Albert Hall (where Cream famously played their farewell concert). Furthermore, the underground scene was equally as vibrant and "swinging", with boundary-pushing bands such as the Pink Floyd and the Jimi Hendrix Experience playing in counter-culture nightclubs such as the UFO Club, gaining large followings. This period of development was concurrent with the English Freakbeat scene and British Invasion musical revolution in the USA, lasting from c. 1964-70Phonk is a subgenre of hip-hop and associated internet aesthetic that emerged in the early 2010s. Directly inspired by 1990s Memphis Rap (e.g., Three 6 Mafia, DJ Squeeky), the genre is characterized by nostalgic funk and jazz samples, distorted vocals (often "chopped and screwed"), and "dirty" drum textures. While the term was originally a broad descriptor for the "fonky" southern sound, it solidified into a distinct genre on SoundCloud through the works of collectives like Raider Klan, Purple Posse, and Doomshop Records.

In the 2020s, the term "Phonk" was co-opted by a high-tempo, cowbell-heavy electronic subgenre known as Drift Phonk . Consequently, the original style is often retrospectively referred to as " OG Phonk " or " Rare Phonk " to differentiate it from the viral TikTok trend.

The genre's foundation was laid by SpaceGhostPurrp and his collective, Raider Klan, around 2011 with tracks like " Pheel Tha Phonk " and " Bringin' Tha Phonk ". SpaceGhostPurrp established the sound that would define the era: lo-fi production, triplet flows, and an obsession with 1990s Memphis horrorcore tapes. This early iteration was closely linked to Trillwave and often overlapped with the " Cloud Rap " scene due to its hazy, atmospheric production.

Following the dissolution of Raider Klan, the genre evolved into a distinct online ecosystem, primarily centered on SoundCloud. Canadian producer DJ Smokey is widely credited with pioneering the "Rare Phonk" aesthetic during this period. Smokey diverged from the purely dark, horror-influenced sound of Raider Klan by introducing a lighter, "jazzier," and more psychedelic approach. His style, which was often branded as "Positive Squad" or "Nuke," heavily incorporated drug imagery and samples from video games.

This era saw the rise of global collectives that further fractured the sound. Purple Posse, formed in 2016 and featuring artists like Soudiere and Mythic, focused on a cleaner, "cloudy" sound often dubbed "Holy Mob." Conversely, Doomshop Records (featuring MC Holocaust and Cursed) maintained the darker horrorcore roots of the genre. Their "Dirt" style rejected the jazzy samples of the "Rare" scene in favor of aggressive, lo-fi distortion, keeping the menacing spirit of original Memphis rap alive.

In 2019 and the early 2020s, the term "Phonk" underwent a major semantic shift due to the popularity of the genre on TikTok and its adoption by the Russian drifting community.

Around 2019, a subgenre emerged in Russia that departed from the jazz/funk sampling of "Rare Phonk." Producers like Kaito Shoma and Pharmacist began utilizing high-tempo (120+ BPM) house rhythms, extreme bass distortion, and the Roland TR-808 cowbell as a primary melody instrument. This sound, designed to accompany automotive drifting videos, was dubbed " Drift Phonk ." Due to its virality on short-form video platforms, the "Drift" prefix was often dropped in colloquial use, leading new listeners to associate the word "phonk" exclusively with the cowbell-heavy electronic sound rather than the original hip-hop subgenre.

By 2023, the term was further diluted by the " Brazilian Phonk " trend. This style is often a misnomer for Funk Mandelão (or " Bruxaria "), a distinct subgenre of Baile Funk characterized by aggressive distorted bass and repetitive vocal chops. While these tracks share the lo-fi distortion of Phonk, they are rhythmically and culturally distinct from the Memphis Rap lineage. The label "Phonk" was applied to them largely for algorithmic optimization on platforms like Spotify and TikTok, capitalizing on the existing popularity of the term.

Phonk's visual aesthetic is heavily nostalgic and relies on a specific form of "media degradation." The aesthetic is unified by purple or pink tint, a direct visual reference to the "Lean" (codeine syrup) culture of Houston hip-hop. This color palette is almost always applied to footage that has been treated to look like a bootleg VHS tape, utilizing grain, tracking errors, and low fidelity to evoke a sense of "lost media." Cover artworks are often heavily influenced by the "bling" era of hip-hop, specifically Pen & Pixel .

Unlike the racing and drifting imagery of its successor ( Drift Phonk ), classic Phonk visuals focus on "stunting" and street luxury. Music videos and cover art frequently feature parked or slowly cruising 1990s luxury sedans, such as the Lexus LS400 or Mercedes W140, rather than high-speed sports cars. Additionally, the "Rare Phonk" era introduced a trope of using 1990s and 2000s cartoons, particularly The Simpsons (see also Simpsonwave ) and SpongeBob SquarePants . These innocent sources are re-contextualized through psychedelic editing and "trippy" effects to match the drug-induced atmosphere of the music.

By 2020, the term "Phonk" shifted in public perception due to the rise of "Drift Phonk" on TikTok. The following table outlines the differences between the original subgenre and its viral derivative:

The sound of classic Phonk is defined by its lo-fi, "dusted" production quality, which serves as a direct homage to the 1990s Memphis Rap underground (e.g., Three 6 Mafia, DJ Squeeky, Tommy Wright III). Producers heavily utilize the Roland TR-808 drum machine, employing deep distorted basslines, sharp snares, and the signature cowbell, though, unlike in Drift Phonk , the cowbell here is used rhythmically and sparsely rather than as a primary melody.

A defining feature is the use of "chopped and screwed" vocal samples, a technique pioneered by Houston's DJ Screw, where acapellas from classic hip-hop tracks are slowed down to a crawl and repeated to create a hypnotic and drug-like atmosphere.

Musically, the genre is split between two dominant moods: the "Dirt" style (popularized by Doomshop), which focuses on horror-synths and aggressive lo-fi distortion, and the "Rare" style (popularized by DJ Smokey and Soudiere), which juxtaposes these gritty vocals with smooth, clean samples from 1980s jazz fusion, funk, and R&B.Political 'Wave' Aesthetics is an umbrella term for a group of internet-based visual styles that adapt the retrofuturistic motifs of Vaporwave and Synthwave for political messaging and propaganda. Emerging primarily in the late 2010s, these aesthetics are defined by their ideological purpose rather than by a distinct musical style, which distinguishes them for the other, more legitimate subgenres of the latter. They often serve as a form of online propaganda, attempting to appeal to younger audiences by packaging political ideologies within the recognizable and nostalgic framework of 80s and 90s-inspired digital art. This page serves as a neutral overview of these various subgenres.

The use of Vaporwave and Synthwave aesthetics for political ends stems from the inherent, though often ambiguous, political undertones of Vaporwave itself, which is frequently interpreted as a satire of consumerism and late-stage capitalism. This inspired explicitly political offshoots like Laborwave.

The first widely reported political derivative was Fashwave, an alt-right offshoot that appeared around 2016. It was an attempt by extremist groups to co-opt the aesthetic for white supremacist messaging, though it was largely rejected by the mainstream Synthwave community. The emergence of Fashwave established a template that was subsequently adapted by creators across the political spectrum, leading to the creation of numerous other ideological " -wave " aesthetics. These styles gained traction on social media platforms like Reddit, YouTube, and TikTok, their rise coinciding with increased political polarization in the 2020s.

Fashwave is an aesthetic used to promote fascism, neo-Nazism, and other far-right ideologies. It combines the neon grids, sunsets, and retro-futuristic elements of Synthwave with fascist and Nazi symbolism, such as the Black Sun, and imagery of historical and contemporary far-right figures. The style often uses a desaturated or militaristic color palette and is intended to make extremist ideologies appear modern and appealing. It is frequently criticized as an attempt by white supremacist groups to infiltrate and co-opt mainstream internet subcultures.

Laborwave is an aesthetic used to promote or satirize communism, socialism, and other far-left ideologies. Visually, it borrows heavily from Vaporwave 's critique of capitalism, but repurposes it for explicitly pro-communist propaganda. Common motifs include classical busts, glitch art, and Japanese text, combined with communist symbols like the hammer and sickle, the red star, and portraits of figures like Karl Marx, Vladimir Lenin, and Mao Zedong. The music often consists of slowed-down, "vaporized" versions of Soviet or Chinese patriotic songs.

NATOwave is an aesthetic that promotes the North Atlantic Treaty Organization (NATO) and interventionist foreign policy. It emerged around 2021 as a direct response to other politicalwave genres, seeking to reclaim the Synthwave and Vaporwave aesthetic from perceived extremists. Its visuals often feature footage of modern military hardware, such as fighter jets and tanks, edited with VHS filters and set to Synthwave music. The aesthetic aligns with centrist and neoconservative ideologies, emphasizing themes of globalism, liberal democracy, and anti-authoritarianism (specifically directed against states perceived as hostile to NATO).

Militarywave is an aesthetic that glorifies military forces and nationalism. It primarily uses edited combat footage, film clips, and video game captures, often set to aggressive electronic music like Drift Phonk . While not tied to one specific ideology, it often aligns with right-wing and authoritarian themes, promoting a sanitized and powerful image of the military. The aesthetic has been criticized for its propagandistic nature, historical inaccuracies, and for promoting exclusionary narratives that often overlook the contributions of women, minorities, and LGBTQ+ individuals in the armed forces.

On June 29, 2024, Rishi Sunak, the prime minister of the United Kingdom from 2022 to 2024, posted an edit glorifying the British military on X, some days before his position as the prime minister was succeded by Keir Starmer. The video featured the song " Little Dark Age " by MGMT. This event highlighted how political figures may attempt to leverage the aesthetic to appeal to younger demographics, though the post was met with widespread skepticism.

Terrorwave is a visual subgenre centered on the romanticization of non-state violence, paramilitaries, and insurgency. Unlike Militarywave, which glorifies state-sanctioned armed forces, Terrorwave focuses on the "underdog" or "guerrilla" narrative, often utilizing imagery of insurgent groups (such as the IRA, Chechen separatists, or various extremist militias) to convey themes of rebellion against modern society.

Visually, the aesthetic is defined by its "low-fidelity" presentation, meant to mimic bootleg VHS tapes, recovered evidence footage, or underground propaganda. Common visual markers include heavy film grain, "glitch" effects, high-contrast black and white photography, and the distinct use of balaclavas or skull masks to obscure identities.

Ideologically, the style is utilized by various extremist groups (most notably within the "Terrorgram" network) to aestheticize violence as a form of "propaganda of the deed," transforming acts of terror into stylized digital content to appeal to younger audiences.

Tradwave is an aesthetic used to promote religious traditionalism, most commonly Traditionalist Catholicism. It combines Vaporwave effects with classical religious art, such as paintings and sculptures of saints, the Virgin Mary, and Jesus Christ. The imagery is often accompanied by Bible verses or quotes from prominent conservative religious figures. The goal is to convey a sense of spiritual revival in opposition to perceived modern secularism.

This category is for the other political "wave" aesthetics that are less widespread in online communities.

Anarchowave is an aesthetic used to promote anarchism in its various forms. It combines the visual language of Synthwave with heavy glitch effects, distorted imagery, and symbols of anarchist movements, such as the circled-A and historical flags from anarchist uprisings like the Spanish Civil War. The visuals are intended to evoke a sense of chaos, rebellion, and anti-authoritarianism, often with a critique of capitalism and the state.

Monarchowave promotes monarchism and traditionalism. The aesthetic uses Vaporwave and Synthwave visuals to frame historical European royalty and imperial imagery in a nostalgic, reverent light. Edits often feature portraits of kings, queens, and emperors, overlaid with national flags, classical art, and religious symbols. It shares themes with Royalcore and often carries an anti-modernist sentiment.

Faragewave , sometimes called Brexitwave , is an aesthetic that originated as a meme glorifying Nigel Farage, a British politician and prominent figure in the Brexit movement. The earliest examples date to October 2016, with a resurgence in 2024. The aesthetic uses Synthwave visuals to showcase themes of conservatism, British or English nationalism, and populist optimism.

Libertywave is a subgenre focused on right-leaning libertarian ideologies, primarily within an American context. It uses Synthwave and Vaporwave motifs to promote concepts of individual liberty, anti-authoritarianism, and anti-socialism. Common imagery includes references to the American Revolution and symbols associated with the libertarian movement.

Serbwave is an aesthetic that emerged from online meme communities, centered on Serbian nationalism and nostalgia (or "dark humor") for aspects of the Yugoslav Wars. It involves remixing footage from the conflict and Turbofolk war songs with Vaporwave or Synthwave effects. The aesthetic is often considered insensitive due to its trivialization of a violent historical period, and many of its creators and consumers are not of Serbian origin, often participating solely for the transgressive or perceived 'edgy' appeal of the conflict's imagery.Poppare is a Swedish youth subculture that emerged in the 1990s and peaked in popularity during the mid-2000s. The name is derived from the Swedish word for "pop fan," and the subculture is defined by its connection to the Swedish indie pop and rock scene, as well as a strong visual influence from 1960s Mods and Britpop .

The movement is centered around key musical acts, most notably the band Broder Daniel and the solo artist Håkan Hellström. While primarily a Swedish phenomenon, the style has had a limited presence in other Nordic countries.

The Poppare subculture began to form in the late 1990s, with the aesthetic of Henrik Berggren, the lead singer of the influential Gothenburg-based band Broder Daniel, serving as a primary catalyst. His melancholic, androgynous, and stylish look became a template for the subculture's most recognizable iteration. The movement solidified in the early 2000s, developing a distinct identity and branching into several defined sub-styles. Poppare represented a uniquely Swedish take on indie and retro culture, combining a love for domestic music with an appreciation for British fashion and musical history.

The fashion of the Poppare subculture is a modern reinterpretation of 1960s Mod style, filtered through a melancholic indie lens. The look is highly specific and is best understood through its three main variations.

Also known as BDpopare (after Broder Daniel), this is the most iconic and enduring style. It is defined by a strict black-and-white color palette, which is the origin of the "Panda" name. The look features heavy, dark eye makeup, including thick black eyeliner and smokey eyeshadow, often accented with a single star-shaped sticker placed under one eye to signify a "looking good but feeling sad" ethos. The signature hairstyle is a voluminous, heavily teased A-line bob that is meticulously styled. The clothing is heavily Mod -influenced, consisting of miniskirts, Peter Pan collar blouses, cardigans, black skinny trousers, and Dr. Martens or Mary Jane shoes.

This now-defunct style was the most colorful and playful variation of the subculture. While sharing the same basic hairstyle and use of star stickers, Glitter Poppare embraced a bright, childlike aesthetic influenced by Japanese Decora fashion. The look was characterized by baby-doll dresses, clothing in bright pinks, yellows, and greens, and a maximalist approach to accessories. This included an abundance of colorful plastic jewelry, numerous hair clips, tiaras, and other "kawaii" items.

Named for the fans of musician Håkan Hellström, this style is defined by a distinct nautical or sailor-inspired look. The key garments are Breton-striped shirts, often paired with tight-fitting trousers, suspenders, and hats such as beanies or captain's hats. This style is more casual and less melancholic than the Panda look, reflecting the more upbeat and folksy nature of Hellström's music.

The Poppare subculture is intrinsically linked to the Swedish indie pop and rock scene of the 1990s and 2000s. The most foundational band for the movement is Broder Daniel, whose angsty, romantic lyrics and post-punk sound defined the melancholic mood of the Panda Poppare style. The solo work of Håkan Hellström, known for his poetic, heartfelt pop songs, is equally central and inspired his own distinct fashion following. Other important Swedish bands include Kent and Laakso. The subculture also draws heavily from classic British indie and post-punk, with bands like The Smiths, The Cure, and Joy Division being part of the essential musical canon.Post-Grunge Maximalism is a fashion aesthetic that was highly prevalent in the mid-to-late 2000s, characterized by its maximalist approach to design. The style is a fusion of post-grunge, hard rock, nu-metal , and tattoo culture, resulting in a distinctively embellished and often hyper-masculine look. The term was coined by researcher Evan Collins to retroactively name this previously unnamed but culturally significant trend.

The aesthetic is characterized by its use of intricate, overlapping graphics, heavy distressing, and luxury branding. It was popularized by brands like Affliction, Ed Hardy, and True Religion, and became strongly associated with the MMA, rock music, and nightclub scenes of the era.

Post-Grunge Maximalism rose to prominence in the mid-2000s, a period that saw a departure from the minimalist and understated style of 1990s grunge . Brands like Affliction built their identity by aligning with the growing popularity of Mixed Martial Arts (MMA), with their graphic t-shirts becoming a uniform for fighters and fans alike. Simultaneously, designer Christian Audigier brought the tattoo art of Don Ed Hardy into the mainstream with the Ed Hardy brand, plastering colorful, tattoo-inspired graphics onto t-shirts, hoodies, and trucker hats.

The style peaked in the late 2000s, becoming ubiquitous in popular culture, most notably through its association with the cast of the reality TV show Jersey Shore (see also Guido ). By the early 2010s, its popularity waned significantly as fashion trends shifted towards minimalism and more subdued streetwear. However, in the early 2020s, the aesthetic has seen a nostalgic revival on platforms like TikTok, with younger generations ironically or sincerely embracing vintage pieces from brands like Affliction as part of the Y2K fashion resurgence.

Post-Grunge Maximalism fashion typically includes heavily embellished graphic t-shirts. These shirts typically feature a dense collage of imagery on a muted color base, such as faded black or brown. Common motifs include skulls, crosses, angel wings, eagles, daggers, and fleurs-de-lis, often rendered in a style that mimics tattoo art. The graphics are further enhanced with a variety of maximalist techniques, including foil printing, rhinestones, heavy flocking, and intricate embroidery.

This style was most famously applied to t-shirts, but it also defined a specific look for denim. Brands like True Religion became famous for their premium jeans featuring thick, contrasting stitching, elaborate pocket designs, and often a distressed or faded wash. The look was about projecting a sense of rebellious, rock-and-roll luxury and hypermasculinity.

During its peak, the Post-Grunge Maximalism aesthetic became a subject of significant cultural criticism. It was pejoratively labeled "douchebag couture" or "Ed Hardy-core" and became strongly associated with a specific "party bro" stereotype, largely due to its adoption by the cast of Jersey Shore and its prevalence in nightclub scenes.

The aesthetic also faced more serious controversy. In some cities in the United States and Canada, law enforcement began to associate the clothing with gang activity, leading some bars and nightclubs to ban patrons wearing brands like Ed Hardy and Affliction to prevent violence. This public perception contributed to the style's rapid decline in mainstream fashion.

Due to its lack of a formally established name, the aesthetic is often confused with Grunge or Emo , despite its distinct cultural and musical roots.Post-Punk is a subgenre and era of rock music that emerged in the late 1970s in the wake of the initial punk rock movement. It was defined by its departure from punk's raw, three-chord formula, embracing a more experimental, introverted, and artistically ambitious approach. The aesthetic associated with Post-Punk rejected the overt aggression of punk fashion in favor of a more restrained and minimalist style, often drawing inspiration from British working-class attire, vintage clothing, and avant-garde art movements.

While the music was diverse and explored a wide range of sounds, from angular art-funk to atmospheric and somber tones, the visual identity coalesced around a look that was both utilitarian and intellectual, setting the stage for the later development of the Goth subculture.

The Post-Punk aesthetic is characterized by a deliberate move away from the studs, leather, and mohawks of mainstream punk . Instead, it favored a more subdued, androgynous, and monochromatic look that reflected the music's introspective and intellectual leanings. This style was not uniform but was generally built on a foundation of second-hand and army surplus clothing, reflecting a DIY ethos and an anti-commercial stance.

The post-punk aesthetic grew out of "new musick," an early label for the genre. New musick reflected a pechant for European culture and a rejection of American rock ’n’ roll. German music genres such as krautrock and kosmische musik (particularly the use of synthesizers and electronic sounds indebted to Kraftwerk) were highly influential. This style, which mirrored the working-class attire of Cold War-era Europe and Britain, was described by writer Mimi Haddon as "Eastern Bloc chic", and defined as an anti-rockstar, non-image.

Artists such as Throbbing Gristle, Wire, Josef K, the Feelies, Talking Heads, Young Marble Giants, the Fall, MX-80 Sound, Pere Ubu, Suburban Lawns, Tuxedomoon, Cabaret Voltaire, the Flying Lizards, the Contortions, 23 Skidoo, the Pop Group, Subway Sect, Alternative TV, XTC, Orange Juice and Joy Division; frequently sported short hair, wore button-up shirts, ill-fitting trousers, and drab overcoats, creating a stark, almost corporate appearance that stood in sharp contrast to punk’s theatricality. Common garments included tailored blazers, trench coats, wool jumpers, slim dark jeans, and simple trousers. Footwear was dominated by practical styles like Dr. Martens, desert boots, and black Oxford shoes. This fashion style would also be associated with art-punk groups and overlap with the American "skinny-tie" new wave aesthetic.

The aesthetic also drew from 20th-century art movements, including German Expressionism , the Bauhaus school, and Dadaism , which influenced the stark, geometric designs of album art and promotional materials, most famously Peter Saville's work for Factory Records. As the genre evolved, some artists, like Siouxsie Sioux and Robert Smith of The Cure, began to incorporate more dramatic elements, such as heavy black eyeliner, dark lipstick, and voluminous, teased hair. This darker, more theatrical variant of the Post-Punk style would directly evolve into the fashion of the early Goth subculture.

The ethos of Post-Punk was founded on a rejection of the perceived commercialization and creative stagnation of the mainstream punk movement. Where punk often championed raw energy and direct rebellion, Post-Punk prioritized artistic experimentation, intellectual depth, and introspection over mass appeal. Central to this was the significant influence of British art schools, which served as hubs where musicians were exposed to a wide range of ideas from existentialist literature, avant-garde art, and critical theory .

This intellectual curiosity informed the genre's lyrical content, which frequently explored themes of social alienation, existential dread, and the absurd, drawing from writers like Jean-Paul Sartre and Franz Kafka . While Post-Punk inherited the Do-It-Yourself (DIY) spirit of punk, it applied this ethos to creating more complex, personal, and non-commercial forms of expression.

Post-Punk music is characterized by its experimental nature and diverse range of influences that went far beyond the scope of traditional rock and roll. Bands drew from genres like funk, dub reggae, free jazz, and electronic music, as well as the avant-garde sounds of German Krautrock bands like Can and Neu!.

The sound is often characterized by prominent, melodic basslines, sharp and angular guitar riffs, and repetitive, often tribal, drumming. Vocals could range from the detached, monotone delivery of Ian Curtis to the theatrical wail of Siouxsie Sioux or the yelping funk of Talking Heads. Lyrically, Post-Punk was more complex and introspective than punk, exploring themes of existential angst, social alienation, and personal politics, influenced by writers like Franz Kafka and Jean-Paul Sartre.Psychedelia denotes a countercultural movement originating in the 1960s, characterized by visual and auditory representations of altered consciousness, known as the "psychedelic experience." This aesthetic draws heavily from the subjective experiences induced by psychoactive substances, including LSD, mescaline, and psilocybin.

The subculture included both users of these substances and non-users who participated in and appreciated the associated art, music, and fashion. Psychedelic art employs distorted, surreal imagery, vivid colors, and animation to replicate or evoke altered states of perception. Psychedelic music, which encompasses various genres such as psychedelic rock, utilizes techniques such as electric guitar distortion, elements of Indian music including the sitar and tabla, electronic effects, sound manipulation, and studio effects such as tape manipulation and stereo panning.

The psychedelic experience, as a phenomenon, involves perceived alterations in consciousness. These alterations encompass hallucinations, synesthesia, shifts in awareness, changes in thought processes, trance-like states, and mystical experiences. These altered states can prompt individuals to experience shifts in self-perception, leading to feelings of revelation, confusion, or psychosis. People who experience altered states of consciousness, particularly with the use of psychedelic substances for spiritual or self-exploratory purposes, are sometimes referred to as "psychonauts."

The term "psychedelic" originated in a 1957 letter from British psychiatrist Humphry Osmond to Aldous Huxley. Osmond created the word from the Greek words " psychḗ ," meaning "mind" or "soul," and " dēleín ," meaning "to reveal" or "manifest." Therefore, "psychedelic" translates to "mind manifesting" or "soul manifesting." This term gained prominence during the 1960s counterculture and remains the most prevalent descriptor.

Prior to psychedelic, "hallucinogen" was the more common term, referring to substances that induce hallucinations, but it does not encompass the full range of effects produced by these substances. Many of these substances do not consistently produce full hallucinations at typical dosages. Additionally, "hallucination" can be associated with negative mental states, such as certain disorders or sleep deprivation.

"Entheogen," a more recent term, emphasizes the spiritual dimensions of these substances and their potential for facilitating spiritual development. Derived from Greek, "entheogen" means "generating the divine within." This term was popularized in 1979 by ethnobotanists and mythologists including Richard Evans Schultes, R. Gordon Wasson, Jonathan Ott, and Carl Ruck. "Entheogen" is meant to represent the capacity of these substances to induce experiences of the divine and acknowledges their historical use in religious ceremonies.

The history of psychedelia unfolded through distinct phases, beginning in the mid-1950s. Beat Generation writers, including William Burroughs, Jack Kerouac, and Allen Ginsberg, documented their drug use, which included cannabis and Benzedrine, thus popularizing those substances. Simultaneously, LSD, a legal substance at the time, was used in experimental psychiatric treatments in the United States and United Kingdom. In the early 1960s, advocates of expanded consciousness, such as Timothy Leary, Alan Watts, Aldous Huxley, and Arthur Koestler, promoted LSD and other hallucinogens, influencing a new generation of youth. Drug use was already present among jazz and blues musicians, and it began to spread among folk and rock musicians, who incorporated drug references into their music. The Rolling Stones, the Beatles, and the Moody Blues were among the British rock groups known for their drug use.

By the mid-1960s, a psychedelic lifestyle had developed in California, particularly in San Francisco, spurred in part by Owsley Stanley's underground LSD factory. Ken Kesey and the Merry Pranksters organized "Acid Tests" from 1964, events featuring LSD, light shows, and improvised music. The Pranksters also undertook road trips across America, distributing LSD and engaging with Beat Generation figures, as documented in Tom Wolfe's " The Electric Kool-Aid Acid Test ." San Francisco's music scene, with its folk clubs, coffee houses, and independent radio stations, catered to students and free thinkers.

Timothy Leary and Aldous Huxley held differing views on the public use of psychedelics. Leary advocated for their widespread use, while Huxley suggested limiting their use to an intellectual elite. Michael Hollingshead's arrival in the US from London in 1965 contributed to the movement's spread. The 1967 Summer of Love and the rise of hippie culture popularized psychedelia in mainstream culture, where it remained influential into the 1970s.

Many acid rock bands aimed to create a youth movement based on love and peace, rejecting capitalist society. David P. Szatmary noted that acid rock bands were at the forefront of cultural change, and the San Francisco Oracle highlighted rock music's regenerative and revolutionary potential. Live performances in dance clubs featured psychedelic light shows to replicate the effects of LSD. Kevin T. McEneaney credited the Grateful Dead with "inventing" acid rock at a 1965 Acid Test. Steve Turner recognized the Beatles' 1966 album " Revolver " as a key influence on acid rock. Phillip Rauls identified the Beach Boys' " Good Vibrations " as an early example of acid rock's influence.

Laura Diane Kuhn traced the development of acid rock to the late 1960s California music scene. The Charlatans and Jefferson Airplane were early Bay Area acid rock bands. Time magazine and Life magazine acknowledged the prominence of bands like Jefferson Airplane and the Doors. Garage rock bands such as the 13th Floor Elevators and Count Five, as well as the Paul Butterfield Blues Band, contributed to the development of acid rock. The Beatles' " Sgt. Pepper's Lonely Hearts Club Band " also influenced American acid rock.

Research on psychedelics, much of it conducted at institutions like Harvard University, gained attention in the 1960s. Timothy Leary's Harvard Psilocybin Project included the Concord Prison Experiment, which explored psilocybin's effect on recidivism. Leary and his colleagues believed psychedelics could promote peace, but their research faced skepticism. Leary also advocated for college courses on psychedelics.

Ken Kesey and the Merry Pranksters, who had participated in CIA-funded drug trials, popularized LSD through their cross-country trips and "Acid Tests." Their activities, documented in Tom Wolfe's book, linked the Beat Generation to the psychedelic scene. Experimentation with various psychedelic drugs became a significant aspect of 1960s counterculture.

Musical precursors to psychedelic rock included the Ventures and the Beatles, who experimented with guitar effects and studio techniques. The emergence of psychedelic rock in the mid-1960s stemmed from British Invasion bands and folk rock artists. Bob Dylan and Ravi Shankar influenced the development of folk rock and raga rock. The Holy Modal Rounders and John Fahey were among the early folk musicians who incorporated psychedelic elements.

In 1965, the US West Coast and London saw the emergence of psychedelic scenes. The Beatles and the Byrds were pivotal in the development of psychedelic rock. The Beatles' " Norwegian Wood " and the Byrds' " Eight Miles High " were important early examples of the genre. San Francisco became a center for psychedelic music, with bands like Jefferson Airplane and the Grateful Dead gaining prominence. The Grateful Dead's performances at Acid Tests contributed to the growth of the psychedelic subculture.

By 1966, psychedelic rock gained mainstream popularity. The Yardbirds, the Byrds, the Beach Boys, and the Beatles released influential psychedelic records. The 13th Floor Elevators and Donovan also contributed to the genre's growth.

In 1967, psychedelic rock reached its peak, with bands like the Doors and Pink Floyd achieving widespread success. The Beatles' " Sgt. Pepper's Lonely Hearts Club Band " and the Monterey Pop Festival were significant events. The Summer of Love drew large numbers of people to San Francisco. British and international variants of psychedelic rock also emerged.

By the end of the 1960s, psychedelic rock began to decline. LSD was illegalized in the United Kingdom and United States, and events like the Manson Family murders and the Altamont Free Concert contributed to a negative perception of the counterculture. Musicians moved away from psychedelic styles, and record labels began to suppress the genre.

Psychedelic art, distinct from graphic design, broadly encompasses artistic expressions that reflect altered states of consciousness, often influenced by hallucinogenic substances such as LSD. While graphic design focused on communicative forms like posters and album covers, visual art explored more expansive and immersive creative avenues.

This art form is characterized by its anti-naturalistic and day-glo color palettes, featuring swirling patterns, hidden messages, and sometimes erotic imagery. Its origins are deeply intertwined with the hippie counterculture in San Francisco, where artists aimed to translate the subjective experiences of a "trip" into visual forms.

The visual motifs common in psychedelic art often draw from Art Nouveau , incorporating curvilinear forms, floral elements, and natural themes. However, psychedelic art intensifies these elements with bold, high-contrast colors chosen to be dazzling and even unsettling, reflecting the overwhelming sensory experience of a psychedelic state. The artwork tends to be rich in detail, often exhibiting horror vacui, a tendency to fill every available space with intricate elements, symbolizing the hyperactivity of the mind under the influence of psychedelics. This richness can also be achieved through repetition of colors, motifs, or images, mirroring the recurring patterns seen during altered perceptions.

Freedom of expression is a fundamental aspect, with artists having no strict rules regarding composition or medium. The goal is to convey the flow of consciousness, leading to improvisation and a mixture of symbols, abstract geometric figures, and distorted imagery. Optical illusions are frequently employed, creating a sense of movement or misperception, such as parallel lines appearing curved or immobile elements seeming to shift. Fractals, which are geometric shapes repeating at different scales, are also commonly depicted, reflecting patterns often experienced during psychedelic states and conveying a sense of underlying harmony.

Other recurring visual themes include "melting" effects, where objects, beings, or colors appear to liquefy, symbolizing the fluidity of consciousness or the dematerialization of identity. Symmetry is often used to establish balance and harmony, whether bilateral, translational, or rotational. Distortion is perhaps the most prevalent technique, representing the mind's inability to perceive reality clearly and often serving to aestheticize visual errors. Collage, the superimposition of disparate images, and glitches, simulated electronic distortions, are also utilized to create fragmented or disrupted visuals. More modern techniques, like DeepDream, use neural networks to enhance patterns, producing hallucinogenic, dream-like imagery. Kaleidoscope-like effects, creating continuously changing symmetrical patterns, are used to induce a sense of perpetual motion. Negative color inversions can create a macabre or melancholic mood, inviting deeper viewer engagement.

Historically, the connection to drug use initially led to psychedelic art being "purged" from official art history, often relegated to applied art or dismissed as stylistic aberration to avoid controversy. Despite this, exhibitions in the mid-1960s, notably "LSD ART" covered by LIFE Magazine in 1966, brought it into the mainstream. Early monographs, like Robert Masters and Jean Houston's Psychedelic Art (1968), sought to define the subject and even linked it to earlier "visionary" art to provide a historical precedent. This period saw a belief that psychedelic experiences could offer therapeutic benefit or mystical insight, with the best art expressing a harmonious universe. However, as LSD became illegal and the counterculture faced negative perceptions, the "psychedelic" label became detrimental to artists' reputations, leading to its decline from mainstream visibility by 1970. Critics also argued that the art often favored sensuousness over depth and became monotonous or commercially co-opted, further contributing to its diminished status in art discourse.

