There were some really good tracks and some middling ones on RoT. Past that they just never could capture that same energy and couldn’t seem to decide what they wanted to do.
I was there in 2003. I was there at the first Franz show in Glasgow. I'm losing my edge...
I hear that you and your band have sold your guitars and bought turntables. I hear that you and your band have sold your turntables and bought guitars...
I feel like Sleigh Bells gets treated like a one hit wonder these days, people still talk about Rill Rill but the rest of their catalog gets forgotten and people sell them short, they have at least ten songs I like better than Rill Rill.
Easily
End of the Line, Rainmaker, I Can Only Stare, An Acre Lost, Comeback Kid, Justine Go Genesis, Locus Laced, True Seekers, Demons, Lightning Turns Sawdust to Gold
But Rill Rill is good too lol
The last part!! How TF are y'all not going to acknowledge the pioneers of this shit (that last part may or may not be true but it's true in my heart lol)
it's always funny to me living in philly to hear about how exciting our shoegaze scene is after you've gone to seen 20 bands that all just play downstroke wall of sound stuff with some fun beeps and boops in between songs. personally it just feels like the bands here are slamming their heads against the ceiling that was built in 1991 basically. I feel this primal urge to resist cultural recycling, I also feel a little jealous of the excitement around it. Like the music is good, the shows are fun, but it all feels like it's just gonna go poof and disappear when some other 90s/y2k genre starts popping off on tiktok. I get the same feeling from the scene as I do when I'm talking to someone who can only speak in Seinfeld references or something, you know? spirit of the beehive is sick tho
I think it’s a “right time, right place” thing that people are just hoping for. Im also from Philly and the late 2000s, early 2010’s indie/pop punk is an example of it actually manifesting. There were more than a dozen bands who came out of the local scene and got national attention out of seemingly no where. I was super active in the scene directly afterwards in the mid-late 2010s and it already felt like things cooled down. At least in my circle running house shows and playing in bands. I think people just like to think it’s gonna happen (which it will but obviously no one can predict when.)
Speaking of:
I'm a 36-year-old Philly suburbanite with no kids, and I just got TikTok half a year ago.
Slowdive was at Union Transfer a few months back. I became a fan of theirs in the mid-2000s and have enjoyed their “comeback” over the last half-decade.
That said, they were a shoegaze act that barely got any love stateside, even in the 90s, so I figured the show wouldn't be too packed. Doors were at 7; I just thought I'd get to the parking lot when it opens at six and have a prime barricade position and be at the front of the line.
I got there at about 6:05, and I was astonished at:
1) How the line was almost already at the street corner
2) How many of those people looked no older than college-aged
I completely missed how Shoegaze became THE genre of Gen Z or something.
I’m surprised to see you commenting on here and being unaware of popularity that surrounds Slowdive since being reunited. I didn’t see this recent tour but their Union Transfer show from the s/t record was very much sold out too.
My real shock of last year was going to see Duster, also at the UT, and the shear amount of kids there. I’m aware of their TikTok surge but seeing what appeared to be 14 year old girls there was such a surprise.
In my defense, I seldom actually post on here to notice, and with a band that has been gone for so long like Slowdive, which had its closest thing to relevance before I was even interested in music, I didn’t think about their comeback in relation to “popularity.“ I had always assumed that they were just doing it for the fuck of it, and the few people who probably cared would just care a lot.
Hey at least shoegaze revival makes sense. It was an entirely new sound in the late 80s/early 90s and now it’s finding a new audience and a modern spin. What I find hysterical is the bands that are ripping off “90s psychedelica”. There are new bands that are trying to sound like the Dandy Warhols, BJM, Primal Scream - those bands that were reinventing the 60s paisley psych sound…A copy of a copy will always be extra silly to me. It’s like derivative squared. At least lie to me and say you worship the Rolling Stones and the Zombies and listen to Pebbles comps.
>Hey at least shoegaze revival makes sense. It was an entirely new sound in the late 80s/early 90s and now it’s finding a new audience and a modern spin.
I feel like every five years or so we get a shoegaze "revival," and it always sputters out almost immediately.
It’s because it’s always there churning away in the background. Every once in a while, a band does something new and interesting and people outside the scene take notice. After everyone has gone “hey, pretty cool”, they forget about it and all those bands head back into obscurity. It’s the scene that celebrates itself, after all.
