You have arrived at Utopia District, the premiere destination for vaporwave, future funk & internet music, art, culture, and community! Feel free to visit our website! https://utopiadistrict.com
Hello and welcome back to the Utopia District podcast! ✨ Grab your TV dinner and sit back with us as we reminisce over our massive two-dayLATE NIGHT LIGHTS IIlate night lo fi and vaporwave URL festival, from back on July 16th and 17th, 2022. Find all the musicians and visual/video artist details on the official website at latenightlofi.com!
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Late Night Lights wouldn’t exist if it weren’t for the musicians make it up. We are thrilled and honored to work with each and every artist here.
1amBluntz, ADHDNFLBLITZ, Aexion, AGNAR, Ancient Fan Death Studios, b l u e s c r e e n, BABEFAKE, bl00dwave, ｂｏｄｙｌｉｎｅ, channel select, Chiba City Blues, Clipart Gallery (Patryk Films), Cologne Terminal, Computer Dreams, Cube Underlord, CVLTVRΣ, delaberry, Digi, Enraile, Entrana, exquisite nights, Fornax Void, FutureFunkRocker, General Translator, Gentlemen Lounge Dining Cult, Golden Living Room, Hantasi, Incarta’95, Infinity Frequencies, INTERNET CLUB, Jade, Limousine, Lost Traveler ロスト, luxury elite, MindSpring Memories, Notorious Secret, Opus Science Collective, P A T H S パス, Paradise of Yesterday, Penthouse Suite, Prekursor, PUDERPOLLI, S.a.x, Seggito, Sport3000, strip_silence, SYLLABUS, That’s Matt!, thor cb, Topaz Gang, TV2, Unknown Caller, VAAV SOCIAL CLUB, Vaporsoftworks, VentureX, VHS Logos, VHSテープリワインダー, VITO JAMES GENOVESE, Xenon Masters, Xiomara, YUNG CRYSTAL ネオン, 식료품groceries (JPEGSTRIPES), 회사AUTO, and ミスト M Y S T!
Find all the musician details on the official website, with samples of their work, and where to follow them! https://latenightlofi.com
VISUAL ARTISTS
These people do incredible work bringing music to life with their video art and masterful visual production.
We put a lot of work into bringing out our idea of the late night lo fi aesthetic, and are very proud of what we managed to accomplish for our visual design of the event. Hopefully we can transport everyone into our universe and give you an ultimate late night lo fi experience you’ll never forget! This event has been a massive undertaking, and it wouldn’t be possible without your support If you have a minute, feel free to give us a follow on our various platforms to stay up to date with what we have going on! It really helps us keep the lights on. Thank you!!
Please note, this piece was originally conceived back in 2019, and as such, may offer different representations of some corners of the scene than would be applicable today.
PART 1: Introduction
When it comes to defining the most finite sentiments that vaporwave has offered on a consistent basis throughout its now decade-long history, arguably no other concept has been hammered on more prominently than corporate culture. Ever since its inception, this genre obsessed itself with everything that the market world, mega conglomerates, and structural capitalism as a whole have come to represent in the very recent past.
We can claim this “very recent past” as beginning in the 1980s in America with the rest of the world to follow. Factors like high market saturation and resulting economic prosperity enjoyed by the world’s richest companies inadvertently produced a telling byproduct: capitalism’s intersection with mass media and the deep, dark realms of endless advertising.
With the world presenting this facade of pure wonder under the veils of the economic boom, advertisers capitalized if you will, on the general public’s willingness to spend their money and live as carefree a life as they could, with marketing to match this level of wonderment. Because the most fortunate of citizens had the financial means to do so, they let themselves fall under a spell of blissful ignorance as they flocked to new and exciting paradises dubbed “shopping malls.” Here, they could add to their already growing and mood-reflecting wardrobe of saturating colors and patterns.