Beyond static images, psychedelic visual art found a significant outlet in light shows. Pioneering groups like the Joshua Light Show, founded by Joshua White in 1967, created improvisational liquid light shows using overhead projectors and colored oils. These dynamic visual spectacles served as backdrops for live music performances, particularly at venues like Bill Graham's Fillmore East, accompanying artists such as Jimi Hendrix, The Grateful Dead, and The Doors. These light shows were an immersive, multi-sensory experience, designed to complement the music and enhance the audience's altered state of perception, effectively fusing high and low art, and blurring the lines between life and art. The Joshua Light Show's work, which is now in the permanent collection of the Museum of Modern Art in New York, influenced subsequent visual music and continues to be exhibited.

Psychedelic graphic design emerged in the mid-1960s, reflecting the counterculture and its interest in altered states of consciousness. This visual style aimed to translate the experience of psychedelic drugs into a tangible form, influencing popular culture beyond music. The design language was characterized by specific visual motifs derived from various artistic movements.

Key characteristics of psychedelic graphic design included curvilinear shapes, often inspired by Art Nouveau . Typography frequently featured illegible, hand-drawn letters that appeared to melt or undulate, creating a sense of motion. Intense optical color vibration, drawing from the Pop Art movement, was also a defining element. This effect was achieved by juxtaposing colors from opposite ends of the color wheel with equal value and intensity.

San Francisco was a focal point for psychedelic graphic design, particularly in the creation of rock concert posters and album covers. Influential designers, often referred to as the "Big Five," included Wes Wilson, Victor Moscoso, Rick Griffin, Alton Kelley, and Stanley Mouse. These artists were instrumental in defining the look of the era. Wes Wilson, known for his work for The Fillmore , popularized the melting, moving psychedelic font around 1966. Victor Moscoso, with a formal graphic design background, consistently used vibrating colors to create psychedelic effects, blending influences from comic books, Victorian imagery, Art Nouveau, and Pop Art. In 1967, several of these designers formed the "Berkeley-Bonaparte" studio.

The influence of Op Art , a style of abstraction that utilized geometric shapes, lines, and color juxtapositions to create optical illusions, was evident in psychedelic design. Pop Art also played a significant role by blurring the lines between "high" art and popular culture. Pop artists like Roy Lichtenstein and Andy Warhol, who incorporated commercial imagery and bold visual techniques, contributed to a broader acceptance of unconventional aesthetics that characterized the psychedelic movement.

Album covers became prominent canvases for psychedelic graphic design. The cover for The Beatles' " Sgt. Pepper's Lonely Hearts Club Band " (1967), designed by Peter Blake and Jann Haworth, combined psychedelic elements with Pop Art. Jimi Hendrix's " Axis: Bold as Love " (1967), illustrated by Roger Law, featured rich ornaments, vivid colors, and imagery reflecting a symbiotic coexistence of people and animals, intended to evoke narcotic visions.

Psychedelic graphic design broke established conventions, offering a visual representation of the counterculture's rule-breaking and freedom of expression. The movement also inspired experimental live visuals, such as the liquid light shows pioneered by groups like The Joshua Light Show, which used overhead projectors and colored oil as backdrops for musical performances. Underground comics like " Zap Comix ," published in San Francisco starting in 1968, also served as an outlet for psychedelic illustration, featuring distorted styles and countercultural content.

Psychedelic fashion emerged in the 1960s as a direct reflection of the era's social and political shifts, heavily influenced by the "LSD trip" experience that heightened the appreciation for line, texture, and color. This aesthetic was characterized by bold patterns and vibrant hues, designed to enhance and externalize altered states of consciousness. It began in urban youth enclaves and quickly gained media attention, influencing both mass-market manufacturers and haute couture designers. Early examples included go-go boots, culottes, mini-skirts, and more experimental items like PVC clothing and box-shaped dresses, though these were less common in daily wear.

The visual language of psychedelic fashion drew inspiration from Pop Art , which challenged traditional fine art by blurring the lines between high and low culture. San Francisco psychedelic poster artists such as Wes Wilson, Alton Kelley, Stanley Mouse, Bonnie Maclean, Victor Moscoso, and Rick Griffin were central to the movement, incorporating bizarre iconography, rubber-like distortions, collage elements, symmetrical compositions, and bright, ornate lettering into their designs for rock concerts. These designs were also influenced by Dadaism, Victoriana , and Art Nouveau .

Psychedelic fashion served as a means to express an internal, dream-like reality projected onto external appearances. It became a defining movement of the 1960s, with its vocabulary permeating the decade's fashion industry. The clothing itself was often described as owing something to the phantasmagoria of acid visions. A common characteristic was the combination of psychedelic and tribal patterns with mottled Indonesian and African textures, frequently seen alongside tie-dye showers and phosphorescent splotches. This was a grassroots movement that achieved widespread recognition; for instance, custom-made tie-dye outfits were available in New York City at locations like Halston's Salon and The Fur Ballon. Psychedelic fashion transcended mere style, fostering a sense of community and shared identity.

In contemporary fashion, psychedelic patterns have seen a resurgence. Designers have incorporated these prints, notable for their sinuous lines, organic shapes, and bold colors, into collections. Tie-dye remains a prominent related trend. For the Spring/Summer 2021 season, designers such as Raf Simons, Paloma Wool, Lecavalier, Collina Strada, and Dries Van Noten featured psychedelic prints in their collections, often embracing a "funky" aesthetic. Raf Simons' Spring/Summer 2021 "Teenage Dreams" collection, for instance, used color-blocked, well-defined swirls inspired by the 1979 film " Hair ," reflecting themes of youth revolt. Dries Van Noten drew inspiration from early 20th-century films, incorporating "psychedelic sun, sunshine and moons, light bars, and palm trees" into fluid silhouettes and balloon-sleeved garments.

This contemporary return to psychedelic fashion is often seen as mirroring chaotic and confusing times, similar to the socio-political upheaval of the 1960s. The "magic-eye" trend, featuring confounding prints that deny an immediate sense of order, can be interpreted as a reflection of current societal uncertainty or a surge of hedonistic energy and release. Designers like Marine Serre have featured complex, fragmented geometric prints that contribute to this disorienting aesthetic. This movement towards more free and less traditional approaches in dressing, including the tie-dye boom, suggests a rebuke against restrictions and a desire for excitement and engagement beyond daily confines. Fashion historians and psychologists suggest that such designs offer optimism, break down fashion rules, and evoke nostalgic feelings of freedom, community, and sensory experiences, particularly after periods of isolation.

Psychedelic Rock is a rock music style that emerged in the mid-1960s. Its aim is to replicate or enhance the auditory experience of music under the influence of psychedelic drugs. Typical characteristics include heavily distorted and reverbed electric guitars, extended instrumental sections with prominent guitar solos, augmented vocals, and lyrics influenced by drug experiences. The genre also commonly uses keyboards and elaborate studio effects like backwards recording. Psychedelic rock often incorporates elements from other genres such as folk, blues, jazz, and traditional South Asian music.

The inception of psychedelic rock is generally placed around 1966, marked by releases such as The Byrds' " Eight Miles High " from Fifth Dimension, The Beatles' B-side " Rain ," and The 13th Floor Elevators' The Psychedelic Sounds of The 13th Floor Elevators . This genre often developed in parallel with psychedelic pop. Early psychedelic records, especially in the UK, frequently combined elements of both genres, as seen in The Beatles' Revolver .

By 1967, psychedelic rock's popularity surged, particularly in the US, where it began to differentiate itself more clearly from psychedelic pop. This distinction involved moving away from pop-oriented song structures and integrating elements of garage rock and blues rock, alongside the emergence of the "wah"-heavy acid rock sub-style. Notable artists showcasing these fusions include Jimi Hendrix, The Doors, Cream, and Jefferson Airplane. Although psychedelic rock saw a significant decline in popularity transitioning into the 1970s, it substantially influenced later genres like progressive rock and hard rock.

Acid Rock is a subgenre of psychedelic rock that developed in the mid to late 1960s, primarily in the United States. It was conceived as music for psychedelic experiences, specifically LSD trips. This style pushed experimentation further than earlier psychedelic music, moving beyond its blues and rock foundations without fully adopting the heavier characteristics of heavy psych. Acid rock maintains the extended instrumental jamming and improvisation common to the psychedelic era. It often emphasizes "wah" effects more than the distorted "fuzz" found in hard psych, and incorporates more subdued textures. The term largely fell out of favor after the mid-1970s as bands either dissolved or integrated into heavy psych.

Neo-Psychedelia is a broad musical term encompassing developments in psychedelia since the early 1980s, building upon the drug-inspired styles of the 1960s. Initially, the term referred to post-punk and jangle pop artists such as The Soft Boys and The Church, who blended clean electric guitars and pop songwriting with effects like reverb and distortion. Throughout the 1980s, neo-psychedelia evolved alongside alternative rock, including the mid-1980s California scene known as the Paisley Underground, and a space rock revival led by bands like Spacemen 3 and Loop. In the late 1980s, it contributed to the psychedelic sound of the Baggy scene, which combined surreal sonic environments with alternative dance rhythms and rave culture influences, notably on Primal Scream's 1991 album Screamadelica .

The 1990s featured various forms of neo-psychedelia, generally rooted in its rock origins. In the UK, shoegaze developed from neo-psychedelic techniques, dream pop, and noise pop, forming its own distinct genre. Artists like Spiritualized and The Verve pursued a more purely neo-psychedelic sound, focusing on studio effects and elaborate arrangements. In the American underground, neo-psychedelia was significant through interrelated styles. The Elephant 6 collective and The Brian Jonestown Massacre's 1960s pop worship coexisted with Mercury Rev and The Flaming Lips, whose psychedelic sound initially embraced noise before shifting to more orchestrated and experimental styles akin to their British counterparts.

The focus of neo-psychedelia shifted in the 2000s, incorporating more electronic instruments, synthesizers, and effects, as exemplified by artists like Broadcast and, later in the decade, Fuck Buttons. Simultaneously, Ariel Pink's Haunted Graffiti and James Ferraro established hypnagogic pop, a lo-fi offshoot of neo-psychedelia with a grimy sound referencing the 1980s. Animal Collective also became a key figure in 2000s and 2010s neo-psychedelia, drawing from psychedelic folk before moving towards more experimental and electronic-infused directions, pushing the genre beyond its pop and rock foundations.

In the 2010s, neo-psychedelia remained influential in alternative and popular music, with artists like MGMT and Tame Impala achieving significant success. The electronic aspect of the genre also influenced the rise of chillwave, which in turn contributed to the dreamy, reverb-laden sound of cloud rap. Presently, neo-psychedelia encompasses a diverse range of styles unified by their shared origin and the use of instruments and effects to create a psychedelic sound.Psychobilly is a fusion music genre that emerged in the early 1980s as an evolution of rockabilly and punk rock 's intensity. Its sound is characterized by aggressive, loud instrumentation, often featuring an upright double bass, overdriven guitars, and full drum kits, diverging from traditional rockabilly by incorporating modern lyrical themes and a faster tempo. Lyrically, psychobilly draws heavily from horror films, B-movies, zombies, vampires , and graveyards, frequently presenting these dark subjects with a comedic or tongue-in-cheek approach. This gives it some lyrical similarities to horror punk .

Psychobilly has evolved into a youth subculture with its own aesthetic. It includes signature large quiffs, diverse and often wild clothing, makeup, and stage props like fake blood and skeletons. While rooted in the primitive rock and roll of earlier decades, such as the sound of The Cramps and 1960s garage bands like The Sonics, psychobilly intentionally moved away from strict retro authenticity. Its audience, initially a mix of rockabillies seeking something more punk and punks desiring a different sound, found a focal point in venues like London's Klub Foot. This scene fostered its own practices, such as the "wrecking" dance, which involved energetic, flailing movements. Despite its passionate following and established presence, psychobilly largely remained an underground phenomenon, consciously maintaining its outsider status and not seeking mainstream acceptance.

Psychobilly originated in the early 1980s, primarily in Britain, as a distinct fusion of rockabilly and punk rock . While the term "psychobilly" itself was notably used by Johnny Cash in his 1976 song " One Piece at a Time " to describe a "Psycho-Billy Cadillac," its application to a music genre and subculture first appeared on gig flyers for the American band The Cramps, who formed in 1976. The Cramps, rising from New York's underground punk scene, incorporated elements of 1950s rock and roll and early blues pioneers into their sound, though they themselves were hesitant to be strictly labeled psychobilly due to their use of electric bass and slower tempos.

The British band The Meteors, formed in the early 1980s in London, are widely credited as the main originators of the defined psychobilly genre. Their music blended horror themes, punk energy, and rockabilly instrumentation, providing a blueprint for the sound. Seminal albums such as their 1981 debut In Heaven and 1983's Wreckin' Crew solidified their influence.

The growing psychobilly scene in Britain found a central hub in London's Klub Foot nightclub in Hammersmith, which opened in 1982. This venue became a major hub for emerging psychobilly bands and enthusiasts, hosting numerous acts and releasing its own compilation album, Stomping at The Klub Foot, in 1984. Klub Foot fostered unique scene practices, including the "wrecking" dance, an energetic, flailing movement that spread throughout the subculture. The audience at these events comprised a mix of rockabillies seeking a more aggressive sound and punks looking for a different style, forming a new, distinctive tribal identity. The scene consciously maintained its outsider status, often facing disdain from both traditional rockabilly and more conventional punk communities.

Following its initial success in Britain, psychobilly spread across Europe, with bands like Wales' Demented Are Go gaining a significant following in the late 1980s. American acts such as The Reverend Horton Heat, formed in Texas in 1985, also contributed, with their single " Psychobilly Freakout " achieving modest success in the US. By the 1990s, punk rock scenes in California began integrating psychobilly bands, and the genre's popularity increased in the US, partly supported by existing punk acts like the Misfits and Social Distortion, and the appreciation for early rock and roll among the Latino community. The late 1990s saw American bands like Tiger Army gain wider recognition, signing with labels like Hellcat Records, which further promoted psychobilly acts. By the early 2000s, psychobilly had re-established its presence within the broader alternative music movement, with bands touring alongside diverse acts from both punk and classic rock genres.

The visual aesthetic of Psychobilly is directly inspired by its musical themes, characterized by a fusion of horror , science fiction, and B-movie influences, often presented with a distinct comedic or campy approach. This results in an instantly recognizable look that permeates the subculture beyond just clothing.

Core visual motifs include depictions of zombies, vampires , monsters, and graveyards. Imagery drawn from classic horror films and slasher flicks, sometimes featuring dismembered anatomy, is common. This macabre content is frequently rendered with a tongue-in-cheek or ironic sensibility, prioritizing kitsch and fun over genuine gore.

The visual identity extends to stage presence and instrumentation. Upright double basses are often elaborately decorated with stickers and paints, or even shaped into grim centerpieces, such as coffin-shaped instruments. Performers might incorporate makeup and stage props like fake blood and skeletons, contributing to the theatrical nature of live shows. Album art and merchandise consistently display these horror punk and rockabilly -inspired visuals.

Psychobilly fashion blends elements from 1950s rockabilly and 1970s punk styles, often incorporating overt horror themes. The overall aesthetic is characterized by a "smart yet trashy" presentation, embracing a macabre or theatrical quality.

Hair is a defining feature, with adherents commonly sporting tall quiffs or high wedge-shaped pompadours . Other styles include military-style crops or mohawks, sometimes featuring colored hair. Makeup and stage props, such as fake blood or skeletons, can be incorporated, particularly by musicians.

Clothing typically includes leather jackets , which are sometimes modified into vests by removing the arms and then decorated with horror imagery or band logos. Band T-shirts and tight jeans are common items. Footwear frequently consists of brothel creepers or Dr. Martens boots . The style draws imagery from B-movies, featuring motifs like zombies, vampires, monsters, and graveyards on shirts and dresses. Elements of fetish wear and hot rod style clothing are also present.

For women within the scene, early fashion sometimes leaned towards a tomboyish look, but over time, influences from 1950s pin-up aesthetics, such as Betty Page, became evident. This translated into 50s-style dresses and cardigans often given a B-movie twist. Tattoos are prominent among both sexes, frequently depicting vintage-themed macabre imagery like bats, skulls, and gravestones, alongside occasional pin-up dolls or band logos. The act of dressing in Psychobilly fashion serves as a significant component of the subculture's appeal.

The Psychobilly subculture is underpinned by views that champion rebellion , independence , and an outsider status . This outlook is expressed through a conscious disinterest in mainstream acceptance, a characteristic that has allowed the scene to largely remain an underground phenomenon. Adherents often prioritize having fun and maintaining a relaxed attitude, deliberately avoiding divisive political content in their music and community interactions.

A central tenet of the Psychobilly worldview involves a playful and often ironic engagement with dark themes. The subculture embraces the macabre and monstrous, drawing heavily from horror films and B-movies, but consistently presents these elements with a tongue-in-cheek or campy humor. This approach values kitsch and theatricality over strict authenticity or earnest messaging, setting it apart from some other punk movements. The community has been described as a gathering for individuals who feel like underdogs or unconventional thinkers, seeking a collective identity through shared aesthetic values. This includes a conscious rejection of being "a slave to retro authenticity," finding value in wildness and simplicity, and a disdain for perceived intellectualization or pomposity in other music scenes.

Psychobilly music is defined by its aggressive and loud sound, a direct fusion of rockabilly and punk rock . It utilizes traditional rock and roll instrumentation, primarily featuring an upright double bass, often played with a distinct slap bass technique to produce a trebly, resonant effect. Overdriven guitars, frequently hollowbody models, contribute to its raw sound, complemented by full drum kits. Some drummers within the genre play standing up, contributing to the energetic live performance. The music combines simple punk chords with rockabilly -style plucking and riffs.

The vocal delivery is typically snarling and sinister, aligning with the genre's themes. Lyrically, Psychobilly draws heavily from horror films, B-movies, zombies, vampires , and graveyards. It often incorporates monster stories and twisted fairy tales . These dark subjects are characteristically presented with a tongue-in-cheek, campy, or humorous approach, a conscious choice by many bands to prioritize entertainment and avoid overtly political or divisive content. The tempo is generally faster than traditional rockabilly, reflecting its punk influences. This sound often maintains American rock and roll riffs but infuses them with punk production values, resulting in a roughened, faster, and more aggressive style.Punk is a subculture that encompasses music, ideologies, and a distinct fashion style and visual aesthetic. It originated from punk rock, a genre that emerged in the mid-1970s as a direct rejection of the bloated, commercial aspects of mainstream 1970s rock. The punk ethos emphasizes non-conformity, anti-capitalism, anti-authoritarianism, and a revolutionary Do-It-Yourself ( DIY ) ethic.

The movement began in New York City and London as a response to perceived boredom and systemic anger, eventually spreading globally and spawning numerous political and musical subgenres.

The cultural origins of Punk are rooted in the working class, which distinguished the movement from the preceding middle-class Hippie subculture. Many early punks recognized the social system itself as the source of societal problems, leading them to embrace anti-authoritarianism, anarchism, and a total rejection of the prevailing capitalist philosophy of the time. This ideological foundation enabled Punk to become a universal symbol of rebellion.

The genre's conceptual origins began in the early 1970s within the proto-punk scenes of Detroit (The Stooges, MC5) and New York City (The Velvet Underground, New York Dolls, Patti Smith). These groups established an anti-glamour sensibility, prioritizing raw energy, minimalism, and confrontation, united by the core ethos that "anybody can do it," regardless of formal musical skill.

The movement fully coalesced between 1974–1976. In New York, figures like Richard Hell defined the original visual style of torn clothing, leather jackets, and short, spiky hair, embodying the "Blank Generation" attitude of creative self-invention. This aesthetic was quickly exported to the UK, where manager Malcolm McLaren and designer Vivienne Westwood translated these American ideas for the British context, using the Sex Pistols to deliberately provoke a moral panic and challenge the Monarchy. The British scene was more overtly political, embracing far-left politics and anarchism and using direct action to express its anti-establishment beliefs.

The DIY ethos became central to Punk's political identity: practitioners refused to "sell out" and instead focused on self-produced recordings, distributing independent publications known as zines, and relying on independent record labels. The attitude prioritized direct confrontation, extending this rejection of consumerism to the fashion itself. This unwavering anti-commercialism is often summarized by its enduring influence on subsequent movements, including post-punk (which later spawned genres such as Goth and Industrial ), New Wave , and Grunge . The internal conflict over adhering to the anti-commercial ethos was famously satirized in the 1998 film SLC Punk! , where the main character, Stevo, railed against those who adopted the fashion without adhering to the core philosophy, dismissing them as " posers ."

The fashion commonly associated with the Punk subculture is a declaration of non-conformity, utilizing unconventional clothing, hairstyles, cosmetics, jewelry, and body modifications that society typically finds inappropriate or shocking. The key aesthetic principle of Punk is the anti-consumerist ideology of wearing clothes (often tartans, leather jackets, or band shirts) either bought at thrift stores or handed down from family members and then aggressively modified through tearing, defacing, and repurposing. This Do-It-Yourself (DIY) ethos is the source of the aesthetic's raw and defiant look, with the materials often being what was readily available through thrifting and dumpster diving.

The main uniform often includes ripped T-shirts and leather jackets customized with paint or slogans. Combat boots are a near-universal element within many Punk scenes; boots such as Doc Martens became a standard due to their durability, low cost, and ease of acquisition at the time.

A prominent and highly personal element of the visual style is the Battle Jacket, a jacket—typically made of denim or leather—that is heavily adorned with patches, pins, studs, and spikes. These jackets function as wearable billboards, featuring a collage of band names, political phrases, or subcultural symbols. This tradition originated outside of Punk, stemming from the U.S. Army Air Corps during World War II, where airmen would sew patches onto their flight jackets, a practice later adopted by motorcycle clubs before making its way into the Punk subculture.

The subculture also utilized specific non-verbal communication methods. The Lace Code, although largely defunct now, was a system that emerged in the Skinhead subgroup and expanded into the broader Punk movement. It involved using specific colors of ladder-laced shoelaces on combat boots to indicate political messages or affiliations, though the meaning of each color varied significantly depending on the local scene.

Punk visual art was characterized by its DIY aesthetic and a deliberate rejection of slick, professional commercial art, often drawing inspiration from radical 20th-century art movements, such as Dada and the Situationist International .

Punk's associated visual style is known for its fast, messy, and unpolished style, whether applied to album covers, promotional posters, or independent publications known as zines. This aesthetic utilized techniques like collage, taking letters cut out from newspapers (known as "ransom note" lettering), stencils, and hand-lettering, thereby conveying a rejection of traditionalist values and self-derision. A prominent example of this style is the cover of the Sex Pistols' Never Mind the Bollocks album, designed by Jamie Reid. The proliferation of this art was heavily reliant on new technology like the Xerox machine, which allowed for the cheap and rapid reproduction of posters and zines. Artists often incorporated satirical and confrontational themes into their art, establishing the street plastered with movie posters and band flyers as the era's unofficial art gallery.

The punk subculture's political identity is primarily characterized by an unwavering commitment to individual freedom and anti-establishment beliefs. Punk emerged during a period of economic downturn, leading adherents to conclude that the social and political system itself was the fundamental problem, a realization that defined the subculture as one of revolt rather than aspiration.

While the subculture can be politically varied, overall punk ideologies lean strongly toward leftist, anti-capitalist positions, with a focus on equality. This political ethos is intrinsically linked to the Do-It-Yourself (DIY) ideals, which function as a direct rejection of corporate control and consumerism. This opposition is manifest through several core tenets:

Another highly important concept is the opposition to "Selling Out," meaning the abandonment of social values, musical style, or political ideology in order to gain status, wealth, or power.

Punk's decentralized nature has led to intense ideological conflicts, most notably involving the appropriation of the aesthetic by extremist groups. While the general ideology is anti-authoritarian, the aesthetic has been appropriated by groups and individuals who identify as part of the subculture while holding fascist, racist, or Neo-Nazi views.

This far-right element, often seen alongside conservative punks, is vehemently rejected by the vast majority of the subculture as being fundamentally opposed to punk's history and ethos. There is an active, heavy push to reject this appropriation altogether, exemplified by the music and actions of seminal bands. For example, Green Day has publicly delivered anti-racist and anti-fascist messages (such as during the 2016 American Music Awards), and the Dead Kennedys famously expressed this rejection in their song, " Nazi Punks Fuck Off ."

The punk music genre is massive (having over twenty different subgenres), raw, and fundamentally anti-commercial. Its sonic identity and lyrical content reflect the movement's ethos of speed, aggression, and anti-authoritarianism.

Punk rock , the subculture's foundational genre, is characterized by short, fast-paced songs with stripped-down instrumentation that deliberately rejects the complex, polished arrangements of mainstream 1970s rock. The music drew inspiration from 1950s rock and roll and 1960s garage rock. The sound is often raw, played at a fast tempo with aggressive vocals. Lyrical content ranges from humorous and nonsensical topics to overt, direct statements on political and social issues.

The genre heavily embraces the DIY ethic , with many bands self-producing recordings and distributing them through independent record labels. This dedication to non-commercialism is paramount to the punk musical philosophy.

The following subgenres represent the vast and fractured musical landscape that evolved from the 1970s punk sound. Many of these subgenres, due to their unique fashion, aesthetics, and political concerns, have dedicated pages (e.g., Post-Punk , Emo , and Straight Edge ).

These works either visually codified the aesthetic, documented the scene, or satirized its philosophy.Queercore (also known as Homocore ), is a cultural and social movement that began in the mid-1980s as an offshoot of the Punk subculture. It is distinguished by its discontent with society in general, and specifically society's disapproval of the LGBTQ community. Queercore expresses itself in a D.I.Y .

Between 1989 and 1983, an LGBT+ subculture “queercore” (or alternately “homocore”) emerged as a combination of aspects of the punk subculture and LGBT+ subculture.  Queercore media (such as music, zines, and books) effectively opened what can be termed a queer counter-public sphere in opposition to the institutions of the lesbian and/or gay public sphere already in existence and exemplified by organizations like GLAAD and NGLTF, spaces like established middle-class gay neighborhoods, or events like the Michigan Womyn's Music Festival or Gay Pride marches.

Curran Nault, in his book Queercore: Queer Punk Media Subculture, describes queercore as “a configuration of artistically minded gender/sexual dissidents who annex punk practices and aesthetics to challenge the oppressions of the mainstream and the lifeless sexual politics and assimilationist tendencies of dominant gay and lesbian society.”

Queercore stands against the mainstream gay politics of integration with cishet ( cisgender , heterosexual) society and the culture of respectability politics that is common among the majority of people in the LGBTQ+ community. It is not necessarily a movement for gay people, but for every misfit that neither fits into cishet or mainstream gay culture; this includes transgender people, genderqueer/nonbinary people, polysexuals , pansexuals , etc.

Initially instigated by misfit Torontonians G. B. Jones and Bruce LaBruce via the pages of their ideologically seditious fanzine J.D.s, queercore has since evolved into an international phenomenon, partially centered on music, that also encompasses fanzines, film, writing, performance, and visual art. Increasingly dispersed and only loosely affiliated, queercore entities nevertheless share a common goal: to articulate and circulate a set of oppositional identities, mediated meanings and social practices for queers to occupy and engage within subcultural space.

J.D.s makes explicit the role that sex plays within the subculture, going so far as to present pornographic images, including a series of “Naked and Wild!” photographs of punk bands, the tale of a reluctant trip to a family wedding turns into gay sex at a resort pool with a laconic stud, rebel dykes sketched in a Tom of Finland style participate in perverse rituals that read as sadomasochistic seductions, a narrated collection of penises, and a cartoon depiction of young queer alienation and lust ends in a lip lock with a crush. LaBruce went on to direct a series of pornographic films, maintaining the punk aesthetic in their raw style and their forceful opposition to cishet norms. LaBruce’s fixation on pornography can be attributed to the controversiality of the sexual acts he portrays, and he made sure to present aberrant sexual objects such as obviously radical actors.

Queercore media is also known for its portrayal of imagined violence. The zine SCAB provides even evidence of this: “SCAB. Society for the Complete Annihilation of Breeding. Our goal? The absolute obliteration of what is generally regarded as the American nuclear family. Our method? Violence, pornography, abortions, castration, mindless sex, mass murder and the widespread destruction of private and state property.” Further on, SCAB will go on to ironically question whether heterosexuals count as people, advocate for terrorism, and present evidence that heterosexuality might be “just a phase.” Queercore’s imagined violence is not only directed at cishet society, however, but also at mainstream LGBT+ culture. In the same publication, the authors of SCAB state that: Attending the wedding of a sibling or relative, celebrating your birthday, adopting children, going home for Christmas, participating in any sort of religious ritual – even attending “gay” church services – are all examples of traitorous anti-Revolutionary activity. “Any lesbian or gay individuals who even entertain such thoughts are essentially breeders whether they like it or not.”

Queercore visuals often depict historical LGBTQ+ events and protests.

As a musical genre, it may be distinguished by lyrics exploring themes of prejudice and dealing with issues such as sexual identity, gender identity and the rights of the individual; more generally, queercore bands offer a critique of society endemic to their position within it, sometimes in a light-hearted way, sometimes seriously. Musically, many queercore bands originated in the punk scene but the industrial music culture has been influential as well. Queercore groups encompass many genres such as hardcore punk, electropunk, indie rock, power pop, No Wave, noise, experimental, industrial and others.Rave refers to a dance party held in a variety of venues, from warehouses and clubs to private homes and open fields. These events typically feature DJs playing a range of electronic music genres, including drum and bass, dubstep, techno, house, trance, and hardcore. Raves are characterized by their high-energy atmosphere, powerful sound systems, and immersive light shows, often accompanied by laser displays, projected images, and fog machines.

Originating in the late-1980s, the rave scene gained momentum in the early 1990s, associated with illegal events held in unconventional spaces. Early raves were heavily influenced by the acid house movement and bands like The Prodigy, with parties frequently taking place in squats and abandoned buildings. Well-known locations like the Dole House in Peckham and Groove Park in Camberwell hosted significant gatherings, with Groove Park even operating as an art collective with full moon parties organized by Pete Marland.

Some raves remain small-scale gatherings, but others have evolved into large-scale festivals, such as the Castlemorton Common Festival in 1992. These events may feature multiple DJs and dance areas, lasting for 24 hours or more. The rave scene has faced challenges from law enforcement due to associations with illegal drug use, including MDMA, amphetamine, LSD, and others. This has led to raids and anti-rave laws in many countries, often attributed to a moral panic surrounding rave culture. Raves also frequently utilize non-authorized venues, such as squat parties, unused warehouses, and aircraft hangars.

The term " raver " refers to individuals who participate in rave culture. While there is not a single "raver" aesthetic, certain trends and styles have emerged within the subculture, varying by region, music scene, and even individual venues. Early ravers, particularly in the United Kingdom, often wore baggy clothing and neon colors, reflecting the influence of the Madchester scene and the desire for comfortable attire for dancing. As rave culture evolved, fashion trends diversified, incorporating elements of cyberpunk , goth , and other subcultures.

In the United States, kandi, brightly colored beaded bracelets and necklaces, became a popular accessory, symbolizing the PLUR ethos (Peace, Love, Unity, Respect) often associated with the American rave scene. However, PLUR and kandi are less prevalent in European rave scenes. Regardless of regional differences, a sense of unity exists within the international rave scene.

The term "rave" has its roots in 1950s London, where it described the wild bohemian parties of the Soho beatnik scene. Jazz musician Mick Mulligan, known for his extravagant lifestyle, was even dubbed the "king of the ravers." In the early 1960s, the mod youth culture adopted the term to describe any lively party, with "ravers" being those who enjoyed and frequented these gatherings.

By the mid-1960s, "rave" was also associated with the garage rock and psychedelia scene, used to denote the energetic atmosphere of live performances. The term "rave-up" specifically referred to a climactic musical section characterized by increased intensity and instrumental solos.

Although the use of "rave" declined in the late 1960s with the rise of hippie culture, the Northern Soul movement of that era influenced elements of the later rave experience. Similar to DJs in later rave culture, Northern Soul DJs curated music to create euphoric experiences for dancers, influencing the development of club culture. Furthermore, Northern Soul dancers often favored loose-fitting clothing, a practical choice for energetic dancing.

While "rave" faded from mainstream use during the 1970s, the term underwent a revival in the late 1980s, possibly influenced by its use in Jamaica, to describe the emerging electronic music scene and its associated subculture. This revival also coincided with the increasing recognition of the "third place," a sociological concept describing a social environment separate from home and work, providing a space for social connection and release.

The origins of techno and house music, central to rave culture, can be traced to groups such as Kraftwerk and Afrika Bambaataa. This music, built on synthesized and amplified sounds, began to develop in urban centers including Detroit and Chicago. In Detroit, the prevalence of abandoned industrial spaces, such as warehouses and factories, provided settings for the emergence of the early rave scene. Simultaneously, in 1980s Chicago, acid house emerged, recognized as a direct precursor to techno. The Roland TB-303 synthesizer shaped the distinctive sound of acid house . Artists such as Juan Atkins, Kevin Saunderson, and Derrick May were instrumental in the development of the early Detroit techno scene, with Derrick May playing a role in exporting the music. The compilation " Techno: The New Dance Sound of Detroit " is considered a foundational document of the genre. Early "raves" took place in abandoned Detroit warehouses, with participants dancing to the repetitive rhythms of this electronic music. Collectives such as Underground Resistance continue to advocate for the original principles of techno.