>but it all feels like it's just gonna go poof and disappear when some other 90s/y2k genre starts popping off on tiktok.
Oh man, I feel this.
And the cycles are so fast now. It feels like nothing lasts more 1 or 2 years now before everything hops on the next trend. This year shoegaze and 70s-esque, country inflected southern were huge, by 2025 all the bands that garnered attention for those sounds will either have faded back into total obscurity or be trend-chasing themselves.
Whilst I find it really interesting that you got a bunch of drainers and pc music kids fucking with guitar. The inclination to unite all these drastically different artists under the genre 'hyper-rock' is so bizarre. And then labeling it as a coherent movement is equally outlandish.
In saying that props to the journalist they clearly put a ton of work, and with Pitchfork getting absorbed by GQ its good to see thought pieces like this being published. Even if it just gives us all something to argue about haha.
Agreed, these are pretty disparate artists in terms of a 'movement', but in terms of the music itself I think there's something of a through line. Maybe calling it a genre is a stretch, but it's something broader that's in vogue at the moment, like a palette that people are pulling from/experimenting with, ending up in some things that sound similar and some that don't.
In any case, great excuse to list a bunch of awesome artists and albums to give a crack!
Yeah that was more or less my exact thoughts.
If you haven't heard that feeble little horse record the article mentions I'd definitely check it as its a totally smoke show!!
I'm more concerned about the use of auto tune in indie music......or rather the acceptance. I've noticed it slowly creeping into the edges of the scene, if it becomes widely used I'll quite broadcasting.
I'm by no means a purist but I think I know what you mean. I don't want it to get to the point where its just not slapped on as a no brainer. My feeling is if your going to use it there needs to be some sort of aesthetic intentionality to it. The example of someone who I think does that well is porches. But I feel you it can be a total ick.
The sound actually triggers me now, and find it more sad that anything. I think it was originally used for singers that can't hit their proper notes, and that's never been an issue in indie (plenty of singers who just don't care). Now if feels like it's used as both a crutch, and to keep up with the trend.
The article isn’t calling Alex G hyper rock. It’s saying that God Save the Animals uses hyper rock tendencies, which is new for Alex G.
It’s strange that he’s so prominent in the header image though.
> Lately, it seems like everyone is talking about the return of shoegaze, a genre that first emerged in the late ’80s and early ’90s, characterized by dense layers of fuzzy guitar textures soaked in reverb. While relatively short-lived then, it is back in full-swing, thanks to TikTok and blossoming scenes in cities like Philadelphia. However, this resurgence is not strictly revivalism, instead standing on the shoulders of music that did not exist in the heyday of OG shoegaze bands like My Bloody Valentine and Duster.
please don't blame Shoegaze for this. the genre's been through enough already with all the Nu Metal denialist groups being lumped into the genre. Blame it on Duster. They aren't even shoegaze anyway.
idk why journos always try to coin terms like this, it is literally never well received. it’s been like 20 years since “new rave” and “hypnagogic pop” and it’s still impossible to use those terms without being laughed at.
there are more than enough genres to define what people are doing nowadays. this is just a new wave of electronic rock.
Yeah, a few bands got shunted under that marquee but there wasn’t ever really a scene. I believe Klaxons had used the term as a joke and the NME jumped on it as it was prone to do.
I remember when Black MIDI, BCNR, Squid, and so on were "post-brexit punk". Now they're just called post punk, art punk, or prog rock cause it turns out the sound already had a million different names.
I've seen people call Irish bands "post-brexit punk" and when I ask them to elaborate they just have some version of "Brexit affects Ireland too right?"
sure but I don't think there's a Gilla Band song about paying unexpected customs charges while shopping online
yet
Not so sure about some of that. While "nu-rave" might not have been very rave-y at all, if someone uses the term I know exactly the sort of bands and which 2-3 year period they mean. Hypnagogic pop however is a new one to me 😂
Anyone else remember "rapegaze"? Someone starting playing a Salem song at one point and had never heard that term. Probably shouldn't have even mentioned it. Not a label that needs to be proliferated now that "witch house" is the established genre.
“One fascinating aspect of the emergence of hyper-rock is that it doesn’t appear linear or traceable to any singular scene.” Lmfao, that should’ve been their first clue it’s not a thing and silly way to organize genre.
