It’s an internet-bred subgenre where beautiful pieces of emotional house are released by artists with names like DJ Seinfeld and Ross From Friends. Impossibly, it seems to be both very ironic and very heartfelt. It sounds like a stripped-back version of deep house coated with the nostalgia-soaked retro-futurism of vaporwave. It almost seems like the first music that Skynet might make when it first attains consciousness and is failing to understand and replicate the internet’s various cultures.

Lo-fi house is hardly new, though. It is essentially a rebranding of the music that some were calling “outsider house” a few years ago. Musicians like Delroy Edwards, Huerco S. and Anthony Naples stripped back dance music to the gritty necessity of kick drum and moody futuristic atmosphere. Many of these musicians had backgrounds in scenes like noise, ambient or punk, bringing a focus on stripped-back rawness from those genres. Appropriately, their music was rough, distorted, experimental, and about as serious as noise and punk scenes tend to be.

[su_youtube url=”https://www.youtube.com/watch?v=FFR1CboigGg”]

Vaporwave, by contrast, is known for trading in irony and postmodernism. Age-old feelings of disconnection, loneliness and existential nausea are appealed to in a semi-ironic manner. The music, meanwhile, features slowed down and cut up samples from kitschy 80’s pop or muzak. Unlike outsider house, vaporwave is a music that is dense with a symbolism as important as the music itself. The culture is essentially halfway between a music scene and an internet meme — reading the comments on vaporwave YouTube uploads can often be half the fun. Its visual aesthetic blends VHS visuals, advertising, early internet design, a fascination with Japan and sculptures of the classical world into its own distinct vision. This visual-heavily culture is essentially the dominant language of many of the more hipster parts of the internet.

[su_youtube url=”https://www.youtube.com/watch?v=_hI0qMtdfng”]

Combining these two cultures leaves lo-fi house resembling melancholic 90s deep house recorded to cassette and packaged with a veneer of internet-age irony. It’s sad, but knowingly so. Nostalgia and memory are linked to old technology, effortlessly connecting the degradation and warm distortion of analogue sounds with memory’s own rose-tinted failings. Vaporwave-ish touches include pitched-down, reverb-heavy sampling and cheesy sounds like the Yamaha DX-7 keyboard. The hazy, minor key ambience of the music soundtracks loneliness just as well as the collective euphoria of a dancefloor.

This is a scene that started in no one place at any one time but through the internet’s ‘global village’. Producers from Australia (Mall Grab), Spain (DJ Seinfeld), the UK (DJ Boring, Ross From Friends) simultaneously came up with similar ideas (and names). Each of the producers was responding to similar societal, technological and musical stimuli. It was curated by record collecting channels like hurfyd, Slav, and OOUKFunkyOO, and driven by the neural networking of YouTube’s recommended videos feature. These YouTube recommendations have been key. As Jeff Ihaza wrote in his article on the scene:

[su_quote]

YouTube’s recommendations are so smart — and account for subtleties in ways that other platforms still don’t — that it effectively became a radio station for underground labels to scoop up fans.

[/su_quote]

YouTube has further importance here with many of these channels adding vaporwave-ish, dated video footage to the tracks as music videos. This provided the usually visual-averse underground dance scene with something a bit different, making the music just as likely to appeal to stoners as ravers.

Lo-fi house itself is fuelled by a backlash to the professionalism, popularity and polish of EDM. The back-to-basics approach of the genre is itself hardly musically innovative.

The possibility of this kind of simultaneous global scene didn’t start with the internet, though. Australian band The Saints independently arrived at a ‘punk’ sound in 1976, despite their geographic distance from London or New York, through their love of quintessential ‘proto-punk’ bands like The Stooges and The MC5. Musicians worldwide can similarly respond to a love of the same precursors and a hatred of the same popular artists. Music is almost Newtonian in this way: sounds and genres often have an equal and opposite reaction. Lo-fi house itself is fuelled by a backlash to the professionalism, popularity and polish of EDM. The back-to-basics approach of the genre is itself hardly musically innovative. It draws heavily on house and techno’s origins in Chicago and Detroit minimalism, music that was often fairly lo-fi and DIY in the first place. The instruments used are often analogue sounds (or reproductions) such as the semi-mythical Roland 808, 909 and 303 instruments. These sounds are considered to be more ‘authentic’ than the complex CPU-intensive sounds that can be made on modern production software (think of the sounds in your average Skrillex track). The added layer of postmodern irony appeals to the art-school weirdos whose use of words like ‘postmodern’ excludes them from the assembled beautiful people at the EDM festivals.