In the mid-to-late 1980s, acid house music, originating in Chicago and Detroit, spread throughout the United Kingdom, particularly to cities such as Manchester and London. The term "rave" was adopted to describe the subculture that emerged from this movement, influenced by the party atmosphere of Ibiza.

London saw the opening of clubs such as Shoom and Trip, which introduced acid house to a wider audience. This period, known as the "Second Summer of Love," was characterized by increased club attendance and a perceived decrease in football hooliganism. However, police crackdowns on after-hours clubs led to the rise of warehouse parties, marking a development in the evolution of the modern rave.

Early raves were often organized informally, outside legal frameworks, with locations and times communicated through word-of-mouth or anonymous phone calls. These gatherings emphasized community and shared enjoyment. Promoters and organizers such as Sunrise and Revolution in Progress (RIP) staged larger events, which attracted media attention, frequently focusing on the association between these events and drug use, as well as perceived lawlessness. The use of ecstasy and LSD became linked to acid house events, fueling media sensationalism.

The term "rave" may have etymological connections to the French word " rêver ," meaning "to dream," reflecting the trance-like state the music could induce and the use of psychoactive substances in a manner reminiscent of shamanic rituals to potentially facilitate altered states of consciousness. Anthropologists and cultural theorists have described the rave experience as a state of transcending the ordinary and achieving collective unity. The rave was often experienced as a collective event, with the shared experience going beyond the role of any individual DJ.

Manchester also embraced acid house culture, with venues such as the Thunderdome becoming centers for the scene. Producers such as Peter Ford created British acid house tracks. The genre gained popularity among football hooligans, and acid house venues sometimes provided spaces where rival gangs could temporarily converge peacefully. The influence of acid house extended into the " Madchester " movement, with bands like the Stone Roses and Happy Mondays incorporating elements of acid house into their music. The Stone Roses reportedly contributed to the popularization of raves by performing concerts in warehouse spaces, followed by DJ sets.

The Second Summer of Love, peaking in 1988 and 1989, saw an increase in unlicensed rave parties and the use of MDMA. The music of this era, primarily acid house and hip house, drew parallels with the Summer of Love in 1967. Pirate radio stations played a role in promoting the music and events. The smiley face became a symbol of the era, and loose-fitting clothing became popular among club-goers. Promoters used aesthetics like the smiley face to attract attendees to these gatherings.

Initially, ecstasy was perceived to contribute to euphoria and reduced aggression at these events. However, the British news media shifted to negative coverage, focusing on the association between ecstasy and raves.

By the 1990s, electronic music genres, including acid, breakbeat, hardcore, drum and bass, and electronica, were featured at raves of various sizes. Mainstream events began to attract larger crowds. The term "rave parties" gained popularity in the media around the summer of 1989, although the rave atmosphere developed throughout the early 1990s. Raves spread to European cities such as Berlin, Milan, and Patras, often held in unconventional locations like basements, warehouses, and forests.

In the United Kingdom, politicians reacted negatively to the growing rave scene, imposing fines on promoters of unauthorized events. Increased police enforcement drove the rave scene away from urban centers and into rural areas. The term "rave" became associated with weekend parties held at locations along the M25 London orbital motorway, which encircled London and the surrounding counties. These locations included warehouses, industrial sites, fields, and country clubs. By this point, the rave phenomenon was also interpreted as a form of escapism from a dehumanized society, incorporating elements of cyberpunk and sci-fi counterculture.

The evolution of rave culture continued beyond the 1990s, with shifts in musical trends, technology, and social contexts influencing its expression. The rise of the internet and digital music distribution altered the organization and dissemination of rave music and events. While large-scale commercial raves and festivals became more prevalent, underground scenes persisted and evolved, characterized by an emphasis on the original values of community, DIY ethics, and a rejection of mainstream commercialization.

In Australia, rave culture began in the late 1980s and early 1990s, with cities like Sydney and Melbourne becoming centers for the scene. The movement was characterized by a countercultural attitude, attracting a diverse crowd that included the gay community and those interested in underground electronic music. Early raves in Australia primarily took place in urban underground clubs and outdoor settings, with events like the 1991 Happy Valley festival. Unlike raves in America and Europe, the Australian scene was known for its lack of rigid boundaries.

The 1990s saw an expansion of the rave scene, with DJs and attendees from Europe and America participating. Empty warehouses were often used as venues due to a recession in Sydney. Parties were known for their eclectic music selections, ranging from commercial to hardcore sounds. The Happy Valley outdoor rave in 1991 marked a turning point, leading to increased mainstream attention. By 1994, the scene had grown to include a wider age range, from teenagers to adults. This expansion also brought changes to the music and atmosphere, with some DJs noting a shift towards faster, harder sounds and a darker vibe.

The Australian rave scene continues to evolve, with outdoor parties known as "bush doofs" being a contemporary manifestation. These events, often associated with psytrance music, are organized by underground crews and take place in remote bushland locations. These doofs are known for their acceptance of drug use, with attendees partaking in various substances in a communal setting. Music plays a central role, with DJs playing a mix of psytrance, techno, and drum and bass.

Rave parties in Australia began in the 1980s, similar to warehouse parties in Britain. Venues included warehouses, factories, and unconventional spaces like basketball gymnasiums and train stations. Outdoor raves were also common, with locations such as Sydney Park and Cataract Park being used. The mid-to-late 1990s saw a decline in rave attendance, partly attributed to the death of Anna Wood at a Sydney rave. This incident led to increased media attention on the connection between drug culture and the rave scene.

In the 2000s, the rave tradition continued in Melbourne with events like "Earthcore." Raves became more common in licensed venues, though large-scale events became less frequent. The 2010s saw a resurgence of the rave scene, particularly in Melbourne, with the "Melbourne Shuffle" dance trend and the opening of clubs like Bass Station and Hard Candy. Warehouse and outdoor raves continued to be held, sometimes attracting thousands of attendees.

The Belgian electronic music scene of the late-1980s and early-1990s played a key role in the development of rave culture and electronic music. In the late 1980s, the Belgian electronic scene was defined by Electronic Body Music (EBM) and New Beat .

EBM, with groups like Front 242, combined industrial and synth-punk elements with dance rhythms. Front 242 notably used the term "electronic body music" to describe their sound, solidifying the genre's name. Conversely, New Beat emerged from DJs slowing down Hi-NRG and EBM records. This evolved into a distinct genre, blending new wave , EBM, and hip-hop elements. The nightclub Ancienne Belgique is credited with the accidental creation of New Beat, when a DJ played an EBM record at a slower speed. Acts like Confetti's and Lords of Acid gained commercial success. New Beat also spawned subgenres like "hard beat" and "skizzo," which were precursors to Belgian techno.

In the early 1990s, New Beat transitioned into Belgian techno, sometimes referred to as "rave techno." This style, characterized by its harder and faster sound, heavily influenced the European rave scene. Artists like T99, with their track " Anasthasia ," became influential. The work of Joey Beltram with R&S Records was also important in shaping the Belgian techno sound. Groups like Quadrophonia, with their 1991 single of the same name, also contributed to the growth of this genre.

Adding to these influences in the rave scene, Jumpstyle emerged in the late 1990s and gained popularity in the 2000s. Originating in Belgium, it found a larger audience in the Netherlands and across Western Europe. Initially a niche genre, it experienced a surge in popularity in the early 2000s. The genre is characterized by a tempo between 140 and 150 BPM, utilizing a 909 kick drum and drawing influences from tech-trance, hardstyle, gabber , and mákina . It also incorporates elements of hard house and electro house. The style notably gained influence from hardstyle, integrating pitched basslines, complex distortion, and square waveform synthesizers. The genre's popularity peaked around 2007 and 2008, driven by music videos from artists like Scooter.

The Canadian rave scene has been a notable part of youth culture, particularly in the 1990s and early 2000s. One of the earliest documented rave-style events was organized by Exodus Productions in Toronto. They held regular parties at 23 Hop, a warehouse space on Richmond Street West, starting in 1991. This venue became a central hub for the burgeoning rave scene until its closure in 1995. Notable DJs like Moby and Mark Oliver performed there.

In the mid-1990s, the rave scene in Toronto was largely underground, characterized by a strong DIY ethos and a focus on techno music. Raves were often held in unconventional spaces like warehouses and abandoned buildings. The scene attracted a diverse crowd, though the majority of attendees were Caucasian and from middle-class backgrounds.

Drug use, particularly of amphetamines like ecstasy, was prevalent in the rave scene, leading to concerns from health authorities and media attention. However, ravers often emphasized responsible drug use and harm reduction strategies. Alcohol was generally viewed as incompatible with rave culture.

By the late 1990s, the Toronto rave scene had transitioned into more mainstream venues and clubs, similar to the evolution of rave culture in Britain. This shift was accompanied by an increase in commercialization and a broader appeal.

In 2001, Calgary became the first major Canadian city to pass a bylaw specifically addressing raves. This bylaw aimed to ensure the safety of rave attendees and minimize disruption to surrounding neighborhoods. It was developed in consultation with representatives from the city, the province of Alberta, and the rave community.

Rave culture in Germany saw its foundational developments in the late 1980s, particularly in West Germany and West Berlin, where a strong acid house movement took root. In 1988, West Berlin's Ufo, an illicit party space in an old apartment building's basement, began hosting acid house events. During this same period in Munich, the Negerhalle (operating from 1983 to 1989) and the ETA-Halle emerged as early acid house clubs. These venues, temporarily occupying dilapidated industrial halls, marked the onset of Germany's "hall culture." By July 1989, West Berlin hosted the inaugural Love Parade.

The fall of the Berlin Wall on November 9, 1989, immediately spurred a proliferation of free underground techno parties in East Berlin. Paul van Dyk, an East German DJ, noted the significant role of this techno-centric rave scene in fostering social reconnections between East and West Germany during the unification period. Soon after, East Berlin witnessed the opening of its first techno clubs, including Tresor (established 1991), Planet (1991–1993), and Bunker (1992–1996). In Frankfurt, the Omen opened its doors in 1988 and, under the management of Sven Väth, became the focal point of the Rhein-Main area's scene. Munich's Babalu Club, which opened in 1990, introduced the concept of afterhours to Germany.

By the late 1990s, several clubs had gained prominence as Germany's most renowned techno venues. These included Tresor and E-Werk (1993–1997) in Berlin; Omen (1988–1998) and Dorian Gray (1978–2000) in Frankfurt; Ultraschall (1994–2003), KW – Das Heizkraftwerk (1996–2003), and Natraj Temple (1996–2008) in Munich; and Stammheim (1994–2002) in Kassel.

Throughout the 1990s, illegal raves remained an essential component of the German rave scene, operating in parallel with the established club circuit. In Germany's urban areas, these unauthorized techno parties frequently utilized industrial backdrops such as decommissioned power stations, factories, canalization systems, or former Cold War military properties.

During the 1990s, rave culture evolved into a new youth movement across Germany and Europe. DJs and electronic music producers, such as WestBam, championed a "raving society," advocating for electronic music as a legitimate competitor to rock and roll. Electronic dance music and the rave subculture indeed became mass movements. From the mid-1990s onwards, raves consistently drew tens of thousands of attendees. Youth magazines provided styling advice, and television networks launched music programs dedicated to house and techno. The annual Love Parade festivals in Berlin, and later in the Metropolitan Ruhr area, repeatedly attracted over one million participants between 1997 and 2010. Numerous other annual technoparades occurred throughout Germany and Central Europe in the 1990s and early 2000s, with Union Move, Generation Move, Reincarnation, and Vision Parade being among the largest German events, alongside Switzerland's Street Parade and Lake Parade. Major commercial raves originating in the 1990s include Mayday, Nature One, Time Warp, SonneMondSterne, and Melt!

Since the late 2000s, Berlin has maintained its reputation as the global capital of techno and rave. Its techno clubs, such as Berghain, Tresor, KitKatClub, and Watergate, alongside its culture of partying in minimally renovated venues, ruins, or wooden structures like Club der Visionaere, Wilde Renate, or Bar 25, have garnered international media attention. The 2008 film Berlin Calling , starring Paul Kalkbrenner, depicts the scene of that decade. The 2010s saw a continued vibrant rave and techno scene nationwide, featuring numerous festivals and world-class techno clubs outside Berlin, including MMA Club and Blitz Club in Munich, Institut für Zukunft in Leipzig, and Robert Johnson in Offenbach.

The period immediately following the fall of the Berlin Wall was particularly significant for Berlin techno. The sudden availability of deserted spaces, including former no-man's land, allowed for the rapid emergence of new clubs in unconventional locations like former travel agency vaults, transformer stations, and decommissioned soap factories. This environment transformed the buildings themselves into stars of the scene. Techno served as a unifying force between East and West Berliners, fostering connections before official reunification. Clubs like Tresor were managed by individuals from both sides, facilitating an environment with less friction than society at large, driven by shared enthusiasm for the new music and party possibilities. The unique acoustics and raw atmosphere of venues like Tresor were seen by some as influencing the harder sound of Detroit techno artists like Underground Resistance after their performances in Berlin. The early scene was also notably inclusive, with the LGBTQ+ community playing a significant catalytic role, particularly at the Ufo club, providing safe havens and contributing experience and resources. Women also reported early techno clubs as liberating spaces, experiencing less sexual harassment compared to other scenes, which some attributed to a different club culture where the focus was less on "picking up" and more on the shared experience of dancing and music. While the scene was generally not overtly political, some argue its actions, such as the disregard for property rights and resistance to music industry interference, were radical acts of autonomy.

In the Netherlands, gabber (or early hardcore) emerged as the first truly Dutch style of electronic music in the 1990s. It evolved from hardcore techno and became a major youth subculture in the country. The track " We Have Arrived " by Mescalinum United, produced in Frankfurt in 1990, is considered the first hardcore track. It was discovered by Brooklyn DJ Lenny Dee and released on his label, Industrial Strength Records, in 1991.

House music arrived in Amsterdam in 1988 and was championed by journalist Gert van Veen. Gabber, or "gabberhouse," developed as the hardest offshoot of house music. Illegal raves organized by Multigroove took place in Amsterdam between 1991 and 1992. Their most notable event was the Tunnel Rave, held in an abandoned cycle path. Multigroove later established a venue in a former peanut factory on Elementenstraat, which became a central location for gabber in Amsterdam.

In 1993, the police raided Warehouse Elementenstraat due to its unlicensed operation and drug-related concerns. The founders and DJs were arrested, and the venue was closed. Multigroove was later revived at the Hemkade in Zaandam.

DJ Paul Elstak, known as the "Godfather of Hardcore," began his career as a hip-hop DJ in Rotterdam in 1987. He formed the group Holy Noise with Rob Fabrie and Richard van Naamen. Their biggest hit was " James Brown is Still Alive ," released in 1991. Parkzicht, a discotheque in Rotterdam, became another hub for gabber in the early 1990s. DJ Rob, a resident DJ at Parkzicht, experimented with harder techno sounds that contributed to the development of gabber. The popularity of Parkzicht grew alongside the gabber scene.

The first edition of A Nightmare in Rotterdam, organized by DJ Rob and Paul Elstak, took place at Parkzicht in 1992. Later editions were held at the Energiehal, attracting crowds of up to 15,000 people. The Energiehal served as a central location for gabber events in Rotterdam until its demolition in 1999. The last rave at the Energiehal was held on Queen's Day in 1999.

Rave The City, based in The Hague, was an early adopter of hardcore and gabber music. Their first event took place in 1991. The track " Dominator " by Human Resource, performed at the first Rave The City, became a gabber anthem. Rotterdam Records, founded by Paul Elstak in 1992, was the first Dutch hardcore and gabber label. Mokum Records, launched in 1993, released gabber music from Amsterdam.

The intercity rivalry between Amsterdam and Rotterdam, fueled by football, played a role in the gabber scene. Gabber attracted supporters from both cities. The Gabber subculture in the 1990s was characterized by a distinct uniform, including Nike Air Max BW trainers, brightly colored tracksuits, and shaved heads or undercuts. Hakken, a style of dance, evolved from the gabber scene.

ID&T, founded in 1992, became a major dance music organization in the Netherlands. They organized Thunderdome, a series of large-scale gabber events. The first Thunderdome took place in 1992 and attracted over 30,000 people. The Dreamteam, formed in 1992, was a group of gabber DJs that became Thunderdome's flagship act. The group included Dano, The Prophet, Buzz Fuzz, and Gizmo.

The Forze DJ Team, formed by Paul Elstak in 1994, was another influential gabber DJ team. Forze Records, a sub-label of Rotterdam Records, released gabber music and launched a clothing line. Thunderdome events were documented and released on DVDs and broadcast on Dutch television. The Thunderdome CD series also contributed to the genre's popularity. Dana, a female hardcore DJ, gained prominence in the gabber scene in the 1990s. She became a regular at Thunderdome events.

The Wizard, Thunderdome's iconic logo, was created by graffiti artist MODE 2. The logo became a symbol of hardcore and was even tattooed on fans. Thunderdome merchandise and CD sales played a significant role in ID&T's success. The events also fostered a dedicated collector community.

Happy hardcore, a more commercially oriented style of hardcore, emerged in the mid-1990s. Paul Elstak and Mokum Records embraced happy hardcore, which led to some alienation from the gabber community. Moreover, Gabber parodies and negative media portrayals contributed to the decline of the gabber scene in the late-1990s. The overexposure and commercialization of gabber led to its decline.

ID&T's release of "The Promo Files" by DJ Promo marked a shift towards a darker, rawer sound in hardcore. This marked the rebirth of Dutch hardcore.

The history of rave culture in the United Kingdom begins with its origins in the late 1980s. A pivotal moment occurred in 1987 when Paul Oakenfold, accompanied by friends Danny Rampling, Nicky Holloway, and Johnny Walker, visited Ibiza. There, they were introduced to house music and the island's after-hours club scene. Inspired by this experience, upon their return to England, they established their own nightclubs: Shoom by Rampling, Future by Oakenfold, and Trip by Holloway. Parties frequently took place illegally in abandoned warehouses and other unconventional locations, with news spreading quickly through word-of-mouth across the country.

The emergence of the rave scene coincided with a period of notable social discontent in Thatcher's Britain, characterized by high unemployment and an increase in youth engagement with football hooliganism. For many, raving offered an escape from these challenging conditions. The summer of 1988 became known as the "Second Summer of Love," as the burgeoning rave scene exhibited many parallels to the hedonism associated with the rise of psychedelic music in San Francisco during the 1960s' "original Summer of Love."

Acid House , a music genre originating in Chicago, became the predominant sound of the era. It was known for its distinct, alien-like bass sounds, typically produced by the Roland 303 synthesizer. Named for the music's psychedelic qualities, Acid House was the first form of House Music to achieve a global audience, with several "Acid Tracks" even reaching Britain's mainstream music charts.

The association of rave culture with drug use, particularly ecstasy, was a significant aspect. Ecstasy, imported from Ibiza alongside acid house, became the preferred drug in clubs, fostering feelings of euphoria and empathy, and enhancing enjoyment of music and dancing. It complemented the loud, repetitive music and is also credited with contributing to a reduction in hooliganism, as participants were less inclined towards violence at raves while under its influence.

As rave culture expanded, it attracted increasing media attention and subsequent backlash. British tabloids began covering the scene, emphasizing its connection to drug use. Their sensationalized reports led to Acid House being banned from many radio and television outlets and ignited a moral panic concerning ecstasy and acid house. The panic intensified following the death of 16-year-old Clare Leighton in 1989 while under the influence of ecstasy, leading the media to portray raves as a major threat to society.

By 1991, organizations such as Fantazia and Raindance were organizing large-scale legal raves in fields and warehouses throughout the UK. A notable open-air, all-night event was the Fantazia party at Castle Donington in July 1992. The Vision at Pophams airfield in August 1992 and Universe's Tribal Gathering in 1993 adopted a more festival-like atmosphere.

By mid-1992, the scene started to change. Local councils implemented by-laws and increased fees, aiming to deter rave organizers from obtaining necessary licenses. This development indicated the impending end for large, singular parties. By the mid-1990s, the rave scene had also fragmented into numerous distinct dance music styles, making large events more costly and challenging to promote. The primary sound of the early 1990s raves had split by late 1993 into two separate styles: the darker jungle and the faster happy hardcore. While many participants left the scene due to this division, promoters like ESP Dreamscape and Helter Skelter maintained widespread popularity and full attendance with multi-arena events that catered to various genres. Notable events included ESP's outdoor Dreamscape 20 on September 9, 1995, at Brafield aerodrome fields in Northants, and Helter Skelter's Energy 97 outdoor event on August 9, 1997, at Turweston Aerodrome, also in Northants.

The illegal free party scene reached a peak during this era, most notably with a large festival near Castlemorton Common where numerous individual sound systems, including Bedlam, Circus Warp, DIY, and Spiral Tribe, converged. The government responded by introducing the Criminal Justice and Public Order Act in 1994. This Act defined music played at a rave as "sounds wholly or predominantly characterised by the emission of a succession of repetitive beats." Sections 63, 64, and 65 of the Act specifically targeted electronic dance music played at raves. Police gained powers to halt open-air raves with one hundred or more attendees, or where two or more individuals were preparing for a rave. Section 65 permitted uniformed constables to stop and redirect anyone believed to be heading to a rave within a five-mile radius, with non-compliance potentially incurring a fine of up to £1000. Officially, the Act was justified by the need to mitigate noise and disruption to nearby residents from all-night parties and to protect the countryside. However, some within the scene asserted it was an effort to draw youth culture away from MDMA and back towards taxable alcohol. In November 1994, the Zippies staged an act of electronic civil disobedience to protest the Criminal Justice Bill.

Following 1993, licensed venues became the principal outlets for raves across the UK. These included Helter Skelter, Life at Bowlers in Trafford Park, Manchester; The Edge (formerly the Eclipse in Coventry); The Sanctuary in Milton Keynes; and Club Kinetic. In London, several large clubs regularly hosted raves, most notably "The Laser Dome," "The Fridge," "The Hippodrome," "Club U.K.," and "Trade." "The Laser Dome" featured two distinct dance areas, "Hardcore" and "Garage," along with over 20 video game machines, a silent-movie screening lounge, and replicas of landmarks. In Scotland, event promoter Rezerection organized large-scale events nationwide.

By 1997, the popularity of weekly Superclub nights surpassed the traditional Rave format. A wave of new club-based genres emerged, including Trance, Hard House, Speed, and UK garage , alongside a renewed interest in the more traditional House sound. Clubs such as Gatecrasher and Cream rose to prominence, enforcing strict dress codes and door policies that directly opposed the rave scene's open ethos. Instances of entry refusal due to inappropriate clothing were common, yet they did not appear to deter Superclub attendance.

Rave culture in the United States emerged towards the end of the 1980s, influenced by the underground European dance music scene that had gained prominence earlier in the mid-1980s. These early European events, which were often invite-only gatherings organized by small groups appreciating techno and American house music, differed significantly from the large, advertised raves seen in the U.S. later.

In the early 1990s, both legal and illegal raves became common across the U.S., with San Francisco and Los Angeles serving as central hubs for the scene. The culture began to move into the mainstream with events like Rave America's "K-Rave '93" near Los Angeles, which attracted over 17,000 attendees.

A prominent feature of rave culture, particularly within the United States, is kandi , which are brightly colored beaded bracelets. These bracelets are exchanged as symbols of friendship and connection, embodying the PLUR ethos: Peace, Love, Unity, and Respect. The origin of PLUR traces back to a 1993 rave in the Bronx, where DJ Frankie Bones, during an attempt to de-escalate a fight, promoted "peace, love, and unity." This message later evolved into the acronym PLUR, with "Respect" subsequently added. Individuals who engage in this culture are known as "Kandi Kids" or "Kandi Ravers."

The tradition of kandi likely developed from friendship bracelets, which are similarly made and exchanged to symbolize bonds. Kandi creation is viewed as a personal and creative endeavor, with store-bought kandi sometimes seen as less authentic. Kandi has expanded beyond simple bracelets to include cuffs, necklaces, masks, and beaded clothing, with some enthusiasts creating intricate three-dimensional structures and incorporating materials like perler beads for pixelated designs.

The PLUR handshake, a ritualized exchange of kandi, reinforces the values it represents. Each element of PLUR has a specific gesture: Peace is a peace sign with fingers touching; Love involves both parties forming half a heart with their hands, joining them to create a whole; Unity is conveyed by clasping hands; and Respect is shown by passing kandi bracelets between the clasped hands. This exchange is often concluded with a hug. Kandi worn on the right arm is typically available for trade, while kandi on the left arm is not. While kandi and PLUR are most prevalent in the US rave scene, their underlying values of community and connection are also present in global rave culture.

The history of kandi is intertwined with the development of the US rave scene throughout the 1990s and early 2000s. While some sources suggest kandi initially served as a way to signal drug availability at raves, its visual appeal led to widespread adoption regardless of drug use, with the colorful pony bead jewelry becoming a symbol of the rave community. Kandi creation time varies, from about 10 minutes for simple bracelets to an hour or more for elaborate designs.

The American rave scene generally peaked in the mid-1990s. Despite this, large trance parties continued to take place in areas such as Southern California into the late 1990s. During this period, federal law enforcement increased crackdowns on raves due to concerns over drug overdoses and the difficulty in controlling the events.

Following this peak, larger raves appeared sporadically from the mid-2000s to the late 2000s. The rave scene firmly re-emerged with the Electric Daisy Carnival (EDC) in Los Angeles in 2010. However, a tragic incident occurred at that year's EDC when a 15-year-old girl overdosed on ecstasy after gaining entry. This death garnered national news coverage and brought renewed attention to rave culture. As a consequence, EDC was prohibited from organizing events in Los Angeles at that time, but it expanded to other locations, and similar massive raves began to appear.

Since then, contemporary rave culture has expanded considerably, with festivals like HARD and EDC attracting large attendances and media discussion. Despite their popularity, incidents of tragedy and controversy continue to arise. Officials in some cities, including Los Angeles, have previously called for banning raves, a measure that could potentially drive them back underground and increase their danger.

Rave fashion is diverse and has continuously evolved since the late 1980s, displaying a wide range of styles that vary across regions, scenes, and participants' individual choices. Early rave parties often featured costume-like attire, including protective suits, safety vests, and gas masks, often paired with cyberpunk -inspired goggles. Slogans like "Peace, Love, Unity," smiley-face T-shirts, bandanas, and bucket hats emerged with the acid house movement. Other early influences included plastic aesthetics, fetish styles, DIY elements, 1970s-inspired clothing, second-hand items, retro sportswear (such as Adidas tracksuits), revealing outfits, war-themed garments, and elements of science-fiction.

The 1990s saw the rise of tight-fitting nylon shirts, quilted vests, bell-bottoms, neoprene jackets, studded belts, platform shoes, flokati fur jackets, scarves, bags, and phat pants, frequently in bright and neon colors. Gaudy hair, dreadlocks, tattoos, and piercings also became popular. Common accessories included wristbands, collars, whistles, pacifiers, white gloves, glow sticks, feather boas, oversized sunglasses, and truck tarpaulin record bags. These trends led to the development of commercial "clubwear" in the early 1990s.

Sub-scenes within rave culture developed distinct dress codes. For example, Gabber ravers and Psytrance ravers had different styles, although some basic features remained recognizable. Gabber fashion included retro sportswear, notably Adidas tracksuits. The " New Beat " movement in Belgium, emerging in the late 1980s, featured a goth -inspired uniform in all-black, with outfits combining cycling shorts, knee-high socks, bowler hats with crosses, rosaries, and heavy, black shoes. Women wore dark eye makeup and bright red lipstick. This style was inspired by the "New Beat Fashion" collection by Idriz Jossa.

Since the 2000s, rave fashion has remained diverse. In North America, colorful clothing and accessories, particularly kandi jewelry that glows under ultraviolet light, remain prominent. Kandi, often featuring personal words or phrases, is exchanged according to the PLUR ethos. This style has sometimes been commercialized as "rave fashion" or "festival fashion," encompassing various accessories for unique looks. "Glitter Queens" often wear sexy sequin outfits, glitter makeup, and holographic boots, bikinis, and bodysuits, often with themes like mermaids, stars, aliens, and fairies.

In contrast, a strictly black style, influenced by the goth subculture, has become common in some techno scenes, such as at Berlin's Berghain club. Cybergoths blend elements of cyberpunk , goth , rivethead , and rave aesthetics, incorporating cyberlox, corsets, leg warmers, spiked or light-up gas masks, combat boots, neon colors, latex, cyberpunk designs, reflective materials, glowing optic fibers, studs, and spikes. Some rave events individually enforce minimalist dress codes, such as all-white or all-black attire.

For more information on the fashion of individual rave scenes, see:

Drug use has been associated with rave culture since its early days, with some attendees using substances to enhance their experience. While not all ravers use drugs, certain substances, particularly MDMA (often called ecstasy or molly), have become closely linked to the scene.

Commonly used drugs at raves include:

The prevalence of drugs varies across different rave scenes and regions. While some law enforcement agencies have labeled rave culture as "drug-centric," this is a generalization that doesn't necessarily represent the experiences within the scene. In one study, 91% of dance club members aged 16-29 reported using ecstasy, highlighting the prevalence of drug use in specific rave subcultures. Drug use at raves carries risks, including overdose, adverse health effects, and addiction. As one study found, teenagers are more likely than adults to be on multiple drugs at once while participating in a rave. Some organizations and events promote harm reduction strategies, such as providing drug information and testing services, to minimize these risks.

Kandi, typically brightly colored bracelets made from pony beads, are an important part of rave culture, especially in the United States. They are often exchanged as a symbol of friendship and connection, embodying the PLUR ethos: Peace, Love, Unity, and Respect. The origins of PLUR can be traced back to a 1993 rave in the Bronx where DJ Frankie Bones, in an attempt to de-escalate a fight, urged the crowd to show "peace, love, and unity." This message evolved into the acronym PLUR, with "Respect" added later. The term "Kandi Kid" or "Kandi Raver" refers to people who participate in kandi culture.

The tradition of kandi likely evolved from friendship bracelets, similarly made and exchanged to commemorate bonds. Kandi-making is often seen as a personal and creative process, with store-bought kandi sometimes viewed less favorably. Kandi has also evolved beyond simple bracelets to encompass a wide range of creative expressions. Ravers now craft cuffs, necklaces, masks, and even clothing adorned with beads. Some kandi enthusiasts create elaborate three-dimensional structures and incorporate materials like perler beads to form pixelated designs.

The PLUR handshake, a ritualized exchange of kandi, reinforces the values it represents. Each element of PLUR is represented by a gesture:

This exchange is often followed by a hug, reinforcing the connection. Kandi worn on the right arm is typically available for trade, while kandi on the left arm is not. While kandi and PLUR are most prominent in the US rave scene, their underlying values of community and connection are also seen in rave culture globally.

Flyers have been essential to rave culture, functioning as both invitations and visual expressions of the rave experience itself. These flyers often display unique graphic design, reflecting the creativity and DIY ethos of the scene. Early rave flyers in the late-1980s and early-1990s, like those for the first Hedonism event in 1988, were often simple and hand-drawn, indicative of the underground nature of the events. As rave culture evolved, flyers became more elaborate, incorporating bold typography, vibrant colors, and psychedelic imagery. Cryptic messages and symbols were common, adding to the mystique and exclusivity of events like those at the Haçienda.

In the pre-internet era, flyers were a communication tool, providing essential information about the location, date, and lineup for raves. Distributed in record stores, clothing shops, and at prior raves, they built anticipation and excitement. For some, like those who got into raving young, flyers were a "way into this underground culture."

Flyer design often mirrored the music and atmosphere of the events. Acid house flyers might feature smiley faces and psychedelic patterns, while hardcore flyers might use darker imagery and aggressive typography. Flyers also became collectibles, tangible pieces of rave history. Some notable examples include the die-cut heart design for Shoom in 1988 and the " Aciiiiid House Party " flyer from October 1988, with its simple green and black design and trippy pop art.

The rise of the internet brought digital flyers and social media promotion. However, physical flyers remain significant in rave culture, representing the tangible and communal aspects of the scene. They are historical artifacts, documenting key moments in dance music and the history of youth culture, and are used by researchers and those reminiscing about the past. Even today, archivists like Rob Ford and organizations like the Museum of Youth Culture recognize the importance of preserving these flyers. Ford's book, Members Only, showcases membership cards and passes from iconic clubs and events, showcasing the design and cultural significance of these items.

In recent years, the style of 80s rave flyers has influenced modern graphic design trends such as Acid Design .

Raves have historically taken place in a variety of venues, often originating as grassroots, anti-establishment, and unlicensed all-night dance parties. Before the commercialization of the rave scene, when large legal venues became common, the location of a rave was often kept secret until the night of the event. This secrecy, communicated through answering machine messages, mobile messaging, secret flyers, and websites, was essential to avoid police interference, particularly due to the presence of illicit drug use. This practice allowed ravers to occupy locations for extended periods, sometimes up to ten hours, fostering a sense of deviation from typical social controls. This element of secrecy continues in the underground rave scene.