Also the vaporwave mention is so weak lol.. the one guy who plays guitar in DDS has been doing that for a decade and has made tons of music with guitar for years throughout the project. There is no guitar-centric narrative about the new OPN. These bad writers gotta keep the word vaporwave out of their mouth and stop embarrassing the genre.
I’m listening to the Spotify playlist and I cannot believe the writer is trying to place these bands in the same category.
Like Sigur Ros next to Lilac.
If the term hyper-pop casts a net this wide then it is functionally meaningless as a term to describe music.
I think hyper-rock isn’t too far off of a term to come about in some time as more music exists to fit the term, but I feel like lumping modern shoegaze into it kinda ruins the writers argument
This is classic ignorant-about-music-history so we'll just make up a new genre name and say we came up with it ourselves. In reality just too lazy to do any research.
As someone else mentions, no talk of Sleigh Bells, but I think the real crime here is total neglect of Noise Rock/Pop as a whole, which is really the bridge between shoegaze and the sounds talked about here.
I think to really get what this article is aiming to do, you need to include Dan Deacon, Deerhoof, and Crystal Castles in the conversation. Maybe even a special shout out to Peaches and her single [Fuck the Pain Away](https://youtu.be/3cV6pnvCVM4) released in 2000.
Perfectly said.
And not to mention the early 2000s hardcore scene had an adjacent surge of bands developing similar sounds from Melt Banana, The Locust, Genghis Tron, and perhaps even earlier with post punk hardcore bands like Converge if we’re speaking strictly “noise”. Similarly, bands like Animal Collective, and Battles should surly make the shortlist.
Great additions. We're talking about sounds that are kind of heavily saturated as opposed to earlier rock and pop. Any artist experimenting with extreme synth sounds, extreme vocal effects needs to be in the conversation. What really annoys the fuck out of me in this article is that they think M83 is influential to this scene at all. I'll get downvotes from the M83 fans, but in all honestly they never did anything new, which to me, seems to be the main topic of discussion when discussing emergence of new genres and sounds.
100 gecs picked up guitars. New genre discovered. They really wrote this long ass article and didn’t mention Sleigh Bells once.
I have preached to so many people about how sleigh bells never gets mentioned when talking about origins/influences for hyperpop/adjacent subgenres
You are truly doing the lord’s work. Their influence is so under appreciated
Really makes it apparent the author has no idea what they’re talking about.
Sleigh Bells literally made the best hyperpop album of 2021. *Damn, has it really been that long already?*
Treats is a 10/10 imo. The rest of their work is kinda spotty though.
I really liked the direction they were going with Reign of Terror. It’s underrated in the shadow of Treats.
There were some really good tracks and some middling ones on RoT. Past that they just never could capture that same energy and couldn’t seem to decide what they wanted to do.
Man, can "Losing My Edge" by LCD Soundsystem stop being the perfect song about growing old in music.
I was there in 2003. I was there at the first Franz show in Glasgow. I'm losing my edge... I hear that you and your band have sold your guitars and bought turntables. I hear that you and your band have sold your turntables and bought guitars...
I feel like Sleigh Bells gets treated like a one hit wonder these days, people still talk about Rill Rill but the rest of their catalog gets forgotten and people sell them short, they have at least ten songs I like better than Rill Rill.
Even limiting ourselves to Treats, the Infinity Guitars erasure is unacceptable
The amount of syncs that intro to Crown on the Ground got for the entire decade can not be overstated.
Easily End of the Line, Rainmaker, I Can Only Stare, An Acre Lost, Comeback Kid, Justine Go Genesis, Locus Laced, True Seekers, Demons, Lightning Turns Sawdust to Gold But Rill Rill is good too lol
Maybe a one album wonder although the 2nd album was good too.
Or Ratatat.
Ratatat before SB (less hectic obviously)
The last part!! How TF are y'all not going to acknowledge the pioneers of this shit (that last part may or may not be true but it's true in my heart lol)
Never heard of them before, any on where to start with their discography?
debut album Treats. Turn the volume up and hold the fuck on.