A certain kind of person seeks this musical authenticity in the ‘purer’ music of the past. The ideas that drive this movement originated in the Romantic obsession with the ‘folk arts’, and folk music particularly. This belief system involves the cherishing of an old way of life, focusing on community and ‘authenticity’. It often involves middle-class, left-leaning, college-educated types (hipsters basically) romanticising music that belongs to an ‘outsider’ community (black, poor, gay, etc.). They believe these cultures are pure and untainted, standing outside the ‘sickness’ of mainstream society. This type of thinking tends to attract those of us that didn’t really feel they fit into mainstream society anyway. Often the roots of a currently popular music are sought out and declared to be the ‘authentic’ source of the current ‘bastardised’ trend. The Delta blues revival, for example, valued the lo-fi analogue hiss in records by acoustic blues singers like Robert Johnson (who was never popular in his own time) to the cleaner, and then popular, sounds of electric blues and rock ‘n’ roll. This romantic idea has driven many backlash/revival movements from punk to trad jazz, throwback 90’s rap to northern soul. Of course, each movement is different but certain similarities appear in the use of old technology, the stressing of ‘otherness’ and a firm belief in new music as being too ‘commercial’ or made by sell-outs.

By using lo-fi production and old analogue synthesisers, producers symbolically attempt to detach themselves from modern technology and ‘commercialism’.

Lo-fi house, then, claims the authenticity of old Roland synthesisers, it also leans heavily on the ‘blackness’ of early Chicago house, which often used lush chords like minor 7ths to link itself to jazz. By using lo-fi production and old analogue synthesisers, producers symbolically attempt to detach themselves from modern technology and ‘commercialism’. All of this can be summed up by a belief in these sounds having more ‘soul’ or ‘humanity’ than those found in EDM. If science fiction has taught us anything, though, it is that the difference between human and machine, real and artificial is almost arbitrary. A complex enough computer can imitate any signifier of ‘soul’ you throw at it. That doesn’t mean that these musicians aren’t sincere about believing they hear ‘soul’ in old house music, just that logically this is pseudo-mystical nonsense. Seeing as we’re all at least a little bit infected with romanticism, though, emotion will often win over logic. Maybe when it’s this much fun we should sometimes let it.

Now, on to the tracks themselves:

First off, the essential tracks from this genre/sound are ‘Talk To Me You’ll Understand’ by Ross From Friends, DJ Seinfeld’s ‘U’, DJ Boring’s ‘Winona’ and Baltra’s ‘Fade Away (Vocal)’.

‘Talk To Me You’ll Understand’ is the archetypal track of this scene, it is possibly also the best. It is a track that has distorted muted beats under a gently repeating series of minor 7th chords. On top of this it has the best hook in the whole genre with the sung vocal of the song’s title. At one point the track breaks down for a guitar solo that could come straight from the 80s.

[su_youtube url=”https://www.youtube.com/watch?v=8tKKNV5sXUs”]

‘U’ is also a surprisingly beautiful piece of music from an artist with such a dumb name. The song itself lacks a trace of irony in its moving piano house ode to a dead relationship.

[su_youtube url=”https://www.youtube.com/watch?v=g6eu1Wb8CVE”]

‘Winona’ is an impressionistic track that features a repeated sample of Winona Ryder talking over distorted drums and dreamy chords. The bass sounds like your phone vibrating on a table. Probably the least interesting of the genre’s ‘big tracks’.

[su_youtube url=”https://www.youtube.com/watch?v=ar9qA3WJInk&spfreload=10″]

‘Fade Away (Vocal)’ is a mournful track propelled by crisp analogue drums contrasted with slow Blade Runner-ish synth pads.

[su_youtube url=”https://www.youtube.com/watch?v=d5nnLzeBZK0″]

Other bangers include:

Mall Grab ‘Can’t (Get U Outta My Mind)’ – Turns a sample of Alicia Keys’ ‘Feelin U, Feelin Me’ into vaporhouse heaven.

[su_youtube url=”https://www.youtube.com/watch?v=wyEEvnZw3Z8″]

Raär ‘Sometimes I Hear Sirens’ – Astral travel by way of acid techno.

[su_youtube url=”https://www.youtube.com/watch?v=VshXhJJJvxc”]

DJ Boring ‘Sunday Avenue’ – The beauty of distortion meets the beauty of melancholy.

[su_youtube url=”https://www.youtube.com/watch?v=cjTdgb0zPuc”]

Ross From Friends ‘Gettin’ It Done’ – House so deep it sounds submerged.

[su_youtube url=”https://www.youtube.com/watch?v=EBq7Lvzg3Zo”]

Demuja ‘I Want You’ – Smothers a 90’s house sample in filters and reverb.

[su_youtube url=”https://www.youtube.com/watch?v=TDI2Y2tkGkI”]

DJ Seinfeld ‘Time Spent Away From U’ – So distorted and vague it almost coins housegaze as a genre.

Jacques Greene ‘Fall (Baltra Remix)’ – The soundtrack to 21st-century urban melancholy.

[su_youtube url=”https://www.youtube.com/watch?v=5GNie6eAFqE”]

Speaking of the track Edwin explained:

[su_quote]

There have been many great losses in my life, the majority of them plant based, primarily due to my neglect. This serenade goes out to my rosemary bush, her name was Rose, but to friends she was Mary. I wrote this from her perspective, yearning for the love I never gave her.

[/su_quote]
[su_youtube url=” https://www.youtube.com/watch?v=HYz_ERaUjrg”]

You can follow Edwin Organ on Twitter, Facebook and Soundcloud.

Bonus: You can listen to “Charlie’s House Cut,” his debut track, below.