In the 2000s and beyond, while some underground raves maintain this secrecy, "after-hours" clubs and large outdoor events have also become common. These venues create an immersive, alternate atmosphere, often emphasizing vibrant visual effects through props and decor. More recently, large commercial events, such as Electric Daisy Carnival and Tomorrowland, are held annually at the same venues, which accommodate large crowds and often feature recurring themes.

Some raves incorporate Pagan symbolism and aim to immerse attendees in a fantastical world. Indigenous imagery and spirituality can be characteristic of the rave ethos. For example, in some collectives, pagan altars are set up, sacred images from primitive cultures decorate walls, and cleansing rituals are performed over turntables and dance floors. This spatial strategy is a key part of the raving experience, as it establishes the initial "vibe," a concept in the raver ethos that represents the allure and receptiveness of an environment's energy. The landscape is also integral to the composition of a rave, similar to its role in pagan rituals. For instance, the Numic Ghost Dancers held rituals at specific geographical sites believed to possess powerful natural energy flows, which were later represented in rhythmic dances to enhance connectivity. A notable example of a unique venue is the Falls festival in Byron Bay, which features a hidden rave party behind a washing machine in a laundromat.

Light shows are a significant component of the rave experience. Attendees may engage in light-oriented dances such as glowsticking, glowstringing, gloving, and other light shows. Gloving, in particular, has evolved significantly beyond rave culture. Other forms of light display include LED lights, flashlights, and blinking strobe lights. LEDs come in various colors with different settings. Gloving, which involves using fingertip LED lights to create patterns with hand movements, became increasingly popular in the early 2010s at raves in America. Glovers use their fingers and hands to move with the music's beat, utilizing color and speed settings on their lights to create fascinating shows for spectators. This can influence audience reactions during songs or throughout a concert. The culture of gloving has expanded to include participants of all ages. Traditional rave lights have also advanced, with newer, brighter, and more sophisticated versions offering numerous colors and modes, including solid, ribbon, strobe, and hyper flash.

Glow poi, which are poi containing a light source such as UV-sensitive materials, LED lights, or chemical glow sticks, can be spun in the dark for dramatic effect. Glowstringing, involving glowsticks swung from shoelaces, is popular at festivals and raves. While poi focuses on manipulating the head of the poi (the end opposite the hand), glowstringing emphasizes manipulation of the cord itself.

Laser lighting displays or laser light shows involve projecting laser beams to entertain an audience, often set to music or accompanying musical performances. The coherent nature of laser light allows for narrow beams that can be optically scanned to draw patterns or images on surfaces like walls, ceilings, or theatrical smoke and fog without refocusing. This focused beam is highly visible and is frequently used as an effect. Beams are sometimes reflected off mirrors to create laser sculptures.

Holographic displays are a type of 3D display that use light diffraction to show a three-dimensional image without requiring viewers to wear special glasses or external equipment, and they do not cause vergence-accommodation conflict. Some commercially advertised 3D displays are called holographic but are actually multiscopic.

Gloving performances are termed light shows and have gained popularity at raves in America. Elements of hip-hop dances, such as liquiding, finger tutting, and popping, have influenced gloving, and many of these dance concepts and techniques are applicable. Before LED lights were incorporated, glovers used plain white Mickey Mouse gloves that reflected black light, which was common at shows. Gloving can be physically demanding.

In 2010, Insomniac Events, an electronic dance music promotions company, banned gloving from all its events, citing drug connotations and safety concerns. The CEO, Pasquale Rotella, stated that gloving was jeopardizing events and harming the culture, citing fire marshals' concerns and media perception.

The development of rave culture was intrinsically linked to advancements in electronic music technology, which has roots all the way back to post-war Germany and France, particularly through musique concrète . Synthesizers and drum machines, such as the Roland TB-303, TR-808, and TR-909, were foundational in shaping the sound of early house, techno, and acid house. These instruments allowed for the creation of new sonic textures, repetitive rhythms, and basslines that defined genres central to rave culture. The innovative use of samplers and sequencers also enabled producers to layer sounds and craft intricate arrangements, expanding the possibilities of electronic music.

The physical experience of a rave was heavily dependent on sophisticated sound and lighting systems. Powerful sound systems, often pushing the limits of available technology, delivered the music with high fidelity and impact. Immersive lighting setups, incorporating lasers, strobe lights, fog machines, and projected visuals, transformed venues into sensory environments designed to enhance the music and create a hypnotic atmosphere.

Communication technologies also played an important role in the organization and dissemination of rave events, especially during their underground phases. In the pre-internet era, information about secret rave locations was often communicated through word-of-mouth, coded answering machine messages, pagers, and anonymously distributed flyers. These methods maintained the clandestine nature of events, crucial for avoiding police interference. With the rise of the internet, websites, early online forums, and later social media platforms became instrumental in sharing event details and distributing music. Mobile phones further streamlined communication, allowing for last-minute location changes and real-time coordination among attendees.

Mainstream media also influenced the public perception of rave culture. Initial coverage was curious or even positive, but it often shifted to focus heavily on the association between raves and illicit drug use, particularly MDMA. This negative portrayal contributed to widespread moral panics, depicting rave culture as a dangerous social phenomenon and often leading to increased police scrutiny and the implementation of anti-rave legislation in various countries. In contrast, pirate radio stations and underground fanzines served as alternative media channels within the rave community. These platforms provided accurate event information, promoted emerging artists and genres, and offered perspectives that countered the often sensationalized narratives of the mainstream press.

The legacy of rave culture has been preserved and shared through various forms of media documentation, including websites such as Rave Archive. Music recordings, including vinyl, cassettes, and later CDs and digital files, have been used to document the rave scene's history.

Rave culture has frequently encountered challenges from law enforcement and legislative bodies due to its association with illicit drug use. This has resulted in police raids and the implementation of anti-rave laws in numerous countries. These legal actions are often linked to a moral panic surrounding rave culture, which has been depicted as a threat to public order and health. Raves frequently utilize non-authorized venues, such as squat parties, unused warehouses, and aircraft hangars, contributing to their legal problems.

In the United Kingdom, politicians reacted negatively to the growing rave scene of the early 1990s, imposing fines on promoters of unauthorized events. Increased police enforcement drove the rave scene away from urban centers and into more rural areas.

In Canada, specifically Calgary, a bylaw addressing raves was passed in 2001. This made Calgary the first major Canadian city to implement such legislation. The bylaw aimed to ensure the safety of rave attendees and minimize disruption to surrounding neighborhoods. Its development involved consultation with representatives from the city, the province of Alberta, and the rave community itself.

In the Netherlands, the police raided Warehouse Elementenstraat in 1993. This venue, a central location for the gabber scene in Amsterdam, was targeted due to its unlicensed operation and concerns related to drug use. The founders and DJs were arrested, and the venue was subsequently closed.

In Australia, a decline in rave attendance in the mid-to-late 1990s was partly attributed to the death of Anna Wood at a Sydney rave. This incident led to increased media attention on the connection between drug culture and the rave scene, further prompting scrutiny from authorities.

Rave music encompasses a diverse range of electronic genres, including:

These are other genres and subgenres popular within rave culture in alphabetical order:Recession Pop , also known as Electropop 08 , is a musical style and design aesthetic that was dominant from approximately 2008 to 2013. It is defined by a high-energy, hedonistic, and relentlessly optimistic sound, paired with a visual style characterized by neon colors, asymmetrical Avantropop shapes, bold graphics, and excessive glitter.

The aesthetic emerged in the midst of the Great Recession, and its function was to provide a form of cathartic escapism from the economic hardship and anxiety of the era. The term "Recession Pop" was first used in a 2009 Irish Independent article and gained widespread popularity on TikTok in 2024 to describe this specific period in music and culture.

The groundwork for Recession Pop was laid between 2006 and 2008, when producer Timbaland pushed pop music in a more futuristic and electronic direction with his work on albums like his solo album Shock Value , Justin Timberlake's FutureSex/LoveSounds , and Nelly Furtado's Loose . Songs like Flo Rida and T-Pain's "Low" (2007) also presaged this new direction.

The aesthetic fully coalesced with the global success of Lady Gaga's debut album, The Fame (2008). Its lead singles, "Just Dance" and "Poker Face", established the sound and style of the era: an infectious, synth-heavy dance-pop that celebrated partying and escapism. The following years saw a string of hits that defined the genre, including Ke$ha's "Tik Tok" (2009), The Black Eyed Peas' "I Gotta Feeling" (2009), and Katy Perry's "Teenage Dream" (2010). Later Electropop hits began incorporating some EDM influences, such as LMFAO's "Party Rock Anthem" (2011), PSY's "Gangnam Style" (2012), and Ylvis's "What Does the Fox Say" (2013).

By 2013–14, the cultural mood began to shift. The rise of more subdued and introspective genres, such as the alt-pop of Lorde's "Royals" and trap of Katy Perry and Juicy J's "Dark Horse", signaled a move away from the maximalist optimism of Recession Pop. In addition, the visual world began to favor the clean lines of Minimalism and Flat Design , as the era of Avantropop came to a close.

The visual style of Recession Pop is defined by a maximalist, futuristic, and often avant-garde sensibility. Its color palette was dominated by vibrant neon colors (particularly magenta, electric blue, and lime green), often combined with an excessive use of glitter and metallic finishes. A key feature of the style was the use of asymmetrical shapes, seen in everything from graphic patterns to iconic haircuts. This was complemented by futuristic accessories like shutter shades and oversized, sci-fi-inspired sunglasses. In graphic design, the aesthetic heavily utilized bold typography, most notably the "ITC Avant Garde Gothic" typeface, along with deliberate lens flare and other digital effects popular on platforms of the era like MySpace.

Recession Pop was a direct cultural response to economic anxiety. During a period of global financial crisis, the music offered a "sonic comfort" and a form of catharsis by focusing on themes of hedonism, partying, and relentless optimism. The lyrical content frequently centered on living in the moment, spending the last of one's money on a good night out, and finding liberation on the dancefloor.

The sound is characterized by fast tempos, high-energy production, and catchy, repetitive hooks. It is a fusion of dance-pop and electropop, with heavy influences from EDM, house, and the Electroclash and Indie Sleaze scenes that preceded it. The production is often glossy and "hyper-produced," designed to be played at high volume in a club setting, providing a strong, if temporary, escape from real-world troubles.Reggae is a music genre that originated in Jamaica during the late 1960s. The term may also refer to popular music of Jamaica as a whole and from the Jamaican diaspora. The music is deeply intertwined with Rastafari religion, which has heavily influenced its aesthetics.

Reggae emerged in Jamaica in the 1960s. At that time, Jamaica faced major political and social problems, such as a strong period of unemployment and economic depression, many of these problems were inherited from wars, rivalities and violence during the Jamaican Political Conflict, which continues in the country to this day. The 1968 single by Toots and the Maytals "Do the Reggay" was the first popular song to use the word reggae , effectively naming the genre and introducing it to a global audience.

From this social context, reggae emerged as a form of resistance to the problems existing on the island and around the world, through themes in its songs that aim to spread peace, union and end social and political rivalries and injustices. For this reason, reggae was quite important for the country and the world, as it was also essential in other countercultures and musical genres, such as Punk and Hip-Hop , which have directly related ideals and values, which made reggae important in the development of these genres. In relation to hip-hop, there are many artists with Jamaican ancestry such as Snoop Dogg and The Notorious B.I.G., who have already experimented with the genre in some of their work. In relation to punk, reggae became a closely related genre due to Jamaican immigrants who lived in England and interacted with the movement, which made punk rock bands merge their sound with the genre, among them, The Clash (more precisely in their album London Calling ), although punk had more relationships with the ska genre, also sharing the same ideals ​​and objectives as reggae and rocksteady, originating the ska-punk subgenre.

Reggae is also related to the Rude Boy and Skinhead subcultures.

The pioneers of the genre were artists such as Toots and the Maytals, Jimmy Cliff and The Wailers, the latter led by one of the greatest and influential artists in the history of the genre, Bob Marley.

Reggae is also deeply related to the Rastafarian religion, and many of its adherents believe devoutly in the God Jah.

Reggae has spread to several countries around the world such as the United Kingdom, United States, Japan, Brazil, Australia, Nigeria, among others.Riot Grrrl was an underground feminist punk movement that emerged in the early 1990s in the United States, primarily from Washington D.C. and the Pacific Northwest. Characterized by its DIY ethos , the movement combined punk music with feminist politics, challenging sexism, advocating for female empowerment, and addressing topics like domestic violence, discrimination, and rape through its lyrics and activism.

Musically, Riot Grrrl bands typically featured standard rock instrumentation, rooted in punk rock with influences from grunge , post-hardcore, and noise rock. The sound was often raw, aggressive, and intentionally unpolished, defined by shouted, confrontational female vocals and distorted guitar work within concise song structures. While some bands adjacent to the movement shared a similar aesthetic, such as grunge acts like Babes in Toyland and L7, they were often not considered part of the broader political movement. Some groups associated with Riot Grrrl also had ties to the Queercore scene.

The term "Riot Grrrl" originated from discussions among members of the feminist punk band Bratmobile, Allison Wolfe and Molly Neuman, who coined the phrase "girl riot." Jen Smith contributed the spelling "grrrl," which was further developed by Tobi Vail's expression "angry grrrl zines." The deliberate use of "grrrl" replaced the passive connotations of "girl" and conveyed the movement's anger and growl-like intensity. The movement gained significant momentum following events like "Girl Night" at the International Pop Underground Convention in Olympia, Washington, on August 20, 1991, which brought together numerous all-female or female-fronted bands and solidified the movement's focus on creative autonomy and community building.

Riot Grrrl coalesced around 1991, when women involved in the punk scenes of Olympia, Washington, and Washington, D.C., began meeting to address pervasive sexism, harassment, and marginalization at shows and in bands. These organizers drew on existing punk DIY traditions and on 1970s–80s feminist politics, but responded to a contemporary scene dominated by grunge and male hardcore bands that often left little room for women beyond the audience.​

Key early bands included Bikini Kill, Bratmobile, and Heavens to Betsy in the U.S., with groups like Huggy Bear in the U.K. often associated with the same ethos. Later, bands such as Sleater-Kinney and others carried elements of the sound and politics into more widely recognized indie and punk contexts, even when they did not always self-identify strictly as riot grrrl.​

The movement spawned an extensive network of photocopied zines, flyers, and cassette releases. These zines circulated first-person accounts of domestic abuse, eating disorders, homophobia, racism, and other forms of violence and discrimination while spreading slogans like “girl power” before they were mainstreamed by pop culture.​ Local chapters and conventions also created spaces where girls and women could meet, talk, and strategize outside of male-dominated venues. The first Riot Grrrl Convention, held in Washington, D.C. in 1992, combined performances with workshops on rape, sexuality, racism, domestic violence, and self-defense, embodying the movement’s blend of cultural production and grassroots feminist organizing.​

In 1992, many Riot Grrrl activists declared a “media blackout” after feeling misrepresented in early mainstream coverage, choosing instead to represent themselves through their own zines, liner notes, and small-scale distribution networks. Riot Grrrl’s most intense period ran through the early to mid-1990s, after which many original bands broke up, evolved musically, or moved into other projects.

The Punk Singer is a 2013 documentary film about feminist singer Kathleen Hanna who fronted the bands Bikini Kill and Le Tigre, and who was a central figure in the riot grrrl movement. Using a combination of interviews and archival footage including live band performances, the film traces the life and career of Hanna from her troubled upbringing and her start in spoken word performance poetry, through her riot grrrl zines, her prominent punk and dance-punk bands, her coining of the phrase "Smells Like Teen Spirit" for Kurt Cobain, her solo career as Julie Ruin, her feminist activism, her marriage to Beastie Boys member Adam Horovitz, and ending with Hanna's 2010 diagnosis of late-stage Lyme disease and the severe treatments she endures to combat it.

Riot Grrrl visuals were defined by a deliberately rough, collage-based graphic language that treated paper as a site of agitation rather than decoration. Photocopied zines and posters layered hand-written text, cut-out images, blocky typewritten passages, and abrupt scissor lines; imperfections (like smudges, visible tape, and misaligned copies) were left in place or exaggerated.​

The imagery leaned heavily on appropriation and détournement, grabbing pictures from magazines, adverts, and mass media and then aggressively re-captioning or defacing them. Faces might be scratched over, mouths blacked out, or headlines replaced with accusatory slogans, turning familiar media icons into sites of critique. This cut-and-paste attack on dominant imagery made the page into a battlefield where corporate and patriarchal visuals were literally sliced up, rearranged, and forced to carry hostile or ironic new messages.​

Typography and layout carried as much meaning as the words themselves. Pages often juxtaposed cramped, confessional paragraphs with sudden, huge block letters or all-caps commands. Dense, text-heavy spreads, asymmetrical margins, and abrupt shifts in scale or orientation worked against easy scanning, forcing the reader into an embodied, time-consuming encounter with the material rather than passive consumption.​

Riot Grrrl did not prescribe a single subcultural uniform, but it cultivated a distinct aesthetic born from its punk roots, DIY ethos, and feminist principles. The style served as a visual manifestation of the movement's challenge to mainstream beauty standards and traditional feminine roles. Participants often employed clothing as a form of self-expression and protest rather than adherence to a fashion trend.

Common elements of Riot Grrrl style included garments sourced from thrift stores, reflecting an anti-consumerist stance. These often featured personal customization, such as handwritten slogans, band names, or political messages. Typical attire included babydoll dresses , frequently paired with contrasting items like combat boots or ripped stockings , blending perceived innocence with defiance. Other characteristic pieces included band t-shirts , cardigans , and sneakers . The look embraced an unpolished, raw quality, rejecting notions of perfection in appearance.

A significant aspect of the aesthetic involved the use of makeup, particularly smudged eyeliner and bright or smeared lipstick , often applied in a messy manner. Hair was frequently styled in a deliberately unkempt way, sometimes bleached or dyed. Riot Grrrls also used their bodies as canvases, writing words like "slut" or feminist slogans on their skin with markers or lipstick, intending to reclaim derogatory terms and assert autonomy. This deliberate appropriation of feminine and provocative imagery, juxtaposed with aggressive punk performance, aimed to subvert societal expectations and provoke dialogue about gender, power, and sexuality. The style, while not a rigid code, became recognizable through its collective embrace of authenticity, rebellion, and visible feminist messaging.

The Riot Grrrl movement had an explicitly feminist focus on everyday experiences of misogyny, sexual violence, and silencing. Participants framed girls as a “revolutionary soul force,” insisting that anger about rape, abuse, harassment, and body policing was not individual pathology but a response to structural oppression. Riot Grrrl is often understood as a key strand of third-wave feminism, foregrounding personal narrative, sexuality, and youth culture. Manifestos and zines named patriarchy, racism, homophobia, ageism, and ableism as targets, encouraging non-hierarchical organizing and inviting anyone to start bands, make zines, and create local safe spaces for “girls to the front.”

Conversely, the movement has been heavily critiqued for limited intersectionality, as the most visible figures tended to be white, cis, and often middle-class, with women of color and others describing feeling sidelined or tokenized. Critics argue that while the rhetoric named racism and other oppressions, the movement often universalized white, middle-class experience as “girlhood,” and that the ability to “speak out” safely depended on forms of privilege many did not share.

Although Riot Grrrl emerged in Washington, D.C., it became mostly popular in Washington, specifically Olympia through the use of “zines,” which are short for “fanzines.” Zines are homemade publications with limited circulation. Zines became an important part of the punk scene in the early 1970s because it was a way to produce a publication “unhampered by corporate structure”. However, zines served as a place to discuss issues that were considered taboo in mainstream culture such as rape, incest, and eating disorders. Zines allowed women to form connections with other women that shared similar ideas and experiences and ultimately created a community. In Washington D.C., some of the band members from Bikini Kill and Bratmobile, held weekly meetings for women to attend, express their frustrations, and show support for one another. Approximately two years after the introduction of Riot Grrrl zines, a small Riot Grrrl network formed which spread to New York, Chicago, Philadelphia, and Richmond. These were groups of high school to college aged girl that met often to discuss ideas, plan Riot Grrrl festivals, and support each other’s music.

Musically, Riot Grrrl sometimes fit right alongside their male counterparts in the Grunge scene, taking the world by storm in the 1990s. However most were never included in the Grunge scene and were far more punk based. Hole is not considered Riot Grrrl as they never embraced the community feminist aspect of that scene. Many modern feminist “punky” songs are somewhat inspired by Riot Grrrl aesthetics.Rivethead describes a person associated with the industrial dance music scene. This subculture emerged in the late 1980s, distinct from the earlier, more diverse industrial culture whose participants were sometimes termed "industrialists." The rivethead scene is characterized by a cohesive youth subculture closely tied to a specific fashion style. This style draws inspiration from military fashion and punk aesthetics, incorporating elements of fetish wear largely influenced by the visual presentation of musicians within the scene. The musical foundation of the rivethead scene lies in electro-industrial, electronic body music (EBM), and industrial rock.

The term "rivethead" gained its contemporary meaning through Chase, the founder of Re-Constriction Records. In 1993, he released a compilation titled " Rivet Head Culture ," featuring various industrial music acts from the American underground music scene. That same year, the band Chemlab, associates of Chase, included a track named " Rivethead " on their debut album, " Burn Out at the Hydrogen Bar ." While the origin of the song title is uncertain, the term itself has a history predating its association with industrial music, having been used since the 1940s as a nickname for American automobile factory workers, particularly those involved in assembly line work.

The term entered broader public awareness with the publication of Ben Hamper's book, " Rivethead: Tales From the Assembly Line ." Notably, the band Iron Maiden used the term " Rivethead " in the lyrics of a song on their 1983 album " Piece of Mind " in reference to their mascot, Eddie.

The aesthetic of rivetheads is defined by a dress style influenced by military aesthetics, often combined with modern primitive body modifications such as tattoos, piercings, and scarification. Visual cues borrowed from the goth subculture, including fetish elements, morbid jewelry and imagery, and black hair dye, are also common. Punk fashion elements, such as the fanned Mohawk hairstyle, contribute to the overall look.

Rivethead footwear typically includes combat boots, tanker boots, jungle boots, knee-high military dress boots, and steel-toe boots like Dr. Martens, as well as platform boots (Transmuters, Gripfasts, Grinders). Pants commonly worn are cargo pants or Battle Dress Uniform (BDU) pants, frequently in black or urban camouflage, often tucked into boots, rolled at the cuffs, or worn as cut-off shorts. Leather pants and bondage pants are also part of the rivethead wardrobe. Tops include band T-shirts, black tank tops, flight jackets, leather jackets, bulletproof vests, and trench coats. Hair is often long and black, shaved bald, partially shaved (undercut), or styled in a Mohawk, Bihawk, Trihawk, or deadhawk. Headgear and facegear sometimes feature masks like respirators or gas masks, helmets (more common in band promotional material), and welding or flight/military-style goggles. Accessories include leather gloves (sometimes fingerless), wool or cotton fingerless gloves, BDU-style belts, spiked or studded belts, spiked or studded chokers/collars, dog tags, and jewelry incorporating industrial components such as nails, screws, cogs, gears, and computer parts.

Female rivetheads may adopt a femme fatale aesthetic, emphasizing sexuality as a form of power. Common attire includes short skirts, military-inspired clothing, knee-high stiletto heel boots, and vinyl, leather, or PVC bustiers and corsets, often paired with lip gloss and less makeup compared to the goth subculture. While colorful synthetic hair extensions and vinyl are sometimes seen, they are more strongly associated with the cybergoth subculture.

The rivethead visual style shares some superficial similarities with goth fashion, leading to occasional confusion, particularly with the emergence of cybergoth . However, the underlying inspirations and overall aesthetic differ. Valerie Steele notes that the male industrial look was tough and military with a science fiction edge, contrasting with the androgynous early goth style. Industrial men often associated with goth women, wearing goggles, band T-shirts, black or military cargo pants, military accessories, heavy boots, and short hair. Industrial women, less numerous, tended to wear corsets, tank tops, trousers, and sometimes suspenders, along with goggles and occasionally shaved heads.

The rivethead subculture is primarily associated with specific forms of industrial dance music that emerged in the late 1980s. These styles, often considered "post-industrial," built upon the foundations of earlier industrial music while incorporating more structured and danceable elements. The key musical genres embraced by rivetheads are electro-industrial, electronic body music (EBM), and industrial rock.

Electro-industrial often features harsh electronic sounds, distorted vocals, and themes of dystopia and societal decay. EBM is characterized by repetitive electronic rhythms, powerful basslines, and shouted or chanted vocals, creating a sound conducive to dancing. Industrial rock blends the aggression and sonic textures of industrial music with the structures and instrumentation of rock, often incorporating electronic elements. These genres differ from earlier, more experimental forms of industrial music by their emphasis on rhythmic structures and song-oriented approaches, making them the central soundtrack to the rivethead subculture and its associated fashion and ideology.

Rivetheads often share a core belief that music should be progressive, forward-looking, experimental, and reflective of the technological age, contrasting with mainstream music perceived as stagnant or overly nostalgic. A rivethead can be a fan or a performer of industrial music, an experimental form of rock music from the late 20th century characterized by harsh dissonance, heavy percussive elements, and transgressive subject matter. Performers within the industrial music genre frequently adopt imagery and fashion associated with totalitarian regimes, either to express opposition to such ideologies or to project an image of power and authority. While rivethead visual culture can incorporate violent and sometimes totalitarian imagery, this does not necessarily reflect real-world practices. In contrast, goth culture generally does not embrace violence.

According to musicologist Bret D. Woods, some industrial artists intentionally use Marxist, socialist, and communist imagery in a shocking and satirical manner to critique tyranny, not as endorsements of specific ideologies. Slovenian band Laibach is a notable example of a group that has satirized Nazi symbolism and militaristic themes. However, the industrial music subculture, and consequently the rivethead subculture, does not adhere to a specific political ideology, with individual political views varying.

While it is sometimes inaccurately called "Industrial Goth" by outsiders, the Rivethead subculture maintains distinct aesthetics and philosophical roots from the Goth subculture. Goth emerged as an offshoot of the Post-Punk movement, influenced by New Romantic aesthetics and focusing on genres like gothic rock and Deathrock . Aesthetically and thematically, Goth is rooted in Dark Romanticism , melancholy, and historical styles ( Victorian /Romantic eras).

In sharp contrast, the Rivethead subculture developed from the Industrial music scene and gravitates towards Electronic Body Music (EBM) and electro-industrial. Its aesthetic is defined by utilitarian, militaristic, and post-apocalyptic styles, focusing thematically on dystopia, technology, and urban decay rather than romance or melancholy. The confusion primarily stems from shared club nights in the 1990s. While an individual can be a fan of both gothic rock and industrial music, "Industrial Goth" is widely considered to be a misnormer that conflates two distinct musical movements.

Considerable confusion also exists between Rivetheads and Cybergoths . While both are rooted in the Industrial music scene, they represent different generational approaches to the aesthetic:

The key difference is the intent: Rivetheads emphasize dystopian realism and function, while Cybergoths emphasize digital fantasy and theatrical performance.Roadman is a contemporary British youth subculture that emerged in London during the early 21st century. It is characterized by its roots in urban working-class communities, a distinct dialect known as Multicultural London English (MLE), and a functional streetwear-based uniform.

The term "roadman" refers to someone who is "on the road," a colloquialism for spending significant time on the streets, often involved in social or economic activities within a specific neighborhood. While frequently conflated with the preceding Chav subculture, the Roadman identity is distinct in its geographical origins, racial diversity, and its closer ties to genres like grime, afrobeats, and UK Drill .Rockabilly is a music genre and associated subculture that originated in the American South during the early 1950s. The term itself combines "rock," from "rock 'n' roll," with "hillbilly," a reference to country music, which was a significant influence. This early style of rock and roll fused country music with rhythm and blues, and incorporated elements from western swing, boogie-woogie, jump blues, and electric blues. Defining musical characteristics included strong rhythms, vocal twangs, boogie-woogie piano riffs, and the use of tape echo. Artists such as Carl Perkins, Elvis Presley, and Johnny Burnette popularized the genre.

The rockabilly subculture also encompasses a distinct aesthetic rooted in 1950s Americana . This visual style often includes elements like vintage cars, motorcycles, and imagery associated with diners and soda fountains. Fashion commonly features wide dresses, tight jeans, leather jackets, and specific hairstyles such as men's slicked-back " greaser " dos and women's pinned-up hair. The color palette frequently incorporates white, red, and black. While drawing from 1950s styles, the aesthetic can also include modern elements like tattoos and piercings.

While its initial widespread popularity declined in the late 1950s, rockabilly experienced a revival in the late 1970s and early 1980s. The subculture continues to exist in the 21st century, with enthusiasts often embracing a lifestyle and fashion inspired by 1950s rock and roll, sometimes exhibiting exaggerated motifs of that era. Rockabilly has influenced other genres, including punk rock , and has spawned various sub-styles, such as Psychobilly and Gothabilly .

The rockabilly aesthetic is founded on an exaggerated portrayal of 1950s Americana , drawing particularly from teenager, greaser , and biker subcultures, alongside leisure activities of that period. Vintage cars and motorcycles, often rare models, are central visual elements. Diners, carhops, and soda fountains, which are tied to 1950s road-trip culture and milkshake consumption, are also prominent motifs. These themed establishments typically feature neon lighting, checkerboard tiles, and bright colors.

Rockabilly distinguishes itself from a general admiration of 1950s culture by incorporating an alternative and edgy appearance. Many adherents display tattoos, piercings, and ear gauges. The aesthetic deliberately avoids the "clean" or "wholesome" visuals associated with preppy styles or 1950s suburbia . Artwork and merchandise within the subculture may feature illustrations of housewives contrasted with swearing, dark humor, or rude imagery. The aesthetic also incorporates a sexual tone through pin-up motifs, including fashion photography that emphasizes the body, and influences from the BDSM community, referencing figures like Bettie Page.

Common visual elements found in rockabilly include polka dots, roller skates, jukeboxes, red roses, poodles, paisley patterns, skulls, old-school tattoos, vintage cars, and barber poles.

Rockabilly fashion for women, often referred to as "rockabellas," emphasizes the female silhouette. Key garments include dresses with petticoats, pencil skirts, high-waisted trousers and shorts, and halter dresses. Common patterns and prints feature polka dots, leopard print, stripes, and sailor styles. Footwear includes open-toed shoes to complement dresses, and platform creepers or printed boots. Bridal wear within the rockabilly aesthetic can incorporate hoop skirts and bows.

For men, known as "rockabillys," essential clothing items include white t-shirts, cuffed blue jeans, and leather jackets. Suspenders often accessorize these outfits. Footwear for men typically consists of perforated lace-up shoes with a small heel.

Hair and makeup are defining elements of the style. Black hair is a common choice and is often dyed. Women's hairstyles frequently feature curled parts, are pinned up, and may include hair accessories like flowers or small bows. For makeup, various deep shades of red lipstick are used, along with winged eyeliner and mascara. Blush is applied to the apples of the cheeks, and fake beauty marks are sometimes added. Men frequently sport pompadour hairstyles, maintained with styling products.

Motifs common in rockabilly clothing and accessories include dice, cherries, pin-up girls, swallows, playing cards, stars, and skulls.

Participation in the rockabilly subculture involves various activities. Attending vintage car shows is a common pursuit, reflecting an appreciation for classic automobiles and motorcycles. Vinyl collecting is another significant activity, centered around acquiring and listening to rockabilly music and other related 1950s genres. Swing dancing is a popular social activity, often practiced at events and gatherings. Members of the subculture also engage in a broader embrace of 1950s-inspired leisure activities, including visiting themed diners and carhops, and attending live music performances by rockabilly bands. These activities contribute to the community aspect of the subculture.

Psychobilly , also known as Punkabilly , is a distinct music genre that emerged in the early 1980s, primarily in Britain. It is defined as an aggressive and loud form of rockabilly, incorporating elements of punk rock . The genre mandates the inclusion of a double bass, often played with an overdriven sound, along with full rock drum kits and overdriven guitars. Lyrical themes in psychobilly diverge from traditional rockabilly by focusing on graveyards, vampires , zombies, and other horror film and death-influenced subjects, often presented with humor. The Meteors are often cited as pivotal in codifying the genre, advocating for "pure psychobilly" which rejected traditional rockabilly themes like cars, pinups, or bubble gum. The aesthetic involves big quiffs, unconventional clothing, makeup, and props such as blood and skeletons. Early psychobilly audiences, often a mix of rockabillies seeking a punkier sound and punks desiring something different, established their own circuit, exemplified by venues like Klub Foot in Hammersmith. The genre fostered its own dance style known as "wrecking," characterized by frantic flailing.