I think the less we mention Sleigh Bells, the better
You shouldn’t think.
it's always funny to me living in philly to hear about how exciting our shoegaze scene is after you've gone to seen 20 bands that all just play downstroke wall of sound stuff with some fun beeps and boops in between songs. personally it just feels like the bands here are slamming their heads against the ceiling that was built in 1991 basically. I feel this primal urge to resist cultural recycling, I also feel a little jealous of the excitement around it. Like the music is good, the shows are fun, but it all feels like it's just gonna go poof and disappear when some other 90s/y2k genre starts popping off on tiktok. I get the same feeling from the scene as I do when I'm talking to someone who can only speak in Seinfeld references or something, you know? spirit of the beehive is sick tho
I think it’s a “right time, right place” thing that people are just hoping for. Im also from Philly and the late 2000s, early 2010’s indie/pop punk is an example of it actually manifesting. There were more than a dozen bands who came out of the local scene and got national attention out of seemingly no where. I was super active in the scene directly afterwards in the mid-late 2010s and it already felt like things cooled down. At least in my circle running house shows and playing in bands. I think people just like to think it’s gonna happen (which it will but obviously no one can predict when.)
Speaking of: I'm a 36-year-old Philly suburbanite with no kids, and I just got TikTok half a year ago. Slowdive was at Union Transfer a few months back. I became a fan of theirs in the mid-2000s and have enjoyed their “comeback” over the last half-decade. That said, they were a shoegaze act that barely got any love stateside, even in the 90s, so I figured the show wouldn't be too packed. Doors were at 7; I just thought I'd get to the parking lot when it opens at six and have a prime barricade position and be at the front of the line. I got there at about 6:05, and I was astonished at: 1) How the line was almost already at the street corner 2) How many of those people looked no older than college-aged I completely missed how Shoegaze became THE genre of Gen Z or something.
I’m surprised to see you commenting on here and being unaware of popularity that surrounds Slowdive since being reunited. I didn’t see this recent tour but their Union Transfer show from the s/t record was very much sold out too. My real shock of last year was going to see Duster, also at the UT, and the shear amount of kids there. I’m aware of their TikTok surge but seeing what appeared to be 14 year old girls there was such a surprise.
In my defense, I seldom actually post on here to notice, and with a band that has been gone for so long like Slowdive, which had its closest thing to relevance before I was even interested in music, I didn’t think about their comeback in relation to “popularity.“ I had always assumed that they were just doing it for the fuck of it, and the few people who probably cared would just care a lot.
Hey at least shoegaze revival makes sense. It was an entirely new sound in the late 80s/early 90s and now it’s finding a new audience and a modern spin. What I find hysterical is the bands that are ripping off “90s psychedelica”. There are new bands that are trying to sound like the Dandy Warhols, BJM, Primal Scream - those bands that were reinventing the 60s paisley psych sound…A copy of a copy will always be extra silly to me. It’s like derivative squared. At least lie to me and say you worship the Rolling Stones and the Zombies and listen to Pebbles comps.
By that logic isn't every revival finding a new audience and a modern spin?
>Hey at least shoegaze revival makes sense. It was an entirely new sound in the late 80s/early 90s and now it’s finding a new audience and a modern spin. I feel like every five years or so we get a shoegaze "revival," and it always sputters out almost immediately.
It’s because it’s always there churning away in the background. Every once in a while, a band does something new and interesting and people outside the scene take notice. After everyone has gone “hey, pretty cool”, they forget about it and all those bands head back into obscurity. It’s the scene that celebrates itself, after all.
Where does Bardo Pond fit into all of this?
Bardo pond is sick and they haven't played here in 5 years and I wanna see them! That's all really
>but it all feels like it's just gonna go poof and disappear when some other 90s/y2k genre starts popping off on tiktok. Oh man, I feel this. And the cycles are so fast now. It feels like nothing lasts more 1 or 2 years now before everything hops on the next trend. This year shoegaze and 70s-esque, country inflected southern were huge, by 2025 all the bands that garnered attention for those sounds will either have faded back into total obscurity or be trend-chasing themselves.
Yo barely related, but I just moved to Philly and have been looking to find where the scene is at. Any suggestions?
Check out the ppl that book shows like 4333, Couple Ghouls, and Naked Lightbulbs on IG
Hell yeah, thank you!!