The trio’s style borders on eerie blended with contemporary/alternative R&B creating a vivid vibe relatable to millennials music fans. The debut EP will have five songs and it’s available on iTunes and Spotify.

You can follow CNMA on Twitter, Facebook, Instagram and Soundcloud.You can also listen to the audio below.

“Petricolour” is filled with socially conscious songs that address the decline in the western society. It talks about its wealth, freedom, opportunities, beauty, and the path of gradual decay. The artwork on the EP captures this thought, with the coexistence of beauty and death on the flowers depicting hope despite the disintegration around it. A regular feature of the EP is the use of organic textures and natural sounds recorded from his surroundings.

[su_youtube url=”https://www.youtube.com/watch?v=l2oC_qNmp8s”]

After its release, the first single “Colours” garnered over 150,000 streams in the first week alone and entered the German iTunes Electronic Charts, and continues to do well across Austrian airways. His talent hasn’t gone unnoticed by the industry’s tastemakers, earning great reviews from the likes of Eton Messy, Annie Mac, Dummy Mag and XLR8R.

You can follow Motsa on Facebook, Instagram, Twitter and Soundcloud.

Bonus: You can listen to his first single “Colours” below.

Her approach to pop music is through experimentation with her own voice and sounds creating a melting-pot of electronic vibes, lo-fi music and dream-pop. Being inspired by eggs, memes and nostalgia, Elle Tayla (her name in mogul life) took some time to answer to some of our questions.

Highclouds: Can you introduce yourself to our readers that don’t know you yet?

I’m just your typical egg-loving girl who likes making dreamy beats.

What is your musical background and when did you start making music?

I learnt guitar for quite a few of my high school years and taught myself how to sing when I hit year 10. But it was only after I moved to Melbourne a few years later that I started to teach myself how to use programs like Logic and equipment that would allow me to record and produce the music that I wanted to make.

What does your name mean?

It’s just a reference to eggs and I threw a double “L” in there because my name “Elle” has two “Ls” as well.

How would you describe your music?

Overall I’d describe it as dreamy and lo-fi. But a review recently came out that described my music as “dark dance” electronica which is also pretty spot on.

What can you tell us about your first release “Return To Sender”?

It got a bit of everything, synths, vibes, ambience, angst. It’s a nostalgic song about letting go.

Australia is getting a lot of attention thanks to their amazing approach on pop music. Why do you think Australia exports so many good pop songs?

I think we just have a community that thrives off live music and the social aspect of going to gigs and festivals. Especially in Melbourne. From there it makes it so easy for musicians to befriend one another, refer each other to places and people that can help them out and get their music out to the public.

“I just love getting inspired by what my peers are doing and making.” – Yollks

How does your country influence your music?

I just love getting inspired by what my peers are doing and making. I think it’s easy for people to look at someone who’s doing really well or making really great tunes and feel jealous or envious, but for me I like to draw inspiration from people like that instead because then it’s always going to result in me improving and stepping up my game.

What can you tell about your future, Yollks?

There are a lot of memes involved.

What can we expect from you?

More tunes and more gigs!

What advice would you give to young artists who are about to release their debut track?

Promote it! Don’t be afraid to hit up blogs and media and get them to review it/post about it.

Do you have any songs to recommend us right now?

“Wooden Moon” by HUIAS is always a fave of mine.

You can follow Yollks on Facebook, Soundcloud and Instagram.

More sweet and calm than his previous banger “Test,” the singer is showing a more intimate and fragile part of himself. Repeating “What you looking for, what you looking for, hope you find,” the track is nothing more than a open letter about love.

Saro is creating an impressive debut for his career, since his previous tracks were acclaimed by the critics, putting a lot of excitement for his debut EP. Setting an entire mysterious character around himself, we are intrigued about what might come in the near future. For now, you can follow him on Facebook, Twitter and Soundcloud. You can also listen to Saro‘s “Test” and a remix by Busy Busy below.

[su_spacer]

“Powerless” will be part of the songs on the electronic trio’s self-titled EP that should be out soon. The song has a heavy and rhythmic electro tune as well as emotive synths that are punctuated with lead singer Louise Penman’s vocals. The song was mixed by producer Scott Horscroft at Grove Studios.

While the group’s debut EP seems far away, the trio has been sharing the stage with City Calm Down, Vera Blue and Melanie Martinez. The group will be back in the studio very soon, to finish the recording of their upcoming EP. For now, you can follow them on Facebook, Twitter and Instagram.

Bonus:You can listen to Lilt‘s track “Wait No More” below.

Capturing the essence of the Scandinavian music, the duo carries us to the altitude thanks to their dreamy vibes and sensual saxophones. Creating a duality between the cold electronic sounds with the steamy floating sax, Mono Mono truly deserve your attention.

Painting the landscapes of cold in Northern Europe, they don’t lose touch with their humanity, allowing us to warm our hearts. Reaching over 100.000 plays with their previous works, we can assure you that this isn’t the last time you’ll be hearing from them. You can follow Mono Mono over Facebook, Spotify and Soundcloud. You can also listen to their previous track “CityLights” below.