Gothabilly , also known as Hellbilly , is a music genre that blends rockabilly with elements of the goth subculture. The term was first used by The Cramps in the late 1970s to describe their blend of rockabilly and punk rock, which had a somber tone. It gained wider recognition in the mid-1990s with the release of international gothabilly compilation albums. Musically, gothabilly distinguishes itself from psychobilly by fusing bluesy rockabilly with gothic piano and guitar, typically featuring slower tempos and an emphasis on mood rather than aggression. Fashion associated with gothabilly incorporates elements of gothic style, such as black silks, satins, lace, velvet, corsets, top hats, antique jewelry, PVC, and leather. Common fashion pieces include black skirts and dresses, black and white pinstripe, cat eye glasses, and black or "box red" hair.Sadboi (also written as Sad Boy ) is an internet aesthetic and specific masculine archetype that emerged online in the early 2010s, primarily on Tumblr and SoundCloud. Its name is derived from the "Sad Boys" music collective founded by Swedish rapper Yung Lean and producers Yung Gud and Yung Sherman in 2012.

The aesthetic is defined by the open expression of loneliness, anxiety, and sadness, primarily communicated through a fusion of hip-hop and trap culture with digital nostalgia and lo-fi or Vaporwave imagery.

Unlike the parallel Sadgirl aesthetic, which relies on literary melancholy and soft grunge visuals, Sadboi embraces streetwear and sometimes a sense of irony.

The Sadboi aesthetic emerged in the early 2010s but gained peak popularity approximately between 2016 and 2019 on highly visual platforms like Tumblr, SoundCloud, and YouTube.

The subculture was effectively established with the founding of the Sad Boys collective by Yung Lean in 2012. This group pioneered the sonic and visual blend that defined the aesthetic: melancholic Cloud Rap mixed with ironic appropriation of American consumer culture (e.g., Arizona Iced Tea and Fiji Water logos). The look and music were seen as an unconventional rejection of traditional American hip-hop aesthetics.

During its peak, the aesthetic incorporated visual elements like black and white edits of 1980s and 1990s cartoons and anime and surreal or distorted glitch art visuals. Groups like Trash Gang, also known as Trxsh , significantly contributed to the aesthetic's wider recognition through AMVs (Anime Music Videos), edits, and merchandise. The influence of the aesthetic extended beyond traditional media into platforms like Roblox , gaining prominence in specific hangout games such as one titled " Lost ."

The aesthetic is intentionally messy, digital, and often frequently ironically juxtaposes sensitive themes with aggressive streetwear and cartoon iconography.

The style pulls imagery from the early 2000s internet and digital media. A definitive motif involves taking mainstream cartoon characters, such as Bart Simpson, and digitally editing them with themes of melancholy (e.g., broken hearts, eye censor bars labelled "broken"). Graphics rely heavily on lo-fi filters, glitch art , and Vaporwave -inspired imagery.

Japanese lettering is often used as a motif, typically alongside introspective or self-deprecating text and sad faces (☹).

Sadboi fashion is a blend of minimalist streetwear, sportswear, and digital-era irony. The uniform includes simple, often oversized clothing and sportswear brands like Nike and Adidas. The signature accessory is the bucket hat (a key accessory popularized by Yung Lean), often worn alongside other accessories. Popular brands include FTP (Fuck the Population), Trash Gang , Anti Social Social Club, Vlone, and Thrasher.

The Sadboi aesthetic functions as a form of emotional self-expression that challenges traditional expectations of masculine stoicism and happiness. Unlike the paralell Sadgirl aesthetic, it often operates through a lens of irony, using self-deprecating humor and digital manipulation to convey internal anguish. The movement's primary value is the reclamation of male sensitivity, providing a space for individuals to embrace and romanticize feelings of disaffection and anxiety without adhering to traditional societal norms. By blending sadness with highly visible, aggressive genres like hip-hop, the aesthetic makes emotional vulnerability visible and performative.

The Sadboi aesthetic has been subject to intense criticism and mockery due to concerns over the glamorization and romanticization of mental illness and self-destructive behaviors.

The most significant critique stems from the academic and cultural sphere, where the aesthetic is seen as promoting a form of passive nihilism. This argument suggests that by turning depression and addiction into a source of ironic style (e.g., through lo-fi edits or Emo Rap ), the aesthetic provides a communal space to merely suffer aesthetically rather than engaging in recovery. This directly contrasts with the popular push for active self-improvement and mental health advocacy seen in mainstream culture.

Critics argue that the aesthetic trivializes genuine mental illness by presenting the severe symptoms of depression and anxiety as fashionable, cool, or artistic. This risks making profound suffering seem like a "relatable quirk."

The aesthetic was mocked through satire, such as edited images of Bart Simpson being edited with broken heart emojis and "DEPRESSED" censor bars. These parodies served to satirize the core emotional claim, arguing that the exaggerated presentation of sadness was merely a formulaic plea for attention and internet validation.

The primary concern is that by making sorrow an attractive, visible identity, the aesthetic risks trapping young men in a cycle where they feel pressured to conform to the image of being "broken" rather than actively attempting to heal.

The Sadboi aesthetic is directly tied to the development of Emo Rap and Cloud Rap, genres that gave emotional vulnerability a voice over trap beats. However, the Sadboi's associated music expanded in the late 2010s to incorporate popular tracks from dark electronic and alternative rock that matched its aesthetic themes.Scene is a youth subculture that originated in the early 2000s from the U.S. emo and hardcore punk scenes, gaining widespread popularity among adolescents from the mid-2000s to the early 2010s. Flourishing on the social media platform MySpace, Scene developed from Emo but distinguished itself by rejecting its predecessor's introspective angst in favor of a more colorful, playful, and fashion-conscious aesthetic centered on social life and internet fame. The subculture's aesthetic is characterized by brightly colored skinny jeans, band t-shirts, and an iconic hairstyle featuring heavily teased, layered, and straightened hair, often dyed with neon streaks or "raccoon tail" stripes and complemented by heavy eyeliner.

Musically, the Scene subculture was initially associated with hardcore-based genres like metalcore and deathcore. Bands such as Bring Me the Horizon, Asking Alexandria, and Pierce the Veil garnered significant commercial success in both the mainstream and the underground while remaining tied to the subculture. The sound later expanded to include the electronic fusion genre of crunkcore, which was pioneered by groups like Brokencyde, 3OH!3, and Hollywood Undead. Pop-oriented electronic acts like Metro Station also achieved large audiences within the scene.

Scene has experienced a revival in the early 2020s, a phenomenon sometimes referred to as the "Rawring 20s." Furthermore, it also saw the development of Scenecore , a more exaggerated Gen Z interpretation of the subculture connected to hyperpop music.

Scene emerged from the emo subculture in the early 2000s in the United States. While emo in the early 2000s was often characterized by introspective themes and a subdued " Geek Chic " fashion with black hair, straightened bangs, band tees, skinny jeans, Buddy Holly glasses, buttoned-up shirts, cardigans, and sweater vests, scene began to develop a bolder, more flamboyant aesthetic.

The term "scene queen" first appeared within the hardcore scene around 2002. It was initially a derogatory label for individuals, often conventionally preppy girls, who adopted alternative fashion to attract band members, seemingly prioritizing appearance over the music itself. However, this term later evolved to describe influential and popular figures within the burgeoning scene subculture, particularly on early social media platforms like MySpace.

Before scene's full development, " Fashioncore ," an aesthetic pioneered by the Orange County metalcore band Eighteen Visions, significantly influenced its visual direction. Members of Eighteen Visions, some with backgrounds in cosmetology and fashion boutiques, deliberately crafted an image to contrast with the hypermasculinity prevalent in late 1990s hardcore. This included eyeliner, tight jeans, collared shirts, straightened hair, and white belts. The distinctive scene haircut, with its long, layered, side-swept bangs, may have been inspired by Eighteen Visions bassist Javier Van Huss, who reportedly conceived it after seeing a band Orgy poster. Madeline Pendleton, an early 2000s emo and designer, noted the rapid shift around 2002 from camouflage cargo shorts and hoodies to girl jeans, white belts, black collared shirts, and flat-ironed hair. The A-line haircut's emphasis on layering led to more extreme customization, with ultra-short tops and asymmetric bangs, often referred to as "razor haircuts" given in informal settings. While the term "scene queen" began as a pejorative, the style itself gained traction in the early 2000s through the popularity of bands like Eighteen Visions, Atreyu, and From Autumn to Ashes, who incorporated these stylistic choices.

Sasscore also notably influenced scene. Like fashioncore, sasscore challenged hardcore's hypermasculinity, with bands using overt homoeroticism and flamboyant presentation. The fashion of many sasscore musicians, particularly Johnny Whitney, lead vocalist for The Blood Brothers, proved influential, contributing to the bright, expressive, and rebellious nature of early scene fashion. The genre's characteristics included lisped vocals, homoerotic lyrics, and dance parts, with the white belt becoming so emblematic it led to the derisive term "white belt hardcore" from hardcore purists. The music video for the Swedish hardcore band Refused's 1998 song "New Noise" also played a role in popularizing the side-swept fringe, a key element in both emo and scene hairstyles.

The inclusion of electronic music was an unorthodox attribute for a subculture with punk roots. This was particularly evident in electronicore, which merged trance and rave elements into metalcore, and crunkcore, which combined screamed vocals with pop and crunk rap instrumentals. The band The Faint is often credited with introducing many emo kids to electroclash , blurring musical lines.

This period marked scene's solidification as a distinct subculture, moving beyond its direct ties to hardcore. Scene became a subculture broadly adopted by many young people, irrespective of their primary music taste.

MySpace emerged as the central platform for scene kids to connect, share their looks, discover music, and craft online personas. Profile customization, including glittery stickers, eye-straining layouts, and flashy GIFs, became important for self-expression. The "top friends" lists and photo manipulation techniques were crucial in shaping online scene identity. The term "scene queen" transformed into a descriptor for influential trendsetters on MySpace, such as Audrey Kitching, Jeffree Star, Hanna Beth, and Kiki Kannibal. These individuals popularized specific fashion elements and makeup styles, including raccoon eyeliner, brightly colored hair with "coon tails" (horizontal stripes), teased and layered hairstyles, skinny jeans, tutus, band T-shirts, arm warmers, studded jewelry, and knee-high Converse sneakers. Themes like stripes, skulls, hearts, and checkerboard designs were common. Shopping at stores like Hot Topic was a common practice for obtaining scene fashion items.

Music associated with scene during this era expanded to include metalcore, crunkcore, neon pop-punk, and electropop. Bands like Attack Attack!, Asking Alexandria, Brokencyde, Hollywood Undead, 3OH!3, Millionaires, Metro Station, Cobra Starship, and Owl City gained popularity. These groups often had more optimistic or party-themed lyrics, contrasting with emo's introspective nature. The Warped Tour music festival also became a popular gathering place for scene members and hosted many associated bands.

Scene's influence extended globally, with similar subcultures appearing in other regions. In China, the Shamate emerged, while Argentina saw the Floggers , Brazil the Coloridos , and Chile the Pokemón . These groups shared visual similarities with their American counterparts, featuring brightly colored clothing, exaggerated hair, and eyeliner, and often identifying with emo pop, indie rock, hip hop, and EDM.

Scene's mainstream popularity began to decline around 2014. However, the subculture continued to exert influence, particularly on platforms like Tumblr, which developed its own prominent figures akin to scene queens, such as Halsey. The annual Warped Tour held its last event in 2019. The late 2010s saw a growing interest in musicians who had started their careers in scene bands, including Lil Lotus, Blackbear, Post Malone, Mod Sun, and Lil Aaron. This period also saw the mainstream success of emo rap , a genre directly influenced by scene.

Starting around 2019, movements promoting a return of the subculture began to appear. Hashtags like #20ninescene (2019) and the "Rawring 20s" (2020s) gained traction on social media. MySpace-inspired social networks such as SpaceHey and FriendProject also saw renewed popularity among teenagers. Social media influencers on platforms like Instagram and TikTok began adopting scene fashion, contributing to a modern revival. The scene subculture also influenced the development of the e-boys and e-girls subculture and the emergence of hyperpop . The return of scene-associated events, such as the When We Were Young festival in 2022, further indicated a resurgence of interest in the subculture in the 2020s. On TikTok, a distinct style known as " Scenecore " emerged, characterized by an exaggerated interpretation of scene culture, influenced by scene electropop and SoundCloud digicore music, sharing visual similarities with the Kandi Raver style.

Scene faced criticism from various groups. It was often accused of being a derivative of emo fashion. Members of the Metalhead subculture used pejorative terms like "myspace-core," "scenecore" (unrelated to its current, post-lockdown use ), and "mallcore" to describe scene music and artists, mocking the " -core " suffix prevalent in related genres. Crunkcore, in particular, received poor reviews for its blend of screamo, crunk beats, and flamboyant emo fashion. Despite this, interest in scene fashion and music has persisted, finding new forms of expression and community in subsequent decades.

Scene fashion emerged from a blend of influences, notably from emo and other aesthetics associated with the Hardcore Punk scene, but developed its own distinctive visual identity in the mid-2000s. It was characterized by a deliberate contrast of solid black with limited colorful, often neon, accents. The style frequently embraced androgynous elements, with both boys and girls adopting similar clothing choices and hairstyles that challenged traditional gender norms.

Hair was a central and highly recognizable component of emo and scene fashion. It typically featured asymmetric, choppy cuts with long, swooped fringes that often covered part of the face. Hair was commonly straightened and could be heavily teased or spiked for volume. Bright, unnatural hair dye colors such as blond, pink, red, green, or vivid blue were common, often applied as streaks or in a "raccoon tail" pattern using extensions. Make-up generally included thick black eyeliner, sometimes paired with black or neon eyeshadow, and tinted chapstick.

Clothing choices included tight garments, especially skinny jeans in various colors, including bright or patterned designs like stripes and plaid. Band T-shirts were prevalent, often featuring groups associated with metalcore, crunkcore, or pop-punk. Other common items included studded belts, oversized or "nerdy" glasses, shutter shades, tiaras, and fingerless gloves. Footwear frequently consisted of sneakers from brands like Converse, Vans, DC, or Osiris. Accessories such as hair bows, plastic pearl necklaces, and various bracelets were also worn. While some individuals incorporated elements like kandi (colorful beaded bracelets, originating from rave culture), it was not a universally defining feature of the subculture. The aesthetic also drew from popular franchises and characters of the era, such as Gloomy Bear , Hello Kitty , and Invader Zim .

The fashion also saw influences from punk and raver styles. Eighteen Visions' " fashioncore " aesthetic, characterized by eyeliner, tight jeans, and straightened hair, notably contributed to the early visual foundations. Gabe Saporta of Cobra Starship further defined aspects of scene fashion by drawing from rave and Harajuku street styles , integrating colorful elements like neon shell suits and snapbacks.

Another notable example of Scene visuals is the typical art style that they shared in common with the Emo subculture in the 2000s to early 2010s. The style is characterized by its often sketchy line art. This may be to mimic traditional pencil drawings, or to create a jagged, edgy feel to the artwork. The proportions of the characters were usually thin or stick figured bodies with caricature-like heads and large eyes, comparable to the likes of Tim Burton or the character L from Death Note .

In the 2000s it was often vaguely inspired by anime art, using anime eyes. The large circular "blank" eyes are reminiscent of a particular "chibi" design style that was particularly more popular during the 2010s. The overall appearance of the characters is heavily based on the popular trends of scene during its peak, meaning straightened opaque high-volume hair, black tees with splashes of bright colors, low waist bottoms, stripe pattern details, and sneakers.

Scene music changed through the years and it's the most diverse part of the culture, ranging from Neon pop punk and comfy oriented pop music such as Hellogoodbye, Owl City, The Ready Set and Nevershoutnever, to the more intense acts like BrokeNCYDE, Suicide Silence, and Falling in Reverse, and to more queer and feminine ones, most notably Jeffree Star, Millionaires and Geoffrey Paris. Scene bands take a lot of inspiration from screamo and second wave emo of the 90s. Bands like Orchid expanded on the more laid-back post-hardcore of the 70s and 80s with explosive instruments and vocals. In the early 2000s to around 2005, scene kids would listen to pop-punk and emo-pop. Acts like Fall Out Boy saw critical success in the early to mid-2000s under these genres. The success of releases from bands around the same time as Saosin who merged post-hardcore and metalcore skyrocketed the popularity of post-hardcore music, and from 2003 to 2007 scene kids listened to hardcore, metalcore, deathcore and post-hardcore. Crunkcore also increased in popularity, with acts such as JJ Bigga, Dot Dot Curve, and BrokeNCYDE.

Around this time, many metalcore, emo-pop and post-hardcore scene artists began incorporating electronic elements into their music and began popularizing electronicore and easycore, including bands like I See Stars, Sleeping with Sirens, Chunk! No, Captain Chunk! and Jamie's Elsewhere, among many others. Nintendocore and chiptune acts such as Shirobon, Karate High School, Sabrepulse and Horse the Band were also popular starting around 2007. Electro-industrial and synthpunk acts such as Mindless Self Indulgence and artists that were inspired by them such as Uncle Outrage, Raggedy Angry and Твоё нежное безумие, which mixed scene music with rivethead and cybergoth elements.

Progressive post-hardcore began to pick up steam near the 2010s with bands like Of Machines and Broadway incorporating trance and electronica into the emo-pop and post-hardcore compositions. In the early 2010s pop-punk and emo-pop had a small revival, and electronic post-hardcore became very popular with bands like Bring Me the Horizon seeing massive success. Scene music would see a gradual decline through the 2010s as it became less popular in the mainstream, but bands like Hands Like Houses still saw moderate success while expanding on the progressive post-hardcore sound.

In the late 2010s, notable figures like Jordan Sweeto and DAGames, who were part of the scene kid subculture, gained prominence in fandom spaces by creating music that blended elements of both nerdcore /fandom and typical scene music. Around 2019, there appeared hyperpop and indietronica, despise those not being scene music genres. Artists like 100 gecs and Underscores transformed the mid-2010s hyperpop into an abrasive internet aesthetic, influenced by older scene bands, in May of 2020, XO_Willow (aka h3artcrush, now known as Crucifyapril) combined elements of e-punk/incelcore music with Pop Punk, Chiptune and Scene elements in his debut album Winter Suicide , inspiring acts like Wujek, h4rtbrkr, and EDGEMASTER42. In 2021, a collaborative project called Big Money Cybergrind emerged, featuring a mix of old and new scene kids, combining various music genres that used to be popular among scene kids over the time.

While not strictly fitting into the primary Scene genres, these artists were extremely popular within the Scene subculture due to overlapping fanbases, fashion styles, or their presence on the Warped Tour circuit.

This section is primarily about media that either directly influenced the Scene aesthetic's visual style or are strongly associated with its core themes.

The following are notable influencers, often referred to as scene "queens" and "kings," who popularized the aesthetic during its peak.

The following list contains slang terms (known as "scene lingo") that were popular with people in the Scene subculture, and sometimes crosses over with 1337 (leet) speak.

While the Scene subculture in itself was not highly controversial, the associated music, particularly crunkcore, faced considerable criticism, sometimes being labelled as "the worst music genre" by its critics. The lyrical content of many crunkcore songs was overtly sexual and frequently described women in derogatory terms such as "sluts" or "whores." This caused controversy not only for its perceived misogyny but also because the genre's primary audience consisted of young teenage girls, a fact of which many artists were aware. Furthermore, some crunkcore and other scene-affiliated artists used homophobic and racial slurs in their lyrics, as seen in the song " No. 5 " by Hollywood Undead and multiple tracks by Mindless Self Indulgence. While these issues received less attention at the time, they have since been re-evaluated as highly problematic and are cited as a reason for crunkcore's decline.

The most significant controversies arose from allegations of sexual abuse directed at prominent artists within the scene. Dahvie Vanity, a member of the popular crunkcore band Blood on the Dance Floor, was publicly accused of grooming and sexually assaulting numerous women, many of whom were reportedly underage at the time of the alleged incidents. These accusations, alongside the band's misogynistic song titles like " Revenge Porn ," led to their music being removed from Spotify.

Mindless Self Indulgence, another highly influential band in the scene, has also faced severe criticism. The band's frontman, Jimmy Urine, has been criticized for using racial slurs in his music and for lyrics that appear to sexualize minors, such as in the song " Panty Shot ." In addition to this, Urine has been the subject of an anonymous allegation of grooming and sexual abuse.

The renewed interest in the Scene subculture, especially through TikTok, has led to several common misconceptions that distinguish the original 2000s movement from its modern interpretations. A frequent misunderstanding is that Scene fashion was dominated by bright neon colors and Kandi beaded jewelry; while colorful elements were present, the original aesthetic was more directly rooted in emo and punk styles, with Kandi being more specific to rave culture. Modern aesthetics like Glitchcore and Scenecore are also often conflated with original Scene, but they are distinct phenomena with different musical foundations (such as hyperpop ) and cultural contexts.

Another common misconception is that Scene music "does not exist" because there is no single music genre called "scene." However, "Scene music" serves as a valid shorthand for the specific cluster of metalcore, crunkcore, and electronic bands that were central to the subculture's identity.

Finally, the criticism that Scene was a " poser subculture" overlooks the fact that, while social status was important, genuine participation typically involved an authentic engagement with the associated music and culture, not just an adoption of the fashion.

Subcultures around the globe who were inspired, or share a lot of similarities to Scene.Sextrance is a niche microgenre of Hard Trance music that draws influence from multiple other musical genres, including HexD , Nightcore, and Freeform Hardcore. The genre is notable for being coined ironically by the musical artist purity://filter as a form of absurd Gen Z humor, and it is not related to sexual themes despite its name. Sextrance is associated with other highly online, nostalgic genres originating from SoundCloud and underground communities, particularly Xpiritualism . It has quickly developed a dedicated fanbase thanks to artists like Sienna Sleep and Exodia, and the record label Dismiss Yourself.

The term "Sextrance" was originally coined as a joke by the musical artist purity://filter to describe the 2020 album "Imago" and a subsequent mix published on Halloween 2022. The term was adopted by other similar musical artists, quickly attracting a dedicated fanbase through the record label Dismiss Yourself. Although purity://filter coined the word, they do not take credit for the creation of the genre itself, preferring to attribute its development to artists who picked up the idea, such as Sienna Sleep and Exodia. This new wave of trance is considered part of a larger Y2K Trance Revival that gained momentum starting around 2020.

Sextrance possesses a highly distinctive, digitally corrupted aesthetic rooted in Y2K Futurism and specific 2000s–2010s digital nostalgia.

The aesthetic heavily utilizes imagery reminiscent of the early 2000s, especially content from video games and anime. Video game visuals play a significant role, with artists incorporating old game graphics, fictional characters, and Low Poly /pixelated imagery from popular games of the time. This frequently includes content originating from racing video games (emphasizing drifting aesthetics), rhythm games (like Dance Dance Revolution ), and first-person shooters.

The aesthetic's color scheme is characterized by the use of bright, holographic colors and color-changing hues that evoke the look of digital fantasy. Other important features include visual references to the Old Web / Webcore style and the use of nostalgic pop culture objects like trading game cards and anime figure boxes. Distortion and compression effects are constantly applied to visuals, which contributes to the genre's chaotic and disoriented mood.

The musical tracks are defined by their fast tempo (often exceeding 180bpm), strong, abrasive synths, and highly processed sound. Tracks frequently use bitcrushed, compressed, and distorted sounds as a defining element of the production style, linking it directly to the sound of HexD music. Sextrance songs are often either very short or extremely long, building up an energetic, emotionally charged atmosphere that precedes a bass drop. Audio samples and references to 2000s–2010s anime and video games are another important element that ties the music to its nostalgic aesthetic.Sigilkore is an experimental subgenre of trap music and an associated visual aesthetic that emerged on SoundCloud in the late 2010s. Pioneered by the music collective Jewelxxet and artists like Luci4 (also known as Axxturel) and islurwhenitalk, the genre is defined by its dark, lo-fi, and disorienting sound. Musically, it combines elements of Cloud Rap, HexD , and Hyperpop , characterized by distorted, bass-boosted 808s, reverb-heavy synths, and pitched-up or snarled vocals.

The name "Sigilkore" refers to sigils, which are symbols used in magic. Originally, the term was tied to the artists' professed interest in the occult, with the music intended as a form of "hexxing" or casting spells (overlapping with HexD 's similar lyrical and visual themes). The visual aesthetic is a maximalist blend of occult symbols, edited anime and video game characters, and glitter graphics , primarily seen on song cover art.

Sigilkore's origins can be traced back to the SoundCloud underground scene around 2019, with rapper-producers Luci4 and islurwhenitalk of the Jewelxxet collective being the primary pioneers of the sound. The term was initially used to describe their specific style, which was sonically abrasive and thematically linked to demonic entities and occult rituals. This early scene was insular, with a belief that only those who shared their occult interests should make the music.

The genre's profile rose dramatically in the summer of 2021 when Luci4's song " Kurxxed Emeraldz " went viral on TikTok, as well as " Masquerade " by Siouxxie Sixxsta, spawning major dance trends. This explosion in popularity detached the term "sigilkore" from its original sonic and thematic roots. New listeners and artists began applying the label to a wide range of sped-up, murky, or dark-sounding trap music, whether or not it shared the specific production style or occult themes of the original scene.

This led to a "semantic vacuum" where Sigilkore became a catch-all for various dark, online rap subgenres. The original artists grew to resent the term, feeling it had been cheapened and misinterpreted by the mainstream TikTok audience. This was further complicated by the rise of artists like Odetari and Lumi Athena, whose more accessible, rave-influenced sound was often mislabeled as Sigilkore by listeners, despite being sonically distinct (their genre often being called Krushclub ). As a result, the term became a point of contention, simultaneously a useful marketing tag on platforms like TikTok and Spotify, and a "ghost genre" rejected by many of its originators.

The Sigilkore aesthetic is almost exclusively expressed through the cover art for songs and mixes. It is a form of digital maximalism characterized by its dense, layered, and often chaotic compositions.

The artwork typically features a central image of an anime or video game character, which is then heavily edited and surrounded by a multitude of decorative and symbolic elements. Key motifs include occult sigils, crosses, stars, jewels, and angelic wings, often rendered in a style reminiscent of early internet glitter graphics and Blingee. The overall atmosphere is dark and inspired by horror, incorporating imagery like skulls, bloodstains, and fire. This blend of cute anime visuals with demonic and occult symbolism creates the genre's signature unsettling yet intriguing visual identity.Signalwave , also known as Broken Transmission , is an underground subgenre of Vaporwave that is characterized by its use of short soundbites and samples taken from old television and radio broadcasts. The aesthetic aims to simulate the experience of "channel surfing" or tuning into a forgotten, distant transmission, creating a mysterious sense of nostalgia.

Unlike other Vaporwave subgenres that often rework samples into new musical compositions, Signalwave frequently presents its source material in a more fragmented and raw state. The result is a soundscape that prioritizes atmosphere and texture over melody, evoking the feeling of stumbling upon a piece of lost media from a bygone era.

Signalwave emerged in the early 2010s from the more experimental side of the Vaporwave scene, alongside the development of the broader genre. Early pioneers began to focus less on sampling smooth jazz or pop music and more on the ambient and incidental sounds of broadcast media. Foundational releases from artists like Midnight Television (2011) and Infinity Frequencies (2012) established the genre's focus on looping, lo-fi samples to create a detached, eerie atmosphere.

Vektroid's 2011 EP Prism Genesis (released under the alias Fuji Grid TV) is also considered a highly influential and formative work. Its chaotic collage of television commercials and jingles, cut up and distorted, provided a blueprint for the "broken transmission" style. The term "Signalwave" itself gained traction as a way to describe this specific niche, which became particularly popular for its ability to evoke a potent, almost universal sense of nostalgia, even for media the listener had never personally experienced.

The visual style of Signalwave is a direct extension of its sound. Album art almost exclusively consists of a single, often low-quality screencap taken from a VHS recording of an old television broadcast. The images are typically mundane (a news anchor, a commercial set, a weather map, or a station's sign-off screen) but are rendered uncanny and mysterious through the degradation of the media and their detachment from their original context. The visuals are not meant to be polished, but rather to look like a frozen moment from a forgotten tape, perfectly complementing the music's nostalgic and liminal quality.

The sound of Signalwave is defined by its source material and its specific manipulation techniques. The music is built almost entirely from samples of dated broadcast media, including television commercials, radio jingles, news bumpers, public service announcements, and weather channel background music.

These samples are typically short, lo-fi, and are repeated in a hypnotic loop with very little variation. Artists often embrace the imperfections of the source audio, incorporating static, hiss, and tape warble to create an aged aesthetic. While effects like reverb and delay are sometimes used to create a dreamy atmosphere, the focus is less on creating a new song and more on preserving the feeling of a fragmented, distant broadcast that is fading in and out of reception.Simpsonwave is an audiovisual microgenre and internet meme that originated on platforms like Vine and YouTube in the mid-to-late 2010s. It is a subgenre of Vaporwave defined by a specific formula: clips from the "classic era" of the animated television series The Simpsons (roughly the first eleven seasons) are edited and set to Vaporwave or Lo-fi electronic music.

The aesthetic is characterized by its signature editing style, which applies heavy VHS-style distortion, a surreal pastel color filter (often a "codeine purple"), and psychedelic effects to the source material. This process recontextualizes the often comedic scenes from the show, creating a new, dreamlike atmosphere that is typically melancholic, nostalgic, and poignant.

The Simpsonwave phenomenon began to coalesce around 2015 and 2016. An early, influential example is a Vine created by user Spicster, which looped a clip from the episode "Bart on the Road" set to the song " Resonance " by HOME. The video's popularity established the core combination of nostalgic Simpsons imagery and dreamy electronic music.

The term "Simpsonwave" was coined and the genre was popularized by YouTuber Lucien Hughes, a UK-based student who began creating and compiling longer Simpsonwave videos in early 2016. His video "ＳＵＮＤＡＹ ＳＣＨＯＯＬ", which set scenes of Bart contemplating his existence to the Blank Banshee track " Teen Pregnancy ," became a seminal work that defined the genre's melancholic and deconstructive potential. The trend was further explained and spread by other YouTubers, most notably FrankJavCee in his satirical "How To" video on the genre.

Simpsonwave is defined by a consistent and specific set of editing techniques applied to its source material. Visually, the videos are intentionally degraded to mimic the look of an old, worn-out VHS tape. This includes adding static, tracking errors, and a blurry, low-resolution quality. A surreal color grade, typically a washed-out purple or pink, is applied to the footage, creating a dreamlike and unnatural feel. The clips are often slowed down and looped, with psychedelic effects like mirroring or cascading images used to enhance the hypnotic atmosphere.

Sonically, the videos are paired with music from the Vaporwave and lo-fi genres. The slow, melancholic, and often reverb-heavy tracks are used to completely reframe the original context of the Simpsons scenes. A funny or lighthearted moment from the show can be transformed into one that feels sad, poignant, or full of longing, creating what has been described as a sense of "dreamy ennui."

The primary theme of Simpsonwave is a deep and frequently sad nostalgia . It uses the universal familiarity of The Simpsons as a cultural touchstone for millennials and older members of Gen Z to evoke a sense of a lost past. The degraded visual quality reinforces this feeling, making the videos appear like a fading, distant memory.

Many Simpsonwave videos also function as a deconstruction of the show and its characters. By isolating specific scenes and removing the original comedic context, these edits often show the underlying sadness, anxiety, or existential dread present in the characters' lives. For example, videos may focus on Homer's feelings of failure, Lisa's depression, or Bart's loneliness, transforming them from cartoon figures into relatable symbols of modern melancholy.Sizz is an aesthetic that utilizes noise, distortion, and other digital artifacts to modify and abstract images. While the name originated around 2017, influenced by trends on platforms like Tumblr and Instagram, Sizz draws upon earlier artistic influences. These include German Expressionism 's use of abstraction for mood creation, the emotional impact of contrast and lighting in film noir , and the Japanese are-bure-bokeh street photography movement's emphasis on grittiness and lack of focus. The term is an onomatopoeia intended to evoke the sound of noise. According to Merriam-Webster, "sizz" means "to hiss or move with a hissing sound."

Sizz is defined not by a set of specific rules, but by an "ethos" - composition is valued over technique, experimentation over purity, and feeling over formula. The community around this aesthetic is centered primarily around appreciating the artists that create such works, so giving credit is considered mandatory. (Most of the information on this page, for example, is taken from this post made by the creator of the aesthetic.)Skate Punk is a music genre and subculture that originated in the early 1980s, emerging from the hardcore punk scenes of Southern California. It is characterized by its deep and inseparable connection to skateboarding culture. Musically, the genre is characterized by the high-speed tempos of hardcore punk, combined with more melodic guitar riffs, solos, and catchy, often harmonized, vocal hooks. While early skate punk was a raw form of hardcore, the genre evolved in the 1990s as many bands, such as NOFX, Bad Religion, and Pennywise, incorporated the more accessible melodies of pop-punk, bringing the sound to a wider audience.

The associated subculture, whose members are often called skatepunks, is defined by a raw, unpolished version of the general Skater aesthetic. The fashion is based on practicality and a DIY ethos , featuring worn-out skate shoes, band t-shirts, and a generally unkempt appearance that stands in contrast to the more brand-conscious styles that later developed within mainstream skateboarding.

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Pop-Punk would be an evolution from the Skatepunk look, with blink-182, Unwritten Law and New Found Glory being former skatepunk bands before moving into a pop punk sound.