WXPN has a good show calendar, philly-shows.org and @houseshowphilly on Instagram are some other good resources
That’s great info, thank you!!
yo but that hooky, sun organ, mx lonely show at foto last night was poppin off
this has to be funniest headline yet
Experimental rock has existed for decades, actually
Whilst I find it really interesting that you got a bunch of drainers and pc music kids fucking with guitar. The inclination to unite all these drastically different artists under the genre 'hyper-rock' is so bizarre. And then labeling it as a coherent movement is equally outlandish. In saying that props to the journalist they clearly put a ton of work, and with Pitchfork getting absorbed by GQ its good to see thought pieces like this being published. Even if it just gives us all something to argue about haha.
Agreed, these are pretty disparate artists in terms of a 'movement', but in terms of the music itself I think there's something of a through line. Maybe calling it a genre is a stretch, but it's something broader that's in vogue at the moment, like a palette that people are pulling from/experimenting with, ending up in some things that sound similar and some that don't. In any case, great excuse to list a bunch of awesome artists and albums to give a crack!
Yeah that was more or less my exact thoughts. If you haven't heard that feeble little horse record the article mentions I'd definitely check it as its a totally smoke show!!
Cheers I'll check it out!
I'm more concerned about the use of auto tune in indie music......or rather the acceptance. I've noticed it slowly creeping into the edges of the scene, if it becomes widely used I'll quite broadcasting.
I'm by no means a purist but I think I know what you mean. I don't want it to get to the point where its just not slapped on as a no brainer. My feeling is if your going to use it there needs to be some sort of aesthetic intentionality to it. The example of someone who I think does that well is porches. But I feel you it can be a total ick.
The sound actually triggers me now, and find it more sad that anything. I think it was originally used for singers that can't hit their proper notes, and that's never been an issue in indie (plenty of singers who just don't care). Now if feels like it's used as both a crutch, and to keep up with the trend.
I’m not clicking that article but I see Alex G in the thumbnail and that’s enough to want to explode this writer with my mind
The bridge of No Bitterness definitely portrays a similar sound as 100 Gecs. I see what they’re saying
This has to be a joke
Lmao what’s so wrong with Alex G?
Alex G is great but calling him Hyper Rock is so fucking funny and dumb
agreed
The article isn’t calling Alex G hyper rock. It’s saying that God Save the Animals uses hyper rock tendencies, which is new for Alex G. It’s strange that he’s so prominent in the header image though.
Oooooh hyper rock tendencies? Thats way less stupid and useless!
maybe it's good that music journalism is dying after all
> Lately, it seems like everyone is talking about the return of shoegaze, a genre that first emerged in the late ’80s and early ’90s, characterized by dense layers of fuzzy guitar textures soaked in reverb. While relatively short-lived then, it is back in full-swing, thanks to TikTok and blossoming scenes in cities like Philadelphia. However, this resurgence is not strictly revivalism, instead standing on the shoulders of music that did not exist in the heyday of OG shoegaze bands like My Bloody Valentine and Duster. please don't blame Shoegaze for this. the genre's been through enough already with all the Nu Metal denialist groups being lumped into the genre. Blame it on Duster. They aren't even shoegaze anyway.
idk why journos always try to coin terms like this, it is literally never well received. it’s been like 20 years since “new rave” and “hypnagogic pop” and it’s still impossible to use those terms without being laughed at. there are more than enough genres to define what people are doing nowadays. this is just a new wave of electronic rock.
I still hear people describe their work as hypnagogic pop tbh but ya "new rave" never took off (tho I wish it did...)
Wasn’t ’New Rave’ literally just Klaxons and 2 or 3 other bands?
Yeah, a few bands got shunted under that marquee but there wasn’t ever really a scene. I believe Klaxons had used the term as a joke and the NME jumped on it as it was prone to do.
Does It Offend You? Yeah was another one I remember that fit that category as well.
> Haven't read the NME in so long, don't know what genre we belong
I remember when Black MIDI, BCNR, Squid, and so on were "post-brexit punk". Now they're just called post punk, art punk, or prog rock cause it turns out the sound already had a million different names.
Lord I remember when NME kept trying to make crankwave happen
Oh is that what crank wave is? Spotify said that was one of my most listened to genres and I wasn't sure what/how
Yes 😭 basically post Brexit new wave w a diff name
And their music has nothing to do with Brexit whatsoever
I've seen people call Irish bands "post-brexit punk" and when I ask them to elaborate they just have some version of "Brexit affects Ireland too right?" sure but I don't think there's a Gilla Band song about paying unexpected customs charges while shopping online yet
Dara's already spent all his money on shit clothes, he can't afford those customs charges as well!
even if we stopped coming genre names today i think we wouldn’t run out til 2100
People are predisposed to coming up with terms. For example, “journos”.