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Under ConstructionSlimepunk is a microgenre of music that emerged in the early 2010s within internet communities. It is characterized by an aesthetic dominated by slime-related pop culture references, ranging from The Toxic Avenger , Slime Time Live , Mountain Dew, and toxic waste.

Similar to Vaporwave and Seapunk , this aesthetic is an integral part of the genre and characterizes the artists who participate in the slimepunk movement. Slimepunk music often features heavy and distorted basslines and has largely emerged from a post-acid scene. Slimepunk artists tend to have a more aggressive or corrosive ethos reflected in their music. While there is no specific slimepunk sound, the aesthetic is a common unifying factor, and most slimepunk artists heavily feature sampling in their music.

"Slimepunk" was coined by Zombelle, one of the co-creators of the Seapunk aesthetic. It shares its early history with seapunk and many early slimepunk visuals shared on Tumblr were a combination of the two aesthetics. When asked in a 2012 interview about slimepunk's connection to seapunk, LE1F replied:

"Seapunk is far from over – #slimepunk came through #seapunk, and if anything, shows the strength of that movement. Slimepunk might be easier to embrace now, because it’s really up in the air… I had a convo IRL with Shan [Zombelle]... who started seapunk label Coral Records recently – they said, “It’s kind of nice to have a villain”.

Slimepunk was popular among teens and tweens of the internet that was very similar to Seapunk , but with more of a focus on slime. Slimepunk is often accompanied by black and other neon colors. Popular elements of Slimepunk include:

Slimepunk fashion often borrows from other aesthetics such as mallgoth and punk , but puts a slimier spin on the two. Neon green and black are often used in slimepunk fashion, as well as protective gear and rave gear.

One major aspect of the Slimepunk sound is deep and growling synth basslines, generally with dripping sound effects and/or Acid House influences. Some of the music approaches Acid-Tech in terms of sound but is distinct in its more atmospheric approach and loyalty to the overall Slimepunk themes of toxic waste and noxious sewer gas. Other Slimepunk music has none of these features but still exists within the movement. Slimepunk is based on aesthetic, and it is that aesthetic that ties all the different sounds together. Slimepunk the musical genre may not exist necessarily, but the movement definitely exists and musical representations of the core Slimepunk aesthetic can definitely be found.Slushwave is a subgenre of Vaporwave characterized by the sound of music artist “t e l e p a t h テレパシー能力者,” which features heavily layered tracks that are often longer than typical Vaporwave music, usually exceeding six minutes. These tracks are obscured by ping-ponging samples and reverb effects, meant to give off the feeling of temporal distortion and melancholy.

The visual look of the aesthetic usually encompasses old Japanese media, deep space, and ethereal landscapes, often reflecting the diluted and immersive feelings Slushwave intends to portray through music.

Vaporwave itself arose online in the early 2010s from Hypnagogic pop and Chillwave, built around slowed, chopped samples of 1980s–1990s media and corporate music. As the scene matured, producers began experimenting with more ambient, elongated approaches to sampling.

One music artist in particular, t e l e p a t h テレパシー能力者 (real name Luke Laurila), began releasing long, reverb-saturated pieces that de-emphasized rhythm and foregrounded a “slushy,” viscous atmosphere, which gave the style its name. Many of these works drew on new age, hypnagogic pop, and Vaporwave’s lo-fi sampling aesthetics, but focused less on collage and more on sustained, slowly evolving textures.

Around 2014–2016, labels associated with ambient-leaning vaporwave, especially Dream Catalogue, helped codify Slushwave as a recognizable microgenre. Projects involving HKE, t e l e p a t h, and their collaborative project 2814 showed how this ultra-slow, hazy sound could support long-form, almost cinematic narratives.

As cassette-focused netlabels like No Problema Tapes, Geometric Lullaby, and Seikomart promoted ambient vapor releases, Slushwave found a home in Bandcamp culture and niche online communities. Over the later 2010s, Slushwave’s techniques and mood fed into adjacent styles like Dreampunk and “ Utopian Virtual ” ambient vapor, which prioritize atmosphere and world-building over satire or overt critique. In doing so, Slushwave helped pull Vaporwave’s center of gravity from ironic recontextualization toward sincere, immersive music, leaving a template for slow, emotive, texture-driven electronic sound.

The visuals of Slushwave typically feature lo-fi art aesthetics and depictions of old Japanese television. Most of Telepath's albums possess an ethereal, deep space-like quality, often painted in dark hues and soft lights.

The genre frequently draws on 1980s–1990s pop, city pop, smooth jazz, and new age recordings, pitching them down and stretching them until they become warm, indistinct drones. Artists also use soft synth pads, gentle basslines, and occasional airy vocals or vocal fragments, all treated to sit deep inside the reverb-heavy mix.

Emotionally, it leans toward nostalgia, melancholy, and a kind of bittersweet calm, often described as evoking liminal spaces or a “memory of a memory.” The music is usually experienced as hypnotic and immersive rather than foreground “songwriting,” encouraging listeners to drift, daydream, or sink into a sustained, introspective mood.The SoundCloud Rap era refers to a distinct cultural period in Hip-Hop that occurred roughly between 2015 and 2019. It was characterized by a wave of young independent artists who utilized the audio distribution platform SoundCloud to bypass traditional music industry gatekeepers.

Culturally, the era established a unique and cohesive visual aesthetic that blended the aggression of Punk and Metal with the digital nostalgia of the internet. It normalized a specific "rockstar" image characterized by face tattoos, dyed hair, and high-end streetwear mixed with thrifted grunge fashion. Musically, it was defined by "lo-fi" production—distorted bass (808s), unpolished vocals, and samples drawn from emo, pop-punk, and indie rock.

While the term "SoundCloud Rapper" was initially used as a pejorative to describe amateurish or "mumble" rappers, the era is now retrospectively viewed as a major paradigm shift that birthed global superstars (such as XXXTentacion, Lil Uzi Vert, and Juice WRLD) and permanently altered the sound and look of modern pop culture, as well as spanning or influencing multiple internet aesthetics.

The foundations of the SoundCloud era were laid in the early 2010s by the Trillwave and Cloud Rap movements. Collectives like Raider Klan (SpaceGhostPurrp) and Sad Boys (Yung Lean) pioneered the "internet rap" formula: lo-fi, atmospheric beats, VHS-style music videos, and a lyrical focus on depression and drug use. This era established the " Sadboi " archetype that would dominate the later scene.

The scene exploded into the mainstream around 2015-2016. Artists like Lil Uzi Vert, Lil Yachty, and Playboi Carti brought a colorful, melodic, and "happy" energy to the platform. Simultaneously, a darker, more aggressive wave emerged from Florida and the underground, led by XXXTentacion, Ski Mask the Slump God, and Lil Peep. This schism created a diverse ecosystem where "mumble rap" and "screamo rap" co-existed. The visual language solidified during this time, heavily influenced by anime edits (such as " Trxsh ") and the rise of the Hypebeast fashion subculture.

The era reached its commercial zenith in 2018, but also faced a rapid series of tragedies that signaled its end. The deaths of Lil Peep (2017), XXXTentacion (2018), and Juice WRLD (2019) removed the scene's most charismatic leaders. By 2019, major labels had co-opted the sound, and the "SoundCloud" platform itself lost relevance to Spotify and TikTok. The original raw punk energy dissipated, evolving into the polished " Aesthetic Rap " of the Early 2020s TikTok era.

The era was not defined by a single sound, but by a collection of microgenres that shared a "DIY" philosophy.

The emotional heart of the era. Artists like Lil Peep and Juice WRLD fused trap beats with samples from 2000s pop-punk and emo bands. Lyrical themes focused heavily on heartbreak, depression, and drug addiction.

The aggressive, distorted side of the scene. Influenced by industrial music and metal, artists like Scarlxrd and Ghostemane utilized screaming vocals and abrasive, blown-out basslines. This style was often visually linked to horror imagery.

An ironic subcurrent that used humor and internet virality as a marketing tool. Artists typically had "gimmicks" (e.g., Ugly God's lizards, Yung Gravy's retro sample style) and utilized absurdity to gain traction on social media.

A revival of 1990s Memphis rap production styles, characterized by dark, jazzy samples and "chopped" vocals. While it remained underground during the main SoundCloud era, it later exploded on TikTok in the form of " Drift Phonk ."

The definitive visual format of the era was the "AMV" (Anime Music Video). Editors would synchronize gritty rap tracks with clips from anime series like Naruto , Tokyo Ghoul , or Berserk , applying VHS filters, glitches, and melancholic subtitles. This style, popularized by channels like Trash Gang, became the standard "music video" for artists who could not afford live-action filming.

The male archetype of the era. Visually defined by bucket hats, Arizona Iced Tea bottles, Japanese text on clothing, and a general demeanor of apathy or sadness. This aesthetic drew heavily from Vaporwave and the earlier Yung Lean era.

The fashion of the era was dominated by "Hypebeast" culture. The status uniform included Supreme box logos, BAPE shark hoodies, Off-White belts, and expensive sneakers (Yeezys or Jordans). This was often mixed with "anti-fashion" elements like thrifted flannels or band tees to create the distinct "SoundCloud" look.

While the "SoundCloud Rap" era formally ended around 2019, its influence morphed into several modern aesthetics:Sovietwave is a subgenre of Synthwave music with a strong focus on Soviet aesthetics from the 80s, dedicated more to the preservations of socialism as opposed to the hyper-capitalist utopia or dystopia often painted with Synthwave . It primarily emerged in the 2010s Russia, and other post-Soviet countries to a lesser extent.

Sovietwave music is often accompained by a Retro-Futuristic aesthetic that focuses on nostalgic topics related to the the Soviet Union, such as the promised utopian communist future that never was, or historical aspects like Soviet space exploration and the Cold War.

Emerging in the 2010's among Russian and ex-Soviet internet, Sovietwave is an aesthetic and genre of music drawing upon the phenomenon of Soviet Nostalgia prevalent in certain parts of the former Soviet Union, often, but not limited to, Russia. Sovietwave is characterized by the romanticization of Soviet Utopianism and its vast ambition to unite humanity under the Socialist banner and to take it beyond the stars, untainted by capitalist decadence and hatred. Therefore, Sovietwave features Cosmonauts, Soviet Propaganda replications and other aspects of Soviet Futurism in its artworks and designs.

Sovietwave is also notably melancholic, as quite a few music tracks tend to take on an ambient, lo-fi and mysterious style, lamenting the future that never came to pass due to the collapse of the USSR in 1991. Music is more likely to have a slower tempo than traditional Synthwave and New Wave to increase the sense of awe, but is much faster paced than Vaporwave's more dream like tracks. Sovietwave thus ponders on what could have been, a bright future where the workers have taken to the stars rather than be subservient to greed. Considering that many of the adherents to this aesthetic were often born after the dissolution of the USSR or were very young during it, much of the genre also draws on the feeling of nostalgia for a country and its vision that they never lived in, their only experiences with it being the nostalgia of their own parents who were likely Young Pioneers believing in Marxist-Leninist ideology and philosophy.

While not all Sovietwave musicians are ideologically Communist, the aesthetic tends to be sympathetic to Soviet perceptions of the future as well as the music it produced, particularly in the New Wave Era. Sovietwave musicians are therefore occasionally fond of splicing tracks from Communist politicians into their music, whether or not they unironically agree with the sentiments of said politicians. In any case, the genre is consistently fond of replicating Eastern European New Wave music, if not outright remixing classic tracks.

Sovietwave is not to be confused with the Vaporwave spin-off of Laborwave despite large degrees of overlap due to shared aesthetics of Communism and anti-capitalism. Laborwave is quite ironic and absurdist in its portrayal of Soviet and general Eastern Bloc nostalgia, while Sovietwave is almost entirely limited to the former USSR and is a more sincere form of nostalgia for the long gone Red Regime. Sovietwave tends to replicate Soviet utopian art earnestly, longing for the future that was promised, and is more fond of expressing awe at the might of the USSR, while Laborwave tends to make fun of such propaganda and grandiose expressions even if Laborwave adherents are unironically pro Communist. Furthermore, Sovietwave originated in the former USSR out of the general Russian internet's electronic Music scene with not all of it adherents being unironic Communists as opposed to Soviet nostalgics, while Laborwave's origins were across the entire internet's and the latter's adherents are more coherently Communist even if not Soviet nostalgic.

That said, there can be overlap, and Sovietwave can incorporate Laborwave's Vaporwave elements even though Sovietwave is more interested in grand myth of the USSR as a powerful entity.

Sovietwave is closely tied to lo-fi, ambient, new wave and synth-pop.Spainwave is a primarily visual subgenre of Vaporwave that originated in the early 2020s, primarily from the subreddit r/spainwave. The aesthetic is defined by its specific focus on Spanish and Iberian cultural, historical, and political themes, which are recontextualized through the nostalgic, ironic, and surreal lens of Vaporwave and Synthwave .

Unlike classic Vaporwave, which primarily draws from 1980s-90s American and Japanese consumer culture, Spainwave sources its material from a broad spectrum of Spanish history, from the Spanish Golden Age to the present day. It is a highly localized and culturally specific offshoot of the broader Vaporwave movement, created by and for a community with a deep connection to Spain and its regional cultures.

The Spainwave aesthetic began to coalesce around 2020 with the creation of the r/spainwave subreddit, which currently has nearly 40,000 members. The community was formed to create a distinct version of Vaporwave that was culturally relevant to Spain, moving beyond the genre's typical American and Japanese reference points.

Users on the subreddit began to create and share a unique visual language by applying the editing techniques of Vaporwave (glitches, pastel color grading, surreal collages) and Synthwave (neon lights, retro-futuristic grids) to nostalgic and iconic Spanish imagery. While the visual aesthetic was established first, a musical component emerged later, often under the name " Rajoywave ," named after the former Spanish Prime Minister Mariano Rajoy.

The visual identity of Spainwave is a fusion of Spanish cultural iconography (including elements of Spain's regional cultures) with established retro-digital editing styles. The source material is distinctly Spanish, often drawing from nostalgic television shows, old advertisements, regional landmarks, and political events. This imagery is then filtered through a classic Vaporwave or Synthwave lens.

Common visual treatments include applying pastel or neon color grading, VHS distortion, and glitch effects to the source images. The compositions often have a surreal, dreamlike, or melancholic quality. The aesthetic frequently features a blend of the mundane and the fantastic, such as a photo of a well-known Spanish politician set against a futuristic, neon-drenched cityscape, or a classic painting from the Spanish Golden Age edited with digital artifacts.

The musical component of Spainwave is a more recent development and is less established than the visual aesthetic. It follows the classic Vaporwave formula of sampling, but with a specific focus on Spanish source material. Tracks often feature slowed-down and reverb-heavy samples of old Spanish pop songs, television theme music, or political speeches. The most notable example is "Ｒａｊｏｙｗａｖｅ," a track that remixes speeches by former Prime Minister Mariano Rajoy, setting his voice to a classic, ethereal Vaporwave beat.Straight Edge (often abbreviated as sXe ) is a subculture that originated from the American hardcore punk scene in the early 1980s. It is primarily defined by a commitment to abstaining from alcohol, tobacco, and recreational drugs, a principle that began as a direct reaction against the perceived self-destruction and excesses of the punk scene.

While its foundation is a philosophy of clean living, Straight Edge is a distinct subculture with its own music, fashion, and visual iconography. Its aesthetic evolved from its punk roots into a unique style that visually communicates its values of clarity, self-control, and a different form of rebellion (or, a "rebellion within a rebellion").

The Straight Edge movement was born in the Washington, D.C. hardcore punk scene. In 1981, the band Minor Threat released the 46-second song " Straight Edge ," whose lyrics, written by frontman Ian MacKaye, rejected the use of drugs and alcohol common in punk culture. The song gave a name to a sentiment that was already present in the scene, and a new subculture began to coalesce around this idea of "rebellion within the rebellion."

The subculture's most iconic symbol, the "X", originated from a practical measure used by nightclub bouncers. In 1980, the members of the band The Teen Idles (which included MacKaye) were under the legal drinking age and had their hands marked with a large black "X" at a San Francisco club to prevent them from being served alcohol. Upon returning to D.C., the band suggested local clubs adopt the same system to allow teenagers into shows. The "X" was quickly reclaimed by the youth in the scene as a proud symbol of their commitment to abstinence and their identity as Straight Edge. The movement grew throughout the 1980s, with the "Youth Crew" era in the mid-80s solidifying its distinct fashion and more militant attitude.

The Straight Edge aesthetic is defined by its iconic central symbol and a fashion style that evolved from its hardcore punk origins into a more clean-cut and athletic look.

The primary visual identifier of the subculture is the " X ". It is worn in various forms: drawn on the back of the hands with a marker (in homage to its origins), tattooed on the body, or printed on clothing, patches, and pins. The symbol is a direct and clear statement of the wearer's affiliation and commitment to the Straight Edge lifestyle.

Early Straight Edge fashion was a stripped-down version of punk wear. The leather, studs, and elaborate mohawks of 1970s punk were largely abandoned in favor of a more practical and unassuming look, consisting of plain jeans or khakis, t-shirts, and functional footwear.

This evolved during the "Youth Crew" era of the mid-to-late 1980s into a more distinct uniform. This look subverted elements of American jock and collegiate life, featuring varsity jackets, hooded sweatshirts (often from bands like Youth of Today or Gorilla Biscuits), athletic sneakers (like Vans), and military-style crew cuts or shaved heads. This clean-cut, athletic appearance was a deliberate contrast to the stereotypical "wasted" punk and reflected the subculture's values of clarity and discipline.

The sound of Straight Edge is rooted in hardcore punk ; a faster, louder, and more aggressive offshoot of punk rock. The music is characterized by shouted vocals, fast tempos, and short, energetic songs. The lyrical content is central, often directly addressing the core tenets of the subculture, such as rejecting drugs and alcohol, and promoting themes of personal integrity, unity, and positive change. Key foundational bands include Minor Threat, 7 Seconds, and SSD. The "Youth Crew" sound of the mid-80s, defined by bands like Youth of Today and Gorilla Biscuits, introduced a heavier, more metal-influenced sound that became a defining style within the scene.Sunshine Pop is a music subgenre that originated in Southern California in the mid-1960s. Also known as Soft Pop , the style is characterized by its lush vocal harmonies, sophisticated orchestral arrangements, and bright, catchy melodies. Despite its cheerful and optimistic sound, the genre often features wistful, anxious, or melancholic lyrics, creating a distinctive "sunny but sad" emotional quality.

The genre flourished between 1966 and 1968, acting as a gentle, more commercial counterpoint to the harder psychedelic rock of the era. It was heavily influenced by the studio craft of The Beach Boys' Brian Wilson and the folk-rock harmonies of The Mamas & the Papas.

The groundwork for Sunshine Pop was laid by the mid-60s "California Sound," particularly the complex vocal arrangements and studio experimentation of The Beach Boys' album Pet Sounds (1966). This, combined with the burgeoning folk-pop scene, provided the template for a new wave of bands who combined intricate harmonies with polished and orchestral production.

Groups like The Association brought the sound to the mainstream with hits like " Cherish " and " Windy ." The genre's peak coincided with the "Summer of Love" in 1967, and its optimistic sound captured the hopeful spirit of the time. However, the style's popularity was short-lived. As the 1960s drew to a close, the cultural mood shifted towards the more cynical and politically charged atmosphere of the early 1970s, and the innocent, escapist sound of Sunshine Pop fell out of favor. The genre later found a significant resurgence in Japan, becoming a primary influence on the Shibuya-Kei movement of the 1990s.

Much of the Sunshine Pop genre was a studio-driven phenomenon, with many of the most iconic acts being session groups or projects helmed by visionary producers. These producers were masters of studio craft, creating a polished and layered "cathedral of sound." The most pivotal figure was producer and songwriter Curt Boettcher, who was behind quintessential Sunshine Pop and psychedelic pop projects like The Millennium and Sagittarius. His work is often compared to that of Brian Wilson and Phil Spector for its intricate arrangements and innovative production. Many recordings also featured the work of elite Los Angeles session musicians known as The Wrecking Crew.

Sunshine Pop is associated with a distinct visual aesthetic that reflects its optimistic yet wistful sound. The aesthetic is not a cohesive fashion subculture but rather a mood and set of motifs evoked in the lyrics and presented on album covers. The aesthetic is one of a soft, hazy, "golden hour" nostalgia, romanticizing an idealized vision of mid-1960s Southern California.

Common motifs include elements of nature and innocent youthfulness, such as the sun, flowers, parks, gentle rain, and whimsical objects like kites and balloons. The color palette is typically bright and warm, featuring yellows, oranges, and pastels. This imagery was reflected on the genre's album art, which often featured soft-focus photography of the bands in natural settings, dressed in the colorful floral and paisley patterns of late-60s fashion. The typography was often playful and lightly psychedelic, completing the gentle, dreamy, and escapist feel of the genre.

The most prominent feature of Sunshine Pop music is the use of lush, multi-part vocal harmonies that are often complex and soaring. The sound is rich and orchestrated, frequently incorporating instruments from classical and baroque pop, such as strings, horns, harpsichords, and glockenspiels. The melodies are typically catchy and upbeat, influenced by advertising jingles and easy listening. The rhythms are often light, sometimes incorporating the soft, jazzy chords of bossa nova.

A key characteristic of the genre is the contrast between the bright sound and the typically introspective lyrics. Themes of longing, lost love, nostalgia, and anxiety are common, creating a bittersweet mood that lies beneath the cheerful surface. Whimsical imagery related to nature—flowers, rain, the sun—and colors are also frequent lyrical motifs.Swag is a youth subculture and street fashion aesthetic that was prominent in the late 2000s and early 2010s. The movement was heavily intertwined with hip-hop culture, particularly the West Coast "Jerk" dance and music scene that emerged from California. It is characterized by a bright, colorful, and brand-conscious fashion style, a specific slang vocabulary, and an attitude centered on confidence and self-expression. The aesthetic was popularized globally through music videos (particularly " You're a Jerk " by New Boy'z), early social media platforms like Tumblr , and its adoption by mainstream hip-hop artists.

The Swag era began in the latter half of the 2000s, emerging as a distinct movement within hip-hop culture. Its initial catalyst was the "jerkin'" or "jerk" dance movement, which originated in Los Angeles and was popularized by the hip-hop duo New Boy'z with their 2009 viral hit, "You're a Jerk." This song and its accompanying dance created a cultural phenomenon, establishing the core fashion of the emerging Swag aesthetic: bright colors, skinny jeans, and a DIY , individualistic approach to style.

The aesthetic quickly moved beyond the Jerk scene and was adopted by a wider range of hip-hop artists like Soulja Boy, Tyga, and Wiz Khalifa, who helped popularize the term "swag" itself. The subculture flourished in the early 2010s, a period defined by the rise of social media platforms like Tumblr, which became a primary hub for sharing fashion and music related to the aesthetic. By the mid-2010s, the style began to fade as hip-hop fashion shifted towards the darker, more minimalist look of the " Hypebeast " era.

The fashion of the Swag era was a vibrant and eclectic mix of streetwear, skate culture, and hip-hop influences. The look was defined by a specific silhouette, typically combining tight-fitting pants with looser tops. Key garments included brightly colored skinny jeans, graphic t-shirts, and hoodies.

The trend was brand-conscious. Streetwear brands like Obey, Diamond Supply Co., and Crooks & Castles were highly sought after. The most iconic accessory of the era was the snapback hat, often worn with the brim facing forward or to the side, and frequently featuring the logos of sports teams like the Chicago Bulls. Other essential accessories included large gold chains, Beats by Dre headphones worn around the neck, and high-top sneakers from brands like Nike or Supra.

The music of the Swag era was initially defined by the minimalist, synth-driven sound of the Jerk movement. Tracks like " You're a Jerk " by New Boy'z and " Teach Me How to Dougie " by Cali Swag District were characterized by their danceable, upbeat rhythms. As the aesthetic grew, the sound expanded to include the party-centric hip-hop of the time, often referred to as " bloghouse " or "frat rap." Key anthems from the peak of the Swag era include " Black and Yellow " by Wiz Khalifa, " Look At Me Now " by Chris Brown, and " Snapbacks & Tattoos " by Driicky Graham, with lyrics often centered on themes of partying, fashion, and confidence.Synthwave is an electronic music microgenre and visual aesthetic that emerged in the mid-2000s, primarily within the French House scene. It is characterized by an intentional emulation of 1980s film soundtracks, video game scores, and pop culture. The genre relies heavily on analog synthesizers and production techniques that evoke the retrofuturistic atmosphere of 1980s science fiction and action media.

While the terms " Outrun " and " Retrowave " are often used interchangeably with Synthwave by the general public, within the community they denote specific distinctions. Synthwave is the umbrella genre; Outrun refers specifically to the driving-focused visual aesthetic and early arcade-style sound, while Retrowave typically refers to the more optimistic, vocal-heavy, and pop-oriented substyle.

Visually, Synthwave is defined by the "Outrun" aesthetic: a cohesive style featuring neon-grid landscapes, wireframe vector graphics, chrome lettering, and sunsets, typically rendered in a palette of magenta, cyan, and violet.

Synthwave originated in the mid-2000s as an offshoot of the French House scene. Producers began incorporating elements of 1980s Italo Disco and the cinematic scores of composers such as John Carpenter, Vangelis, and Tangerine Dream into modern electronic production.

Key pioneers included the French artist Kavinsky, whose tracks like " Testarossa Autodrive " (2006) established the genre's driving cinematic sound, and David Grellier (College), founder of the Valerie Collective. This collective, which included artists like Maethelvin and Anoraak, focused on a nostalgic, romanticized vision of 1980s youth culture, distinct from the more aggressive sounds that would develop later.

The genre achieved global recognition following the release of the 2011 film Drive . The film's soundtrack featured Kavinsky's " Nightcall " and College's " A Real Hero ," exposing the sound to a mainstream audience and establishing the genre's association with " neon-noir " driving imagery.

Its popularity was accelerated by the 2012 release of the video game Hotline Miami . The game's soundtrack featured high-tempo aggressive soundtracks from artists like Perturbator, M.O.O.N., and Carpenter Brut. This introduced a darker, more violent edge to the genre, leading to the development of the Darksynth subgenre.

By the late 2010s, Synthwave had diversified into numerous subgenres (see below). The aesthetic permeated mainstream pop culture, influencing the sound of major artists such as The Weeknd (notably the single " Blinding Lights ") and the visual direction of media like Stranger Things and Thor: Ragnarok .

Synthwave is closely linked to the "Outrun" aesthetic, a term derived from the 1986 Sega arcade game Out Run . This visual style does not attempt to accurately document the 1980s as they historically occurred; rather, it curates a specific, hyper-stylized memory of the decade filtered through the lens of science fiction, action cinema, and arcade culture. The aesthetic is defined by a high-contrast " Neon Noir " atmosphere that prioritizes cinematic lighting and retrofuturistic geometry over realism.

The most popular symbol of the genre is the "Retrosun," a setting sun composed of horizontal stripes that typically gradient from bright yellow to deep magenta. This motif is frequently paired with the "laser grid," a glowing neon perspective plane that extends into a vanishing point, representing a digital landscape or cyberspace. These abstract backgrounds often serve as the stage for the genre's fixation on 1980s automotive design. Italian supercars, particularly the Ferrari Testarossa and Lamborghini Countach, alongside the DMC DeLorean, are standard fixtures, often depicted speeding through neon-drenched cityscapes or coastal highways lined with silhouetted palm trees. The color palette is strictly curated to emphasize this nocturnal vibe, relying heavily on deep blacks, cyan, magenta, and violet, often accented with chrome textures and metallic typography that utilizes script fonts reminiscent of 1980s airbrush art (like those seen in Italo Disco album covers).

While Synthwave visuals are often confused with the related Vaporwave genre, the two possess distinct artistic goals and tonal differences. Synthwave visuals are characterized by an earnest, energetic celebration of 1980s pop culture, focusing on "cool" motifs like speed, technology, and heroism with a polished, high-definition finish. In contrast, Vaporwave utilizes a softer, pastel-heavy palette and often incorporates low-fidelity, glitched, or surreal imagery to create a tone that is satirical or melancholic. Despite these differences, the boundaries between the two are permeable; artists from both scenes frequently collaborate, blending the neon-noir energy of Synthwave with the surrealist textures of Vaporwave to create hybrid works.

The Synthwave umbrella encompasses several distinct substyles with unique musical and visual identities.

The foundational style of the genre. Musically, it is instrumental, up-tempo, and driving, designed to evoke the feeling of driving a sports car at night. It is heavily influenced by arcade game soundtracks and Italo Disco .

These terms often describe the lighter and more optimistic side of the genre. Retrowave (or Popwave) frequently features vocals and structure similar to traditional 1980s pop and rock radio. Dreamwave is slower, atmospheric, and romantic, focusing on lush pads and a "hazy" production style rather than driving beats.

A heavier and more aggressive evolution of the genre that incorporates elements of metal, industrial, and horror film scores. Visually, it swaps the neon-sunset palette for pentagrams, occult imagery, red/black color schemes, and slasher movie tropes.

A crossover style that blends Synthwave synthesizers with the downtempo beats and lo-fi aesthetic of Chillwave. It is less focused on 80s nostalgia and more on atmospheric relaxation.

Synthwave is defined by its reliance on 1980s music production techniques and instrumentation, specifically the use of analog synthesizers and drum machines to create a "retrofuturistic" sound. The genre is largely instrumental, though the Retrowave subgenre frequently incorporates pop-style vocals.

The foundational element of Synthwave composition is the use of vintage synthesizers (or software emulations thereof), such as the Roland Juno-106, Jupiter-8, and Yamaha DX7. These instruments are used to create thick polyphonic pads and bright piercing lead melodies. Basslines are typically synthesized and repetitive, often utilizing sixteenth-note arpeggios or a rolling "gallop" rhythm to create a sense of forward motion and urgency.

Rhythmically, Synthwave is characterized by a steady 4/4 time signature. The percussion is heavily influenced by the "gated reverb" snare sound popularized in the 1980s (most notably by Phil Collins). Drum patterns are often programmed using samples from classic drum machines like the LinnDrum or the Roland TR-707, featuring heavy kicks and crisp hi-hats. Production techniques often include heavy side-chain compression, where the volume of the bass and synth pads "ducks" (lowers) with every kick drum hit, creating a rhythmic "pumping" effect that emphasizes the driving beat.

While early Synthwave (Outrun) was almost exclusively electronic, modern iterations often incorporate electric guitars. This is particularly prominent in the Darksynth subgenre, where distorted metal guitar riffs are layered over synthesized bass to create an aggressive, industrial atmosphere.Talahon refers to a youth subculture and internet meme that gained viral popularity on German-speaking TikTok in the summer of 2024. The stereotype depicts teenagers and young men, particularly of Syrian or Middle Eastern backgrounds, who adopt a "gangster" persona, characterized by aggressive videos featuring shadowboxing and conspicuous displays of bootleg luxury items.

The term's exact origin is debated, but it is widely believed to be derived from the Arabic phrase " taeal huna " (تعال هنا), meaning "come here." This phrase, when used confrontationaly as in "Come here, if you dare!", became a viral catchphrase, particularly through the music of Syrian-German rapper Hassan.

The term Talahon became prominent through the music of Kurdish-Syrian-German rapper Hassan, who released the song " Ta3al Lahon " in 2022, followed by a sequel in February 2024. The lyrics, such as " Tala' hon, ich geb dir ein' Stich, ich bin der Patron " (Come here, I'll give you a stab, I'm the boss), resonated with many Arab-German teenagers. Hassan's music video featured him posing with masked individuals, implied weapons, and cannabis, aligning with stereotypes associated with Gangsta Rap . This imagery and the confrontational catchphrase inspired many young men of Arab descent in Germany to create TikTok videos under the #Talahon hashtag, adopting similar mannerisms and aesthetics, often engaging in shadowboxing and lip-syncing to the song.

The trend quickly expanded, with young German women subsequently creating humorous and teasing videos where they expressed a mock romantic interest in a Talahon. In 2024, the term Talahon was nominated as the "youth word of the year" in Germany and secured the second spot as Austria's " Unwort des Jahres " (Un-word of the Year), showing its cultural impact and controversial reception.

The Talahon fashion aesthetic is a combination of sportswear and perceived luxury, often featuring counterfeit goods. The style is typically worn by young men in their TikTok videos and is characterized by:

This attire is often paired with an aggressive demeanor and the act of shadowboxing or other defiant poses in videos.

The stereotype associated with the Talahon is typically a teenager or young man, generally between 14 and 25 years old, of second-generation Arab or Middle Eastern descent with German citizenship. This figure is characterized by a materialistic and consumerist outlook, and is often portrayed as having an ultraconservative, patriarchal worldview that is perceived as misogynistic or violent towards women. Talahons are stereotypically depicted as walking in groups in public spaces, exuding a confrontational attitude, and reacting aggressively to perceived challenges, such as being stared at. The phrase " Was guckst du? Komm doch her " (What are you looking at? Come here!) is a common associated taunt.

The "Talahon" stereotype has faced widespread criticism from both German society and migrant communities for promoting xenophobia and harmful stereotypes against people of Middle Eastern and Arab backgrounds. Critics argue that the trend has the potential to portray these communities as inherently criminal, materialistic, misogynistic, and anti-social (violent or uneducated).

Although the initial use of the term may have been ironic, the word has been quickly co-opted by some right-wing groups to amplify racist sentiments and prejudice against individuals with a migrant background. This appropriation has been a major concern for migrant communities, with some individuals expressing that such trends "set us migrants back 15 years," highlighting the real-world negative impact of such online phenomena. The stereotype is seen as an unfair generalization that ignores the diversity of these communities in Germany.Taqwacore is a punk subculture and music scene comprised of young Muslims, primarily in Western countries, who challenge both mainstream Western society and traditionalist interpretations of Islam. The movement is defined by its fusion of a punk anti-establishment ethos with Islamic culture, faith, and politics. The name is a portmanteau of the Arabic word " taqwa ," which denotes a consciousness of God, and "hardcore," referencing the punk rock subgenre.

The subculture is not defined by a single musical sound or fashion style, but by a shared ideology of creating a personal, individualistic relationship with Islam. It provides a space for those who feel alienated by both conservative Islamic orthodoxy and Western Islamophobia, using a DIY punk framework to express their identity.

While Muslim punk bands existed as early as the 1970s, the Taqwacore movement was directly inspired by the 2003 novel The Taqwacores by American author and Muslim convert Michael Muhammad Knight. The book was a fictional account of a diverse and rebellious Muslim punk house in Buffalo, New York, featuring characters like "mohawked Sufis, riot grrrls in burqas with band patches, [and] skinhead Shi’as."

Knight's novel, initially self-published and distributed, gained a cult following among young, disaffected Muslims who saw their own experiences reflected in its pages. The fictional scene soon became a reality, as the book inspired the formation of real-life bands who adopted the "Taqwacore" label. Bands like The Kominas and Vote Hezbollah were among the first to emerge. The movement was further solidified by a 2007 bus tour, which saw several of these bands, along with Knight himself, travel across the United States. This journey was documented in the 2009 film Taqwacore: The Birth of Punk Islam , which brought the subculture to a wider audience.

Taqwacore fashion is a visual representation of the subculture's fusion of identities. It is not a strict uniform but rather a DIY blend of traditional Western punk aesthetics with elements of Islamic and South Asian cultural dress. The look is often a deliberate and sometimes provocative juxtaposition of these influences.

A common expression of the style involves pairing punk staples—such as leather jackets, band patches, mohawks, and Doc Martens—with traditional items like hijabs, kufis (skullcaps), or kurtas. The fashion often plays with gender norms, with some female members adopting traditionally masculine punk styles and some men wearing eyeliner or other androgynous elements. The visual art of the scene, seen on album covers and zines, frequently incorporates Arabic script and Islamic iconography into a punk rock design context.

The core philosophy of Taqwacore is the assertion that one can define their own relationship with Islam, separate from the dictates of conservative religious authorities. It uses the punk ethos of questioning everything and rejecting the status quo to create a space for progressive, feminist, and queer-inclusive interpretations of the faith.

This approach is inherently controversial and has drawn criticism from multiple fronts. Conservative Muslims often view the scene as blasphemous for its embrace of music, a lifestyle that may include alcohol or drugs, and its rejection of religious orthodoxy. Simultaneously, the subculture has been sensationalized by Western media, which has often focused on the "Muslim punk" novelty while overlooking the nuances of the artists' political and social critiques.

Several bands associated with the early scene, most notably the all-female Canadian group Secret Trial Five, have actively rejected the "Taqwacore" label, arguing that it is limiting and that the movement's origins in a novel by a white convert problematically overshadows the independent existence of Muslim punk artists.Tecktonik (TCK), also known as Electro Dance , was a French youth subculture and dance phenomenon that surged in popularity between 2006 and 2008. The movement originated in the early 2000s at the Metropolis nightclub outside Paris, where events organized by Alexandre Barousdin and Cyril Blanc promoted electronic music genres like hardstyle and jumpstyle.

The culture rapidly spread from the Parisian club scene to a mainstream audience, primarily through online video platforms like YouTube, becoming a short-lived but intense international fad. The aesthetic is defined by its energetic and intricate dance style, which combines elements of rave , hip-hop , and voguing, and a distinctive fashion featuring tight-fitting clothing, punk -inspired hairstyles like mullets and mohawks, and bright, often neon, colors. The trend's decline was as swift as its rise, largely attributed to over-commercialization and its perception as a fleeting fad.

Tecktonik emerged in Paris during the early 2000s, within a broader European context of popular electronic music and the popularity of rave culture. In 2002, Alexandre Barousdin and Cyril Blanc coined the term "Tecktonik," derived from the French "tectonique" (tectonic), and began organizing "Tecktonik Killer" events at the Métropolis nightclub in Rungis. These events, part of "Tecktonik Events," aimed to promote Dutch and Belgian musical genres like Jumpstyle and Hardstyle within France. The scene featured dance battles incorporating styles such as Melbourne Shuffle and breakdancing, alongside visual elements like colorful LED lights, fire effects, and boxing rings. Participants in the early scene were referred to as "Killers" (masculine) or "Killeuses" (feminine).

In 2006 and 2007, the Tecktonik subculture quickly became a major trend thanks to the internet and forums such as Skyrock. One of the most popular videos  ever was "Wantek Danse electro!!!" by Jey-Jey, which gained 1 million views at the time. Consequently, it became a significant cultural export among teenagers in countries such as Côte d'Ivoire, Madagascar, Russia, Mexico, Japan and Spain. In the rest of France, many children and teenagers followed the trend and danced to Tecktonik at school or lycée (French secondary school). In June 2007, Tecktonik dancers were present at LGBT+ Pride month parades in Nantes and Lyon.

The unexpected incredible success of Tecktonik gave the creators the idea to turn it into an official trademark to start profiting off the movement and its potential. They sold all types of mass-produced merchandise trademarked as "Tecktonik," including T-shirts, oldschool phones, bags, fingerless  gloves, bracelets, purses, chewing gum, energetic drinks, branded hair shampoo and gel, belts with LED lights, and even an official video game for the Nintendo DS console, titled Tecktonik: World Tour . They even opened two official hair boutiques where people could get hairstyles with Punk crests, fluorescent hair extensions and dark make-up with star shapes. These hair salons made approximately 20,000 euros per month. Although Alexandre and Cyril Blanc made a lot of money off all of the merchandise, it was also problematic for the members of the subculture since they couldn't use the registered trademark for their own music events. That's why Tecktonik slowly started to fall apart: it was a musical movement that brought together people from all over the world but later became a simple, commercialized and profitable image because of businesses.

In 2008 it started rapidly declining. The Métropolis nightclub stopped hosting the Tecktonik music evenings, and iconic bands that shaped the subculture such as Yelle switched to other dance genres. Many people who participated in Tecktonik were mocked or cyberbullied online, and Hip-Hop and Rap became the next big trends in Paris during that year. Rappers and Tecktonik Killers had friendly rivalries as street fashion as well, and one notable example is the song " Anti-Tecktonik " by Sexion D'assaut. In the music video, this French Hip-Hop band pretends that they are hunting the members of the Tecktonik subculture and jokes about hurting or killing them with baseball bats.

Tecktonik fashion includes:

As a trademark, the official logo or trademark of the Tecktonik subculture is a grey heraldic eagle, split in half by a saltire that reads "Tecktonik" along with a pink star. This logo tends to be used in T-shirts and related merchandise, and the colors used may vary. 
When Tecktonik became a major trend in France and around the world, Alexandre Barousdin appropiated the very movement he started to profit off it. The logo was used in all types of merchandise, from T-shirts to drinks and even shampoo brands.

Contrary to popular assumption, Tecktonik (also known as Milky Way or Electro Dance ) is not actually a musical genre. Instead, it's a distinct dance style that emerged from dance battles in the Métropolis nightclub. The choreographies tend to be individual and vertical (the dancer never lies down or does somersaults) and the dancers usually keep their feet on the ground, even when elements related to kicks in the air are included. The most distinctive aspect of the dance style are the arm movements, with quick turns of the elbows in all directions.

The music associated with Tecktonik is primarily a fusion of Electro House, [Hardstyle, and Jumpstyle variants, characterized by a high BPM and metallic synth leads.Thrash Metal is a subgenre of heavy metal and a subculture that emerged in the early 1980s. Originating as a reaction against the more commercial aspects of mainstream metal , thrash is defined by its speed, aggression, and a strong DIY ethos rooted in hardcore punk. The subculture, whose adherents are known as Thrashers , developed a unique visual identity centered on a specific style of fashion, album art, and band logos. The scene was pioneered by the "Big Four" American bands: Metallica, Slayer, Anthrax, and Megadeth.

The thrasher uniform is practical, aggressive, and designed for the energy of a live show. It blends elements of punk and working-class casual wear. The typical look consists of a band t-shirt (often with the sleeves cut off), tight-fitting blue or black jeans (sometimes ripped), and white high-top sneakers.

The most iconic garment of the subculture is the battle jacket (or battle vest). This is typically a denim or leather jacket with the sleeves removed, which is then personalized and adorned with an array of embroidered patches, studs, and pins. The patches display the logos of the wearer's favorite bands, serving as a visual representation of their musical identity and allegiance within the scene.

A less common but highly recognizable accessory is the bullet belt, a bandolier of inert ammunition worn around the waist. Long hair, worn loose for headbanging, is also a staple of the look.

The visual identity of thrash metal marked a significant departure from the photorealistic or fantasy-based art of earlier heavy metal. Thrash album covers from the 1980s and 90s are overwhelmingly illustrated, often featuring a cartoonish, grotesque, or politically charged style. Taking inspiration from punk 's DIY zine culture and the mascots of bands like Iron Maiden and Motörhead, many thrash bands created their own iconic, recurring characters. These include Megadeth's "Vic Rattlehead," a skull with its eyes, ears, and mouth clamped shut, and Anthrax's "Not Man," a goofy, mustachioed caricature.

Band logos in thrash are also a key part of the aesthetic. They are typically sharp, angular, and aggressive, designed to look almost like weapons, reflecting the fast and precise nature of the music. This distinct visual style created a cohesive and instantly recognizable identity for the genre on record store shelves and t-shirts.

Thrash metal's sound evolved from a combination of the New Wave of British Heavy Metal (NWOBHM) and the speed and aggression of hardcore punk. It is characterized by fast, palm-muted, low-register guitar riffs, complex guitar solos, and aggressive, often shouted vocals. Early lyrical themes often revolved around partying, moshing, and a general sense of rebellion. As the genre developed into the late 80s and 90s, the lyrics became more overtly political, addressing themes of war, corruption, social injustice, and anti-authoritarianism, sometimes with a satirical or darkly humorous edge.Touge , also known as Eurobeat Drifting , is an internet aesthetic that romanticizes Japanese street racing culture of the 1990s and early 2000s. The term tōge (峠) is Japanese for "mountain pass," which is the primary setting for this style of racing. The aesthetic is defined by a distinct visual and auditory formula: lo-fi, analog-style footage of 1990s Japanese tuner cars drifting on mountain roads at night, set to a high-BPM Eurobeat soundtrack.

While rooted in the real-world car subculture of touge racing, the aesthetic's modern form is inextricably linked to the manga and anime series Initial D , which served as its foundational text. The Touge aesthetic blends the fictional world of the anime with the real-world car culture it depicts, creating a nostalgic and highly stylized vision of speed and precision.

The aesthetic is a modern internet-based phenomenon, but its cultural roots are in the illegal street racing scene that took place on the winding mountain roads of Japan in the late 20th century. This subculture was globally popularized by the manga Initial D , which began in 1995. The anime adaptation, first airing in 1998, paired its intense drifting scenes with a non-stop, high-energy Eurobeat soundtrack.

This pairing of Japanese tuner cars and Italian-produced Eurobeat music created the core formula for the aesthetic. In the 2010s, this combination became a widespread internet meme, often summarized by the phrase "Eurobeat Intensifies." Clips from Initial D or real-life footage of cars drifting (or crashing) were set to iconic tracks from the show, like Dave Rodgers' " Deja Vu ." This memetic spread solidified the aesthetic's conventions and introduced it to a new generation online, separate from its original car and anime fandoms.

The Touge aesthetic has a very specific and reproducible visual canon, primarily expressed through video edits on platforms like YouTube and TikTok. The setting is almost always a dark, winding mountain pass at night. The atmosphere is hazy and dreamlike, illuminated only by the headlights of the cars and the occasional street lamp. The aesthetic exclusively features Japanese Domestic Market (JDM) tuner cars from the 1990s and early 2000s . While many cars are featured, the most iconic vehicle is the Toyota Sprinter Trueno (AE86) , the hero car from Initial D.

The visual style is intentionally lo-fi and retro. Edits often mimic the look of VHS tapes or old analog broadcasts, with grainy textures, scan lines, and color bleeding. Fast-paced, kinetic editing is used to match the energy of the music, and videos frequently incorporate stylized Japanese typography and on-screen graphics from or inspired by Initial D.

Like Synthwave , Touge is rooted in nostalgia for a specific era and often features imagery of driving at night. It shares a connection with Cyberpunk through its focus on a rebellious, technology-focused subculture operating on the fringes of society, and its lo-fi, analog-inspired editing style is reminiscent of early Vaporwave .

Eurobeat music is an essential and defining component of the aesthetic. Originating in Italy, Eurobeat is a high-energy offshoot of Italo Disco , characterized by fast tempos (typically 150-180 BPM), driving synth melodies, and anthemic, often cheesy, English vocals. The sound has become so synonymous with the aesthetic that the two are inseparable. The most well-known tracks and artists are those featured on the Super Eurobeat compilation series and the Initial D soundtrack, with Italian producer Dave Rodgers being one of the most famous names.Trap Metal is a fusion music genre and associated aesthetic that originated in the late 2010s, primarily from the American SoundCloud Rap scene. The genre is characterized by the combination of trap music's rhythmic structures with elements of heavy metal and Nu-Metal . The sound is defined by loud, heavily distorted 808 bass patterns and basslines, generally raw and minimal mixing, and aggressive vocals that often feature screams, growls, and shouts.

Lyrically, the genre frequently ventures into violent, dark, or occultist topics. The sound is often supplemented by producers sampling or playing Metal-inspired guitar loops in their beats, giving it a distinct Industrial Hip-Hop component.

This musical style is complemented by a distinct visual aesthetic that draws heavily from the Goth , Industrial , and Metalhead subcultures, incorporating dark themes, nihilistic and rebellious imagery, and a focus on emotional turmoil and shock value. Pioneer artists of the genre include XXXTentacion, Scarlxrd, and Ghostemane.

Trap Metal was pioneered in the mid-2010s by rappers such as Bones, Sybyr, and XXXTentacion. The emergence of the sound was part of a larger trend in the SoundCloud rap scene to break conventions and mash disparate genres (often overlapping with Emo Rap ). Artists were drawn to the loudness and aggression of Metal to express feelings of emotional distress, anger, and alienation, often using the music as a form of therapy to channel past trauma. This blend of Trap's rhythmic foundation with Metal's aggressive vocal delivery quickly found a dedicated audience among those seeking music outside of mainstream Hip-Hop and Pop conventions.

The genre reached mainstream prominence in early 2017 with the breakout success of XXXTentacion's single, " Look at Me! ," and has since become a popular form of Trap music. While initially centered in the United States, particularly Florida, the style expanded globally, with Russian producers like FROSTTT and artists like IC3PEAK (who blend Industrial Hip-Hop with Witch House ) contributing to the genre's international reach. The formation of collectives like Spider Gang (led by Lil Darkie) cemented the sound's niche appeal and helped solidify its aesthetic language. Even artists who do not fully implement the style, such as Rico Nasty, have incorporated elements of Trap Metal's aggressive vocal delivery into their work.

By approximately 2022, roughly after the end of the COVID-19 pandemic, Trap Metal began to show signs of a mainstream decline as its shock value aesthetics and distorted musical style faced diminishing returns. Critics noted that the genre's reliance on raw distortion and aggressive yelling (while initially a groundbreaking reaction against the conventions of 2010s mainstream rap) often struggled with long-term creative evolution, leading to a "post-trap" era where the once-dominant aggressive elements became subdued or vestigial.

By 2025, data from music production platforms showed a 4% decline in Hip-Hop usage, with a specific drop in Trap-related sample packs as producers migrated toward more melodic or experimental genres like Digicore, Drift Phonk , and Jersey Club. Many of the genre's biggest artists (like Scarlxrd, Ghostemane, Lil Darkie, and perhaps City Morgue or ZillaKami) successfully transitioned by abandoning the Trap Metal label entirely. Ghostemane moved into Industrial and Black Metal , while artists like Zheani reclassified their work as "Art Pop" or "Fairy Trap" to separate themselves from the scene's controversial reputation.

The formal end of major collectives, such as the disbanding of Spider Gang in December 2022, further fragmented the scene. As these marketing "labels" fell out of use, the sub-genres they pioneered (e.g., Ragecore, Death Rap) often became ephemeral markers of a specific time period rather than lasting musical movements.

Trap Metal's associated visual aesthetic relies on dark, muted tones (predominantly black and red) contrasted with neon accents and gothic imagery like the inverted cross and occult symbols, sometimes resembling Witch House . Cover art and music videos frequently employ horror or horrorcore hip-hop motifs, industrial -inspired effects, and the use of masks or heavy makeup to obscure the face.

The overall presentation is often chaotic and visually distorted, reflecting the nihilistic and aggressive lyrical themes. The use of anime and manga references is common, providing an easily recognizable visual shorthand within internet culture. The central goal is to create a spectacle that signals anti-mainstream sentiment (often through the use of Satanic or anarchist symbols) and shock value.

The Trap Metal community also developed its own distinctive art style. The illustrative side of the aesthetic, frequently seen in the work of artists like Afourteen, Teenage Disaster, and Heptaknot, is defined by a frantic and hyper-active energy. This is achieved through a stark color palette typically limited to black, white, and bright or blood red. The linework is often jagged and scratchy, appearing intentionally rushed to mirror the raw distortion of the music itself. Figures in these drawings are frequently deformed, sporting exaggerated death grins and disjointed limbs, while the overall composition tends to be chaotic and filled with repetitive symbols like dripping blood and crude graffiti.

A particularly notable microtrend that occurred between 2019 and 2022 involved the use of creepy, DIY clay figures. Popularized by creators like Gorejit, Guap Sensei, and Teenage Disaster, this style focused on a specific type of grotesque imagery where crudely molded clay characters featured realistic gore alongside cartoonish expressions. This sculptural element added a tactile, DIY layer to the aesthetic that distinguished it from more polished digital art movements.

The fashion of the Trap Metal scene and its most notable artists (e.g., Scarlxrd and Ghostemane) is a combination of punk 's anti-establishment ethos and Hip-Hop 's streetwear foundation. Dark clothing, often distressed or torn, is common. A distinct staple within this look is the use of high-contrast striped shirts (typically long-sleeved in black and red or black and white), which serve as a homage to 1990s Grunge and classic punk aesthetics. This specific motif is frequently worn by artists such as ZillaKami, Afourteen, and other artists from the "underground" SoundCloud scene.

Accessories often include heavy chains and spiked collars, while footwear tends toward heavy combat boots or creepers. The style also heavily incorporates elements of Techwear , such as utility vests, cargo straps, and functional gear, which contributes to the genre's dystopian and industrial -inspired aesthetic. Face tattoos, piercings, and aggressive hairstyles (ranging from liberty spikes to dyed locs) are prevalent, serving to complete the visual transformation into the "anti-icon" persona.

Trap Metal's thematic themes and philosophy is generally rooted in nihilism, anti-establishment sentiment, and the psychological processing of trauma, which manifests in various and often contradictory political stances among its artists.

More established figures often utilize the genre's abrasive nature as a form of sublimation; a necessary psychological release of hostility. Artists adopt aggressive alter-egos or personas, which they describe as the most honest representation of their internal turmoil and rage. For example, musicians like Scarlxrd (Marius Listhrop) frame the aggressive output as a means of preventing real-world volatility, and artists like Zheani (Zheani Sparkes), known for her self-described "fairy trap," utilize the music to process personal trauma stemming from difficult upbringings.

Meanwhile, the more insular side of the community often uses aggressive aesthetics for unexamined self-gratification, which manifests as ideological fraud. Artists like TRIPLE777, Yaux, and Killtak utilize symbols of anarchism and communism (like the Soviet Ushanka and the Anarchy symbol) as superficial aesthetic signifiers of rebellion. This political posturing is often immediately undermined by their public actions, such as glamorizing conspicuous consumption, heavy drinking/alcohol abuse, and the promotion of Big Tobacco brands (e.g., Marlboro/Newport) in their lyrical content and promotional imagery, proving that the aesthetic choice is subservient to the capitalist commodity habits they claim to reject.

Trap Metal's sound is characterized by its intensity and lack of traditional polish. Producers often utilize loud, distorted 808s and basslines and raw, minimal mixing, ensuring the track retains a sense of aggression. Vocals are usually delivered through screams, gutturals, or aggressive yells, often channeling emotions rooted in past trauma, sadness, and anger. Unlike conventional Rap, the vocal delivery often takes priority over lyrical complexity, serving as a visceral emotional release. Genres frequently mashed into the sound include Drift Phonk , Black Metal , and Industrial Hip-Hop music. Artists who succeed in the genre typically master both the aggressive vocal technique and complex production layering.

Trap Metal has been criticized for a perceived over-reliance on shock value over musical substance. Detractors argue that while early pioneers used distortion to express genuine trauma, the genre's rapid expansion led to a saturation of artists using "edgy" lyrics and extreme volume to mask a lack of technical proficiency or lyrical depth. Critics have noted that the "underground" label is sometimes used as a shield to deflect criticism regarding repetitive song structures and poor production quality.

The scene has faced significant scrutiny regarding the prevalence of misogynistic and violent themes. Lyrical content frequently features graphic threats and sexual slurs, which some artists defend as " horrorcore " fantasy or distinct personas separate from their real lives. However, cultural critics argue that without the satirical depth found in acts like Eminem or the political philosophy of Punk , this content risks aestheticizing violence and fostering a toxic fan community.

The "underground" nature of the scene (particularly within Discord-based collectives) has contributed to a volatile social environment. The lack of professional management in early online collectives often resulted in public feuds, allegations of scams, and unchecked harassment. This instability contributed to the collapse of major groups like Spider Gang and led some prominent artists to distance themselves from the "Trap Metal" label entirely in favor of more established genres like Industrial or Hyperpop .Trillwave is an internet-based underground hip-hop aesthetic that emerged in the late 2000s and peaked during the early 2010s. The genre was an early wave of rap that established the visual and musical elements for the later SoundCloud Rap phenomenon, as well as influencing adjacent aesthetics such as Vaporwave and Seapunk .

The term is a portmanteau of "Trill," a slang term from Texas hip-hop combining "True" and "Real," and the suffix " -wave ," common among internet-based music microgenres. Trillwave integrates 1990s Southern hip-hop (specifically Memphis Rap and Houston Chopped and Screwed) with early internet culture, anime, and retro video game nostalgia.

While the term "Trillwave" is less commonly used today, having been largely subsumed by its successor genres Cloud Rap and Phonk , it remains the definitive label for the transitional "Swag Era" of underground internet hip-hop (approx. 2010–2014).

The sonic foundation of Trillwave lies in the Southern United States during the 1990s. The primary influence is Memphis Horrorcore (e.g., Three 6 Mafia, DJ Squeeky), which pioneered the triplet flow, lo-fi recording techniques, and the use of the Roland TR-808 cowbell. Simultaneously, the Chopped and Screwed technique developed by DJ Screw in Houston, Texas, provided the aesthetic's signature psychedelic atmosphere, slowing music down to emulate the effects of codeine syrup ("Lean").

In the late 2000s, a new generation of artists began recontextualizing these sounds for the internet age. One notable precursor was Evil Pimp, whose 2000s production style utilized raw TR-808 sounds and jazz samples, foreshadowing the later "Phonk" sound. His track " Pimpin's Easy " (2008) is often cited as a proto-trillwave example due to its smooth jazz sampling layered over heavy, lo-fi drums.

The aesthetic codified into a distinct movement around 2011, largely driven by Florida rapper/producer SpaceGhostPurrp and his collective, Raider Klan. SpaceGhostPurrp coined the term "Phonk" to describe this new interpretation of 90s funk and horrorcore. His lo-fi, mystical production style influenced a wave of amateur producers on SoundCloud.

Simultaneously, A$AP Rocky mainstreamed the aesthetic with hits like " Purple Swag " and " Peso ," which polished the lo-fi underground sound for a wider audience. In 2013, Swedish artist Yung Lean and his Sad Boys collective further evolved the genre by integrating it with "Web 2.0" aesthetics, utilizing heavy autotune, ethereal synthesizers, and references to early 2000s internet culture.

The genre's aesthetic was primarily disseminated through digital platforms such as SoundCloud, Tumblr, and YouTube. For the community of independent producers and rappers, cover art served as one of the most important components of the listening experience, often establishing the atmospheric tone of a track before it was played. Beyond official releases, the aesthetic also encompassed "trill edits"; digital collages shared on social media that utilized the genre's visual tropes without being attached to a specific musical release.

Visually, Trillwave functions as a syncretic aesthetic, absorbing and recontextualizing elements from a wide range of internet subcultures. It incorporates motifs from Cleancore , Seapunk , Vaporwave , Y2K Futurism , and Old Web aesthetics, filtering them through a distinct lo-fi or hip-hop lens.

The foundational visual style of Trillwave is derived from 1990s Memphis Rap tape covers, specifically Pen & Pixel . Early Trillwave visuals emulated the high-contrast, xeroxed look of underground cassette bootlegs. This often involved the use of dithering, heavy grain, and symmetrical composition, where images were mirrored horizontally or vertically to create psychedelic, Rorschach-like patterns. Simple high-contrast black and white imagery overlaid with distinct typography also characterized this early era, emphasizing a raw and unpolished "underground" sensibility.

Around 2013, a minimalist trend gained prominence, often characterized as "White Space" art. This style capitalized on the way platforms like SoundCloud rendered transparent .PNG files against a white background. Artists would isolate specific subjects (such as statues, luxury items, or graphics) against a stark white void. This approach, which overlapped significantly with Cleancore , was utilized by artists such as inter▼ene and Yung Bazooka, who focused on colorful isolated subjects to create a clean, digital look. This trend remained common through 2016.

Intersecting with the "HolyTrap" subgenre, Trillwave visuals frequently jungles. Covers from the 2013–2014 era often featured high-resolution photography of rainforests, ferns, and dense woodlands. A recurring motif involved placing these organic nature images into artificial "digital voids" or digitally manipulating trees to appear unnatural, creating a contrast between organic subject matter and the synthetic nature of the music.

Subgenres such as Retro, Vaportrap, and Nerdcore heavily utilized "Otaku" and "Kawaii" imagery. Departing from the darker or "leaned out" purple palettes, this style often employed softer pinks and pastels. Visuals frequently featured screenshots from 1990s and 2000s anime, ranging from innocent "slice of life" scenes to more suggestive content, alongside 3D renders of characters from the Nintendo 64 or PlayStation era. Key figures utilizing this style included GF Retro, Melo Flamez, and Josip On Deck.

Contrasting with the "street" themes of the genre, some artists adopted a cold, sterile corporate aesthetic. This style featured photography of glass skyscrapers, architectural blueprints, office plazas, and cloudy skies. The imagery often evoked feelings of urban isolation and "digital coldness," complementing the reverb-heavy production of producers like Lil Netzero and cight.

A darker subset of the aesthetic, often dubbed "Terrorwave," focused on militaristic imagery. Visuals included balaclavas, camouflage patterns, tactical gear, and night-vision photography. This style often accompanied harder, more aggressive beats and served as a precursor to the visual language of later Trap Metal .

Closely associated with the Wave and HolyTrap movements, the "Holy" aesthetic focused on themes of divinity and classical antiquity. Key motifs included Greco-Roman statues (often depicted as broken, crying, or glowing) alongside classical marble columns, temples, and pools. A definitive example of this aesthetic is the cover art for cight’s Architecture EP (2014), which featured an image of the Neptune Pool at Hearst Castle. This release is frequently cited as a landmark in the genre's visual history, representing the peak of this specific style.

Trillwave and Vaporwave share a symbiotic visual history, acting as a feedback loop during their peak popularity between 2013 and 2016. While Vaporwave introduced 80s/90s consumerism, gradients, and classical statues to the visual lexicon, Trillwave contributed "street" elements such as firearms, drug imagery (specifically marijuana and "Lean"), and the "chopped and screwed" visual technique of heavy purple and pink color grading. This crossover resulted in a shared aesthetic where classical art and digital nostalgia blended with hip-hop iconography.

The Trillwave aesthetic is not a rigid genre but a fluid umbrella term encompassing several intersecting styles. While early Trillwave was directly inspired by the lo-fi grit of 1990s Memphis Rap, it evolved to incorporate modern production techniques, sampling from video games, anime, and ambient music. The following subgenres represent the core sonic variations within the movement.

Cloud Rap stands as one of the primary pillars of the Trillwave sound. Characterized by its ethereal dreamlike production, the genre utilizes wordless vocal samples, often harmonized or stretched to create a majestic, atmospheric effect. Producers like Clams Casino and Friendzone pioneered the use of unconventional sample sources, such as indie rock or ambient tracks (e.g., Björk or Imogen Heap), layered over Southern hip-hop drum patterns. Lyrically, the genre ranges from abstract and absurd to emotionally raw.

Key Cloud Rap artists include:

Coined by SpaceGhostPurrp in the early 2010s, Phonk began as a direct revival of the dark brooding sound of 1990s Memphis horrorcore. It is characterized by distorted, lo-fi vocals, heavy bass, and the visual aesthetic of " Pen & Pixel " album covers. The collective Raider Klan was highly influential in popularizing this sound, launching the careers of artists like Denzel Curry, Xavier Wulf, and Chris Travis.

As the genre evolved, it splintered into two distinct styles. The "Rare" or "Holy" style, pioneered by DJ Smokey, Soudiere, Mythic, and DJ Yung Vamp, introduced jazz and funk samples, creating a "positive" or psychedelic atmosphere distinct from the darker Raider Klan origins. This is often contrasted with " Drift Phonk ," a later, high-tempo derivative popularized on TikTok which utilizes distorted cowbells and is frequently viewed by the original community as a departure from the genre's roots.

Some Early Phonk/Memphis Revival artists include:

Some Rare/True Phonk artists include:

The "Retro" subgenre (often overlapping with "Otaku Rap") represents the intersection of Trillwave and internet "nerd" culture. Producers in this niche construct trap beats almost exclusively using samples from retro video games (Nintendo 64, PlayStation) and anime soundtracks. Artists like Xavier Wulf (during his "Ethelwulf" era), Josip On Deck, and GF Retro popularized this style, blending street lyrical themes with nostalgic chiptune melodies. This scene often utilized specific producer tags and "Retro" ad-libs, with key producers including Kaine Solo, Melo Flamez, and Raisi K. While historically related to Nerdcore, the Trillwave interpretation differs by maintaining the production techniques and lyrical posturing of trap music.

Some key Retro artists include:

VaporTrap emerged as the rhythmic counterpart to Vaporwave, applying hard-hitting trap percussion to the genre's signature slowed-down samples of 80s and 90s R&B, elevator music, and smooth jazz. Pioneers like Blank Banshee, Vaperror, and CartierGOD emphasized atmosphere and "misty" synthesizer pads.

A later evolution, VaporPlugg (emerging circa 2015–2016), merged this atmospheric approach with the "Plugg" production style. Characterized by softer drums, quiet hi-hats, and melodic leads, this micro-genre offered a more relaxed alternative to the industrial harshness of early trap. Artists such as Pool Owner, S?K, and SHAMPOOGOD were instrumental in defining this smoother, "aquatic" sound.

Some key Vaportrap artists include:

Some VaporPlugg artists include:

Emerging around 2013, HolyTrap (a precursor to the broader Wave genre) focused on immense, cinematic scales. The production is defined by heavy use of reverb, trance-like synthesizers, and "holy" or mystical atmospheres, often utilizing samples of choirs or orchestral swells. This style bridges the gap between hip-hop and electronic dance music. Prominent figures who innovated this sound include Night Lovell (formerly KLNV), Misogi, Cight, and Falco. The visual aesthetic of this subgenre is closely tied to the "statue" and "architecture" trends mentioned in the visuals section.

Some HolyTrap/Wave artists include:

While not strictly subgenres of Trillwave, several later styles evolved directly from its foundations. SadTrap combines the emotional vulnerability of emo rap with the heavy percussion of the Trillwave era, championed by artists like GIN$ENG and 93FEETOFSMOKE.

Similarly, Trap Metal radicalized the distorted, aggressive vocals of the early Raider Klan era. Artists such as Ghostemane, Scarlxrd, and $uicideboy$ took the lo-fi grit of Trillwave and amplified it with influences from industrial and metal music, creating a distinct abrasive offshoot.Trxsh (pronounced as "trash") is an internet aesthetic that originated in the late 2010s. It is based on the visual output of the Slovenia-based YouTube collective "Trash Gang." The style integrates elements of dark streetwear, underground emo rap, trap metal, and a specific technical style of Anime Music Video (AMV) editing. The subculture centered on the Trash Gang YouTube channel, founded in 2017. The aesthetic influenced the visual development of the early E-Boy and E-Girl styles, particularly through the use of high-contrast digital artifacts and re-edited anime iconography.