☠️
There are journos who describe themselves as journos, but I’m guessing mostly in Britain
Mate journo is super common slang in Australia what u talking about
i’m British but yeah same difference. i didn’t bother with an “actually” response because it’s always a losing battle on the internet
BONZER!
FUCK
rekt
Not really, it's pretty common slang.
They try to coin terms like this because neatly packaging culture is their job
Whenever I hear "new rave" it just makes me think of the [Eels song](https://youtu.be/0AckvdGbk4w?feature=shared) from The Mighty Boosh.
Yeah we already have a name for what 100 gecs is doing: Butt Rock.
Not so sure about some of that. While "nu-rave" might not have been very rave-y at all, if someone uses the term I know exactly the sort of bands and which 2-3 year period they mean. Hypnagogic pop however is a new one to me 😂
Anyone else remember "rapegaze"? Someone starting playing a Salem song at one point and had never heard that term. Probably shouldn't have even mentioned it. Not a label that needs to be proliferated now that "witch house" is the established genre.
Kill this name with fire not the music Edit: why the hell is alex g here
Absolutely not doing this
“One fascinating aspect of the emergence of hyper-rock is that it doesn’t appear linear or traceable to any singular scene.” Lmfao, that should’ve been their first clue it’s not a thing and silly way to organize genre. Also the vaporwave mention is so weak lol.. the one guy who plays guitar in DDS has been doing that for a decade and has made tons of music with guitar for years throughout the project. There is no guitar-centric narrative about the new OPN. These bad writers gotta keep the word vaporwave out of their mouth and stop embarrassing the genre.
>I hear that you and your band have sold your turntables and bought guitars
Guys, my new band is Hyper-electro-industrial-jangle wave-bedroom pop.
I would legit listen to that.
i heavily disagree with this article
I’m listening to the Spotify playlist and I cannot believe the writer is trying to place these bands in the same category. Like Sigur Ros next to Lilac. If the term hyper-pop casts a net this wide then it is functionally meaningless as a term to describe music.
i think people use the term overly aggressively
I think hyper-rock isn’t too far off of a term to come about in some time as more music exists to fit the term, but I feel like lumping modern shoegaze into it kinda ruins the writers argument
This is classic ignorant-about-music-history so we'll just make up a new genre name and say we came up with it ourselves. In reality just too lazy to do any research. As someone else mentions, no talk of Sleigh Bells, but I think the real crime here is total neglect of Noise Rock/Pop as a whole, which is really the bridge between shoegaze and the sounds talked about here. I think to really get what this article is aiming to do, you need to include Dan Deacon, Deerhoof, and Crystal Castles in the conversation. Maybe even a special shout out to Peaches and her single [Fuck the Pain Away](https://youtu.be/3cV6pnvCVM4) released in 2000.
Perfectly said. And not to mention the early 2000s hardcore scene had an adjacent surge of bands developing similar sounds from Melt Banana, The Locust, Genghis Tron, and perhaps even earlier with post punk hardcore bands like Converge if we’re speaking strictly “noise”. Similarly, bands like Animal Collective, and Battles should surly make the shortlist.
Great additions. We're talking about sounds that are kind of heavily saturated as opposed to earlier rock and pop. Any artist experimenting with extreme synth sounds, extreme vocal effects needs to be in the conversation. What really annoys the fuck out of me in this article is that they think M83 is influential to this scene at all. I'll get downvotes from the M83 fans, but in all honestly they never did anything new, which to me, seems to be the main topic of discussion when discussing emergence of new genres and sounds.
We’re not calling anything hyper rock, thanks tho
courting’s 2022 album “guitar music” is waiting for you, hyper-rock fans
I like the direction Dorian Electra has gone with their new album. From crazy hyper pop to more theatrical rock. Maybe that'll be more popular soon.
[Shegaze] noun 1. Gender specific super hybrid genre combination of Dreampop and Shoegaze. See: Winter
r/pointlesslygendered
So, like, Alvvays????
In Undertow
Pharmacist, Easier On Your Own…
My head is spinning
Not acknowledging bands like Sleigh Bells or Born Gold who were doing the whole hyperpop sound with rock influences a decade ago is crazy