The Trxsh aesthetic appeared alongside the growth of the Trash Gang YouTube channel in 2017. The collective utilized a production model that synced underground hip-hop tracks (specifically those of XXXTentacion, $uicideboy$, and Ghostemane) with scenes from various anime series. These edits recontextualized shōnen anime with high-contrast color grading and digital distortion.

Trash Gang operated as a digital hub for underground music promotion. Fans adopted the visual language of these AMVs for social media profiles and personal attire. By the early 2020s, the movement's visibility decreased as the centralized channel transitioned toward commercialized promotional models, leading to a fragmentation of the original underground community.

The visual art relies on AMVs that modify characters from series such as Tokyo Ghoul and Naruto . Technical modifications include the digital addition of tattoos, facial chains, devil horns, and glowing iris effects. Compositions typically utilize a black, white, and red color palette and feature Japanese typography overlays. These edits are technically synchronized to the tempo of the audio track. The "shark-mask" logo of the Trash Gang collective serves as a primary visual motif.

Fashion signifiers are a hybrid of Skater , E-Boy , and Trap Metal attire. Primary components include black streetwear, oversized silhouettes, and heavy metal hardware such as layered chains. The style is often androgynous and incorporates the deconstructed garments associated with contemporary grunge.

The aesthetic has faced scrutiny regarding the representation of mental health. Critics argue that the consistent pairing of aggressive audio with distorted, melancholic imagery serves to aestheticize depression.

Later criticism focused on the Trash Gang collective's business model. After 2020, the channel was accused of abandoning its underground roots in favor of a pay-to-play model for artists. This shift resulted in a perceived decline in original content as the collective prioritized profit-driven features over the technical curation that established the initial aesthetic.

The following media is often featured in AMVs and fan-made edits.Tänzelcore (derived from German tänzeln , meaning "to prance" or "dance") is a music subgenre and internet aesthetic that originated in the late 2010s. It is a high-energy and electronic offshoot of Keller Synth that fuses the medieval melodies and lo-fi atmosphere of Dungeon Synth with the aggressive, rhythmic elements of Gabber , Techno, and Acid House .

Visually, Tänzelcore is characterized by a distinct " deep-fried " medievalism. Unlike the somber or naturalistic imagery of traditional Dungeon Synth, Tänzelcore utilizes a stark high-contrast palette—predominantly neon green and black—and absurdist imagery featuring woodcut wizards engaging in crude or mischievous behavior. The aesthetic gained viral traction on platforms like TikTok in the early 2020s, evolving from a niche musical experiment into a recognizable visual meme.

The origins of Tänzelcore are traced to the German musician known as Sigfrid, specifically through his project Bergënot. While the broader "Keller Synth" (Basement Synth) movement was pioneered by acts like B.S.o.D. (Grausamkeit) and Sigfrid's earlier project Grollfried around 2018, the specific "Tänzelcore" sound solidified with the 2019 release of Moselfrankian Tänzelcore Madness . This album introduced the fusion of dungeon synth melodies with electronic dance beats, establishing the genre's "prancing" nature.

The style remained a niche underground phenomenon on platforms like Bandcamp and RateYourMusic until the early 2020s, when the aesthetic's striking visual aesthetic began to circulate on TikTok, sometimes drawing comparisons to Yabujin (see Xpiritualism ). The juxtaposition of abrasive, distorted electronic-medieval music with images of "partying" wizards resonated with internet irony culture, leading to a wave of user-generated content and new projects like Tenebris and Hexenmeister adopting the sound.

The visual aesthetic of Tänzelcore is defined by its intentional crudeness and digital distortion, often referred to as "shitty medievalism." The primary identifier is the color palette: almost exclusively high-saturation neon green on a black background, often resulting in images that look like "deep-fried" bitmaps or early computer graphics.

A central motif is the "Cocky Wizard" or "Prancing Wizard." These are typically classical woodcut illustrations of magicians or folklore figures that have been digitally manipulated to appear as if they are dancing or raving. A specific recurring gesture is the "Nose Thumb" (putting a thumb to the nose and wiggling fingers), a traditional sign of mockery or defiance. This gesture is frequently edited onto characters in album art to signal the genre's mischievous and unserious attitude.

Other common visual elements include:

Musically, Tänzelcore is distinguished from standard Dungeon Synth by its percussion. While traditional Dungeon Synth is ambient and atmospheric, Tänzelcore is rhythmic and abrasive. It typically features:

The Tänzelcore and Keller Synth scenes have faced significant scrutiny regarding the political affiliations of key figures. The genre's creator, Sigfrid, has been accused of including dogwhistles and far-right imagery in his artwork. Critics have pointed out that the "Nose Thumb" gesture, while a childish taunt, has historically been used in anti-Semitic caricatures, and its prevalence in the scene—alongside the use of the number 88 (a hate symbol) in usernames associated with the artist—has raised concerns about ideological undercurrents.

Additionally, the use of certain esoteric symbols, such as the three-legged sun (Triskelion), has sparked debate. While the symbol has ancient Celtic and Sicilian origins, it has also been co-opted by various political movements. The community remains divided, with some fans dismissing the imagery as "edgy" internet irony or historical roleplay, while others argue it signals genuine far-right alignment. Despite this, a segment of the scene explicitly identifies as apolitical or leftist, attempting to reclaim the sound from these associations.UK Drill is a music genre and associated subculture that emerged in the early 2010s in the Brixton district of South London. It developed from the sound and themes of Chicago Drill but evolved a distinct sonic and visual identity rooted in British street culture. The music is characterized by its syncopated, sliding 808 basslines, sparse and ominous melodies, and a tempo typically around 140 BPM. Lyrically, it often features candid and unfiltered narratives about street life, violence, and survival. The accompanying aesthetic is defined by a dark, functional, and often intimidating style of dress, with an emphasis on all-black outfits, face coverings, and high-end streetwear brands.

UK Drill's origins can be traced directly to the Chicago Drill scene that gained global attention around 2012 with artists like Chief Keef. Young London artists adapted the raw, street-focused lyrical content of their American counterparts but applied it to a different sonic template. While early Chicago Drill beats varied, UK producers developed a more consistent formula, influenced by British electronic music genres like grime, UK garage , and dubstep. This resulted in the genre's signature sound: gliding 808 bass patterns, skittering hi-hats, and an overall darker, more atmospheric production style.

The subculture grew primarily through online platforms like YouTube, where artists could bypass traditional music industry gatekeepers. By the late 2010s, UK Drill had become a dominant force in British youth culture and began to influence music globally. In a notable transatlantic feedback loop, New York City rappers like the late Pop Smoke adopted the sound of UK Drill producers such as 808Melo, creating the Brooklyn Drill scene and bringing the British-evolved sound back to the United States.

The fashion of UK Drill is a core component of its identity, serving as a visual uniform that communicates authenticity and street credibility. The aesthetic is overwhelmingly dominated by the color black, with head-to-toe black outfits being the standard. This minimalist and dark color scheme is intended to create a serious, unified, and sometimes intimidating appearance.

Primary garments include puffer jackets, tracksuits, and cargo pants, often from high-end sportswear and designer brands like Nike, The North Face, and Moncler. Functionality is a significant aspect of the style, with tech vests, utility jackets, and multi-pocketed trousers being common. Face coverings are arguably the most iconic element of the aesthetic. Artists and fans often wear balaclavas, ski masks, or bandanas to conceal their identities, a practice that adds to the menacing and anonymous image associated with the subculture.

UK Drill has been at the center of a major moral panic in the United Kingdom, with media and law enforcement frequently linking the genre to a rise in violent crime, particularly knife crime in London. Critics argue that the genre's lyrics, which often describe gang-related violence in explicit detail, can incite real-world conflicts. This has led to intense scrutiny from the police, most notably the Metropolitan Police's Project Alpha, a unit dedicated to monitoring online content for links to gang violence.

This has resulted in unprecedented legal actions against artists. Hundreds of UK Drill music videos have been removed from YouTube at the request of the police. Furthermore, courts have issued gang injunctions and Criminal Behaviour Orders (CBOs) against artists, which can legally prohibit them from creating music with certain lyrics, mentioning specific locations, or associating with other musicians. In a landmark case in 2019, drill artists Skengdo x AM were given suspended prison sentences for performing a song, a ruling that raised significant concerns about censorship and freedom of expression. Proponents of the genre maintain that the music is a reflection of a harsh reality, not the cause of it, and serves as a vital form of artistic expression and a potential route out of poverty for disenfranchised youth.UK Garage (UKG) is a genre of electronic music and a subculture that originated in the United Kingdom in the mid-1990s. Evolving from American garage house, the UKG sound is defined by its syncopated, shuffled rhythms (known as 2-step), soulful R&B vocal samples, and heavy, manipulated basslines.

The subculture that grew around the music was as much about fashion as it was about sound. It was a glamorous, aspirational, and multicultural scene defined by its "dress to impress" ethos, an obsession with expensive Italian designer labels, and hedonistic, champagne-fueled club nights.

The UK Garage scene emerged from the after-party "Sunday Scene" of the early 1990s, when DJs at smaller London venues began playing sped-up, bass-heavy versions of US garage house tracks to keep ravers dancing after the main clubs closed. This faster, 4x4 beat style was dubbed "speed garage." By 1997, producers began experimenting with a "broken beat" rhythm, removing two of the four kicks from the drum pattern to create the syncopated sound of 2-step. This became the signature sound of UKG.

The genre exploded into the mainstream between 1999 and 2002, with numerous tracks entering the UK top 10. The scene was supported by a robust network of pirate radio stations and club nights like Twice as Nice, which was considered the "Studio 54" of the era for its glitz and glamour. By the early 2000s, a darker, more MC-led sound began to emerge from UKG, which would eventually evolve into the distinct genre of Grime.

Fashion was a  central and tribal component of UK Garage culture, acting as a visual signifier that you were part of the scene. Unlike the functional streetwear of related genres like jungle or grime, the UKG look was unapologetically glamorous, expensive, and aspirational. The style was driven by a desire to look "pure, hard cash," with participants spending heavily on the latest designer pieces.

A distinctive feature of the scene was that the men were often the "peacocks," wearing the most ostentatious and expensive clothing. The look was dominated by Italian luxury brands, with Moschino, Versace, and Iceberg History forming a holy trinity. Key items included:

While men's fashion focused on high-end designer labels, the "Garage Girl" look was typically more rooted in glamorous high-street brands. The hub for this style was the store Morgan de Toi. The look was preened, feminine, and dressed-up for the club. It consisted of strappy dresses, all-over print logo tops, skimpy vest tops, and miniskirts, always paired with high heels.Vaporgoth is a niche subgenre of Vaporwave that emerged in the mid-2010s, characterized by its fusion of the classic Vaporwave sound with the gloomy, oppressive atmospheres of dark ambient, industrial , and noise music. The aesthetic subverts Vaporwave's often melancholic or satirical nostalgia, pushing it into the realm of horror, existential dread, and technological decay.

The term was coined by the artist Chinese Hackers to describe their own releases in 2015. The style is defined by a dark, distorted, and often minimal sound, paired with a visual aesthetic that is similarly cryptic and horror-inspired. Related terms that describe a similar style include Deathdream and Spookwave.

Vaporgoth developed around 2015 from the more experimental corners of the Vaporwave scene on platforms like Bandcamp. Artists began to strip away the melodic, pop-oriented, and often upbeat elements of popular subgenres like Future Funk , focusing instead on Vaporwave's potential for creating dark and unsettling atmospheres.

The artist Chinese Hackers was the first to use the terms "blackvapor" and "vaporgoth" for their influential 2015 releases, such as ░▒▓死▓▒░ and wiretrap . These works established the genre's blueprint of short, cryptic tracks with a haunting, horror-like feel. At the same time, prolific producer HKE, under aliases like The Darkest Future, released albums that explored a similar aesthetic of "technological antiquities" and dystopian, late-night transmissions, contributing to the genre's development. In the following years, the term Deathdream also emerged to describe a related style of eerie, death-themed vaporwave.

The visual style of Vaporgoth directly mirrors its dark and distorted sound. The aesthetic is presented through album covers and online imagery that is dark, cryptic, and often inspired by horror. Common visual elements include heavy use of Glitch Art , distorted or corrupted digital images, and a stark, monochromatic color palette of black and white, sometimes accented with muted digital blues or greens. The imagery often plays on themes of technological decay, surveillance, and the uncanny, creating a visual experience that is as unsettling as the music itself.

The sound of Vaporgoth is a departure from traditional musical structures. It is characterized by its use of dark ambient synthesizers, often featuring low-octave droning sounds, as well as atonal melodies and heavy reverb. The production is typically very lo-fi, mimicking the sound of a degraded cassette tape or a corrupted digital file.

Unlike the layered sampling of classic Vaporwave , Vaporgoth's sample editing is often more minimalistic and obscure. Songs are frequently unstructured and can be either very short (under two minutes) or very long (over ten minutes), creating an unpredictable and disorienting listening experience. The music often incorporates samples from films or other media to create a harsh or creepy sonic texture, with the overall goal being the creation of a dark, ambient, and horror-inspired mood.Vaporwave is a microgenre of electronic music and an internet-based art movement that emerged in the early 2010s. Originating from experimental genres like Hypnagogic Pop, its sound is defined by the use of chopped, slowed-down, and reverb-heavy samples from 1980s and 1990s smooth jazz, R&B, and lounge music. The music creates a surreal, melancholic, and nostalgic atmosphere, evoking the uncanny feeling of wandering through a deserted shopping mall or hearing muzak from a forgotten corporate training video.

The aesthetic's visual style is a distinct collage that blends certain elements of the 1980s and 1990s, such as the interior design of malls and lobbies (classical Greco-Roman statues and columns, palm plants, pink and cyan pastel colors, tiled floors, Memphis Lite patterns), Japan's 1980s economic boom, retro commercials, retro computers, 1990s web design , early CGI , and logos of obsolete brands.

Vaporwave is widely interpreted as an ambiguous critique and parody of consumer capitalism and technological utopianism, using the "dead" aesthetics of a recent past to evoke a sense of nostalgia for a future that never materialized.

The term "Vaporwave" is a derivation of "vaporware," a term used in the computer software and hardware industry to describe a product that is announced and heavily advertised to the public but is never actually manufactured or officially released.

This linguistic connection is directly relevant to the genre's philosophy. Just as vaporware represents a corporate promise that never materializes, Vaporwave music and aesthetics explore the "lost futures" promised by late-20th-century capitalism. By sampling and distorting the "trash" of consumer culture (like elevator music, infomercials, and corporate Muzak) the genre creates audiovisual content that feels like a memory of a future that never arrived.

The name also alludes to the Marxist concept that under capitalism, "all that is solid melts into air," reflecting the genre's focus on the ephemeral, disposable, and hollow nature of digital and commercial existence.

The genre emerged in 2011 from online communities, such as Turntable.fm, and has roots in plunderphonics (a music genre in which tracks are constructed by sampling recognizable musical works). In subsequent years, it gained popularity through websites such as Bandcamp, Soundcloud, Tumblr, Last.fm, 4chan, and YouTube. Its rise in popularity coincided with the decline of Seapunk , and while the two certainly share similar aesthetic choices, there is a distinct difference between them.

The key difference between Seapunk and Vaporwave is that Seapunk had a much more focused aesthetic based on early '90s CG images and aquatic life. On the other hand, Vaporwave cast a broader net for its aesthetic cues, choosing to highlight the period from the 1970s to the early 2000s. One of the big early inspirations for the Vaporwave visual aesthetic draws direct inspiration from the Memphis Design Group, a collective of post-modern designers founded in Milan, Italy by Ettore Sottsass in 1980. The bright colors and simple shapes of Memphis Design would later inspire media and products aimed at youth of the era, which became a core part of the Vaporwave aesthetic's nostalgic source material.

Vaporwave has garnered significant attention from the music press, with artists such as Vektroid, HKE, Infinity Frequencies, and 2814 being covered by numerous music sites and blogs. This has also led to the creation of several Vaporwave zines, with the most notable being Private Suite Magazine .

The visual style of Vaporwave includes, but is not limited to, anime and cartoons from the '70s to '90s (such as Sailor Moon and The Simpsons ), Classical sculptures like the Apollo Belvedere, and elements of consumerism, often displaying brand names and logos such as Adidas, Pepsi, Microsoft Windows, PlayStation, Arizona Iced Tea, and Fiji Water. Computer hardware and graphics from the '80s to early '00s are central, with the Windows 95 operating system being a particularly common motif. Symbols of exotic vacations (palm trees, dolphins) are also used. Common colors include pastel pink and cyan.

The aesthetic frequently employs imagery of city skylines, malls, and liminal spaces to evoke a sense of surreal nostalgia. Visuals are often intentionally degraded with glitches and given unnatural hues to create a sense of altered reality. A gratuitous use of Japanese characters and full-width Latin characters is also a defining feature. There is an intentional ambiguity as to whether Vaporwave artists are celebrating consumer capitalism, ironically mocking its hollowness, or simply using the visuals for their nostalgic appeal, leaving the interpretation up to the audience.

Vaporwave originally started as an offshoot of the genre hypnagogic pop. The genre was first characterized by its heavy use of samples from 1980s and 1990s music, typically pop, smooth jazz, or Muzak. Samples are often pitched down, layered, or altered in a classic chopped and screwed style. However, vaporwave has started to incorporate more original compositions in a range of directions, from the faster-paced sounds of artists such as Surfing and George Clanton to the more distorted and surreal sounds of artists such as 2814 and Nmesh. Artists have also released their albums on a variety of physical media, from conventional vinyl and cassettes to unusual formats like MiniDiscs and floppy disks.

As the Vaporwave scene grew, it splintered into numerous subgenres, each emphasizing a different facet of the original sound and aesthetic. The most prominent and enduring of these are:

For a more comprehensive list of microgenres, see List of Vaporwave subgenres .

The Vaporwave aesthetic is primarily an online phenomenon, but its influence can be seen in various media that either inspired it or adopted its style.

The themes of decaying consumerism and corporate nostalgia central to Vaporwave are extensively documented in YouTube series that explore abandoned commercial spaces. Dan Bell's Dead Mall Series and Retail Archeology are prime examples, with their footage of empty, echoing shopping malls providing a real-world counterpart to the Mallsoft subgenre. Other series, like SkyCorp Home Video , create a pastiche of 1980s and '90s corporate and instructional videos, directly mimicking the source material that Vaporwave often samples. Web series The Amazing Digital Circus and ENA pay homage to 1990s educational videos and software, with elements of Memphis Design , Silicon Dreams , and Utopian Scholastic .

The 1992 Sega Genesis game Ecco the Dolphin is a foundational influence on the Vaporwave aesthetic. Its surreal, aquatic visuals and dreamy, atmospheric soundtrack were a direct inspiration for early artists; the cover of the seminal album Chuck Person's Eccojams Vol. 1 is a direct screenshot from the game's packaging, and the prevalence of dolphins in Vaporwave imagery can be traced back to this influence.

In more recent years, the Vaporwave aesthetic has been adopted by independent video games. The most notable example is Broken Reality (2018), which is set entirely within a 3D-rendered internet parody world that is a direct homage to the visual language of Vaporwave.

While less common as a central theme in mainstream film, the visual style of Vaporwave has influenced major productions. The animated film Spider-Man: Into the Spider-Verse (2018) notably incorporates elements like glitch art, vibrant neon color palettes, and a layered, collage-like visual style that aligns closely with the aesthetic.

Due to its setting in 1980s Miami, themes of consumerism, and trend-setting role, the TV series Miami Vice (1984-1989) abounds in motifs that are central to Vaporwave (and Synthwave), such as 1980s music and technology, palm trees, the ocean, glass bricks, neon and pastel colors.

Written around the 1980s and repeatedly parodying consumerism in a surreal manner, the Hitchhiker's Guide to the Galaxy franchise features several settings with Vaporwave-like themes, for example Ursa Minor Beta with its lobbies, palm trees, swimming pools, perpetual sunsets, and expensive watches.

Vaporwave has been accused of appropriating and commodifying elements of various cultures, particularly from East Asia. This includes borrowing imagery from Japanese pop culture and incorporating kanji characters without fully understanding or respecting their meaning.

Vaporwave's tendency to rely on recurring motifs and visual clichés, such as palm trees, statues, and VHS artifacts, has been criticized by some as formulaic and repetitive. Critics have argued that this reliance can result in a lack of innovation, with many works appearing derivative of the genre's early hits. However, proponents of the genre counter that this rigid visual language allowed for the rapid development of distinct subgenres (such as Future Funk and Mallsoft ), which evolved the aesthetic beyond its initial tropes.Witch House is a dark, occult-themed electronic music microgenre and internet aesthetic that emerged in the late 2000s. The sound is characterized by a combination of various influences, including the heavily manipulated, slowed-down sampling techniques of chopped and screwed hip-hop, the atmospheric and gloomy tones of darkwave and ethereal wave, and the dense textures of shoegaze. This is typically layered over slow, trap-influenced drum machine rhythms.

Visually, the aesthetic is defined by its use of occult symbols like triangles and crosses, distorted or glitchy low-resolution imagery, and a general dark, horror-inspired atmosphere. The name itself, coined somewhat jokingly by musician Travis Egedy (Pictureplane) in 2009, became the established term for the scene, which first gained traction on platforms like SoundCloud and Bandcamp.

Witch House originated in the late 2000s, pioneered by the American electronic duo SALEM, who combined slowed-down hip-hop beats with ethereal, noisy synth textures. The genre's name was coined in 2009 by Travis Egedy to describe the occult-themed house music he and his friends were creating. Despite its initially casual proposal, the name was adopted by music journalists and fans, and it stuck.

The scene grew rapidly between 2009 and 2011 on platforms like SoundCloud, Bandcamp, and Tumblr, where artists could easily share music and cultivate a distinct visual identity. This early era was defined by a DIY ethos and a sense of internet-fueled mystery. Artist names and song titles were often intentionally obscured using Unicode symbols, triangles (△), and crosses (✝), making them difficult to search for and adding to the genre's enigmatic and exclusive feel.

By the early 2010s, Witch House had begun to influence other emerging internet-based genres. The atmospheric production and sample manipulation techniques were incorporated into the sound of cloud rap, most notably by producer Clams Casino. The genre's approach to sample processing also shares roots with Vaporwave. While the initial hype surrounding Witch House faded by the mid-2010s, it has maintained a dedicated cult following and continues to influence underground electronic and post-industrial music.

The visual aesthetic of Witch House is inseparable from its music, aiming to create a dark, surreal, and unsettling atmosphere. It draws heavily from a lo-fi, "deep web" sensibility, characterized by grainy, distorted, and often found-footage-style imagery. Common motifs include occult and religious symbols, such as pentagrams, crosses, and alchemical signs. The aesthetic is heavily inspired by horror films, particularly the found-footage style of The Blair Witch Project and the surreal, dreamlike works of director David Lynch, especially his series Twin Peaks . The visuals often combine these horror elements with a dark, technological feel, featuring glitch art and retro computer graphics.

Witch House fashion is a monochromatic and dark style that blends elements of Nu-Goth , streetwear, and health goth . The look is often androgynous and layered. A typical outfit consists of all-black clothing, often featuring long, draped garments, hoodies, and athletic-inspired pieces. This is frequently accented with occult or esoteric symbols, minimalist geometric designs, and text rendered in elongated, "Gothic" fonts. The fashion avoids the bright colors of rave culture, opting instead for a stark, minimalist palette that reflects the genre's gloomy and atmospheric sound.

Musically, Witch House is defined by its slow, heavy, and atmospheric sound. A key characteristic is the use of the chopped and screwed technique, where samples (often from pop or hip-hop songs) are drastically slowed down, pitched down, and layered with effects like reverb and delay to create a "drag" or "zombie rave" sound.

The rhythmic foundation is typically provided by a slow, booming drum machine beat derived from trap and Southern hip-hop, often from a Roland TR-808. This is combined with dense, layered synthesizers that create dark, droning soundscapes, ethereal melodies, or harsh, noisy textures. Vocals, when present, are often heavily processed, whispered, or sampled, serving as another textural element within the mix.Wixa , also spelled as Vixa or Wiksa , is a Polish youth subculture characterized by its association with high-tempo electronic music, a specific fashion aesthetic, and a deeply ironic, satirical approach to Polish national, religious, and political symbols. The music genre is often identified by terms such as "Polish Neo-Gabber" or Hard Dance, popularized by community slang like "Vixa Pixa."

The subculture has two distinct eras: it originated in the hardcore techno and hard trance club scenes of the late 1990s and early 2000s, centered around the Ekwador nightclub in Manieczki. After fading in the mid-2000s, the movement was radically revived in the 2010s by the Warsaw-based artist collective WIXAPOL S.A. , which re-contextualized the original's "bad taste" hedonism as a "post-shame" tool for satirical social commentary.

The term "wixa" is widely used as Polish slang for a wild, high-energy party, though some sources claim the word is derived from a German pejorative (" Wichser "), which was reclaimed by the scene to describe its intense and unapologetic style of raving. The modern aesthetic is an eclectic mix of classic rave fashion, Polish Dresiarz streetwear, and a provocative use of internet memes and explicit political slogans, functioning as both a high-energy party and a form of cultural and political resistance against the "seriousness" of the mainstream techno scene and the conservative turn in Polish politics.

The original Wixa subculture emerged in Poland during the post-communist transition of the late 1990s. This era was characterized by a chaotic shift to capitalism and new social freedoms, creating a desire for hedonistic escapism. In the 1990s, techno and rave music were often stigmatized by conservative societal forces, including media campaigns from the Catholic Church in Poland that labeled the scene as "satanist," "sexually degenerated," or "criminal."

The Ekwador nightclub in Manieczki, Greater Poland, became the epicenter of this early phenomenon. The club and its resident DJs, such as DJ Kris, popularized a hard trance and hard house sound and fostered a unique party culture. This included the characteristic shout of " Jazda! Jazda! Jazda! " (Let's go! Let's go! Let's go!). The aesthetic was defined by fluorescent clothing, UV gloves, glowsticks, and quirky fashion like safety or surgical clothing, gas masks, and fluorescent vests, drawing some influence from the Dutch Gabber movement. This period, often identified as Wixa's golden age between 2000 and 2003, subsequently declined as musical tastes shifted and key events, like the Sunrise Festival, banned Wixa-related gadgets around 2006.

A revival of Wixa began around 2012 with the formation of the WIXAPOL S.A. collective in Warsaw by figures including DJ SPORTY SPICE, DJ TORRENTZ.EU, and MIKOUAJ REJW (the name "WIXAPOL S.A." being a deliberate parody of corporate names). The collective was established as a direct response to what its founders perceived as an overly serious and purist atmosphere in the contemporary Polish techno and house scene. WIXAPOL S.A. embraced and ironically reclaimed the "bad taste" and "post-shame" aesthetics of the original era, blending them with a distinctly Polish internet humor and a faster, harder musical style. As DJ TORRENTZ.EU noted, "We are into bad taste, bad stereotypes, bad aesthetics... Club music and techno in Poland had a very bad reputation for a long time, so we like to embrace everything."

This revival became increasingly politicized following the 2015 election of the right-wing nationalist Law and Justice (PiS) party. The Polish clubbing community, including WIXAPOL S.A., became active in protesting the government's conservative social policies, particularly its stance against women's and LGBTQ+ rights.

During the 2020 Women's Strike ( Strajk Kobiet ) protests, which erupted in response to a near-total ban on abortion, WIXAPOL S.A. hired a truck with a soundsystem, turning the mass demonstrations in Warsaw into a mobile protest rave. They blasted techno, gabber, and hardcore tracks, with protesters chanting " Jebać PiS " ("Fuck PiS") over the music. This act cemented the revival's role as a form of social commentary and direct action. The collective's stated goal is to break constraints of genre, taste, and social difference, creating a space where politically diverse groups, such as football hooligans and LGBT individuals, can unite on the dancefloor.

Wixa fashion is an intentional blend of contradictory Polish subcultures. The contemporary aesthetic, shaped by WIXAPOL S.A., fuses the "bad taste" of the original era with the streetwear of the Dresiarz subculture, a Polish working-class group associated with tracksuits and aggressive tattoos. Adherents often wear brightly colored retro tracksuits from brands like Kappa, Adidas, Umbro, or Diadora, paired with white socks and Oakley sunglasses.

This look is combined with classic Rave elements such as fluorescent colors, glowsticks, and safety vests, as well as Gabber -inspired fashion. Cybersigilism and tribal-style tattoos are also common. A significant part of the aesthetic is the appropriation of Ultras (hardcore football fan) culture. WIXAPOL S.A. produces merchandise like football hooligan (also called szalikowcy ; "scarfers") scarves emblazoned with their logo, subverting a symbol of tribal masculinity and re-purposing it for their inclusive "post-shame" scene. Their scarves are their "colors," and stealing a rival's scarf is seen as a profound act of humiliation.

The modern Wixa revival is inseparable from Polish internet meme culture. WIXAPOL S.A. maintains a strong online presence influenced by "chan culture," using an all-caps communication style that mimics angry or drug-influenced speech. This online identity, supported by affiliated meme creators like Piesapol (Dogpol) and Aleksander (Dogecore), is central to the "trolling" ethos of the movement, which views the abrasive nature of its music and humor as a form of "trolling pleasure" akin to punk rock.

A primary target of this satire is the "sacred" status of Polish national and religious figures. This is most prominent in the subculture's engagement with Pope John Paul II. While a national icon for older generations, Wixa's younger adherents use his image as a vehicle for transgression. This manifests in the "JP2GMD" meme format, which critically references the Pope's perceived inaction regarding child abuse allegations within the Catholic Church.

This phenomenon led directly to the creation of "Papacore," a niche Wixa subgenre that incorporates samples of John Paul II's voice into gabber and hard bass tracks. This satirical use of dark humor to critique national hypocrisy is a defining feature of the WIXAPOL S.A. revival.

Wixa's musical foundation has evolved significantly. The original 1990s and 2000s scene was built on Hardcore Techno, Hard House, Eurotrance, and Hands Up . The track " Turn Up The Bass " by Klubbheads from 2000 is recognized for popularizing a characteristic bassline arrangement for the era, championed by early pioneers like DJ Kris.

The contemporary WIXAPOL S.A. sound, often called "neo-gabber," is a much faster, harder, and more eclectic fusion of Hardcore, Gabber , Frenchcore, Schranz, and Hardstyle. The collective emphasizes an "anti-purist" attitude over strict genre definitions, with sets known to incorporate donking basslines, rapid 909 kicks, nu-metal covers, and hardstyle stabs.

A key feature of the revival is the ironic reclamation and remixing of culturally significant Polish songs. This includes hardcore versions of the patriotic folk song " Hej Sokoły "; samples from the Polish rapper Peja, an icon of Dresiarz culture; and gabber bootlegs of the 1983 Italo-disco hit " L'Italiano " by Toto Cutugno, a song with deep nostalgic value in Poland. They also champion original-era anthems like DJ Hazel's " Weź Pigułkę " ("Take a Pill"), embracing its blatant hedonism as a "post-shame" statement. During the 2020 protests, tracks like EURODANEK's " JEBAX " and Avtomat's " Nieludzie / Ignorance Ha ", which samples a politician's anti-LGBTQ+ rhetoric, became anthems of the movement.

Notable tracks include:

The Wixa subculture faces criticism from multiple perspectives. It is often criticized for its open association with excessive drug and alcohol use, as well as sexually suggestive themes. Some critics, particularly from the more "purist" Dutch Trance scene, have argued that Wixa is a distinct Polish "cultural phenomenon" rather than a part of the international clubbing culture, deeming its DJ sets uninspired.

Within Poland, some orthodox Gabber and hardcore fans find the revival's satirical elements, particularly "papacore," to be unacceptable, believing hardcore music should remain serious. Proponents, however, credit Wixa with revitalizing the Polish electronic music scene. WIXAPOL S.A. defines its agenda as a deliberate effort to break constraints of genre and social difference, viewing the ability to unite disparate groups on the dancefloor as a positive social development in a divided country. DJ TORRENTZ.EU has countered purist criticism by arguing that hardcore music has inherently possessed a sense of humor and eclecticism since its inception.XO is the aesthetic surrounding The Weeknd's early musical projects (House of Balloons, Thursday, EchoesOfSilence). It incorporates themes of late 2000s parties and the darker aspects of it, with elements of heavy drug usage, sex, manipulation, detachment, and depression. It is not meant to romanticize these topics, but to show the effects it can have on a person's sanity and morals.

The most recurring visuals are balloons, drugs, liminal spaces , and depressed women. Usually accompanied by messy amateurish dark black and white edits and the Helvetica Bold font. It heavily relies on taking things normally associated with fun and twisting them into something darker.

This dark and lowkey aesthetic is what The Weeknd's early music heavily relied on, imagery wise. However the musical content is the main focus, which talked about elements of depression and manipulation. The main character appears extremely detached from the world around them, not caring about how their actions affect them and others surrounding them. Production is very rough and minimalistic with heavy use of electrical guitars and simplistic melodies.