These consumers expressed this sense of materialistic bliss through happy-go-lucky pop tunes full of synthesizers and blasting drums, two facets that perfectly complemented all the fun they were having with their perceived sense of safety, sustenance, and self-worth. It was as if even the worst parts of the Cold War era had no effect on the next day. These negative aspects only existed for a second in their minds, because they would just move on the next day and keep living what can only be described as “a life worth celebrating.” It was truly a period in the history of display media that comes off as spotless in every single way — marking a continuous, pristine image of advertising day by day to naive consumers. It was an era that’s easy to desire living through if you hadn’t, and just as easy to desperately want to return to if you had.
This period, of course, led us to where we are today. In this modern world that is so far off from those seemingly gleeful and almost too-perfect times, we as consumers are left with the remains of an era lost to the inevitable realization that maybe capitalism isn’t as functional, ideal, or sustainable as it once portrayed itself through the lens of advertisements.
This moment right here… this is where the tenets of vaporwave first start to crystallize. Those perceived pleasures through the eyes of mass media we were talking about? They were exactly that: perceptions. Two separate, yet balanced sides to this vaporwave coin. They each provide vivid pictures of how this genre tackles the concept of corporate hypocrisies.
Vaporwave has and always will retain an essence of corporate life. The word itself is derived from the concept of “vaporware,” technologies that were (often deliberately) advertised but never officially brought to market. It’s a genre that reflects the general resentment of those who promise extravagant products with no intention to actually create or deliver. It also exudes this sense of high class or a luxurious standard of living through its audio aspects, its imagery, and its overall narrative as a whole.
But therein lies the central question: does this genre lean more towards a pure celebration of this time, or an endless, despondent critique of it? The answer certainly isn’t clear, and it actually raises the following question: does a true answer even exist at all?
We may never learn these illustrious truths unless we look back to how we’ve reached this point in the ten-plus years that vaporwave has existed. With that, an exploration of the confounding history of “vaporwave’s corporate dichotomy” is all-too-necessary.
Perhaps the easiest way of analyzing this underlying notion within vaporwave is to dissect its seemingly infinite facets. As it stands in this present analysis, that would mean looking back and aligning which subgenres of vaporwave best fit the mold of both the positive and negative commentaries on the state of capitalism.
Again, it must be reiterated that these two sides are genuinely equal in their weight on the genre. As remarkable as it may seem, each perspective has been taken on and given as much runtime and artistic dedication as the other, which effectively cements this case as wholly unique and practically exclusive to this genre. But to move away from obsessing over this exposition, let’s start on the brighter side of this disunion and take a look at the subgenres that see corporate culture in the most laudatory of lights.
Arguably the most clear-cut, obvious, yet exceptionally necessary depiction of this sentiment is found in the realm of future funk. This genre, in essence, embodies all things characteristic of grander society’s collective mood, mindset, and overall state of being under the shroud of capitalism — a state of being that can only be described as pure and utter ignorance. Using the word “ignorance” here may entail some sort of negative connotation in one’s mind, but just as vaporwave as a whole struggles to hold a stable overtone on certain terms, so too does future funk in this case.
Rather than accepting that negative connotation, future funk takes its positive aspects and ramps them up to an all-too-vivid and exhilaratingly joyous degree. From its visuals right down to the music itself, the genre is the most ideal soundtrack for an “ignorant” society. It’s the sound of citizens cohesively ignoring any and all bad things around them and relishing in the bright and happy material world that is presented to them, whether virtual or not. They are relishing in the moment.
The genre’s sonics reflect this notion extremely well due to a myriad of signature aspects that vapor-listeners know all too well at this point. Take for instance its instrumental components — those pounding kick drums and glistening synths that are meant to engulf the listener with a sense of energy and wonder at the same time. Draped atop those components are often repeating riffs of insignificant vocal passages that are only meant to aid the mood of the song rather than capture any thematic or meaningful sentiment.
Two central factors in enjoying future funk are how the music feels to the listener, and how the visuals portray what is being heard. These striking scenes of busy city life during the day and night alike — they evoke that sentiment so powerfully because, well, who cares about thinking deep when you’re having so much fun and living in that aforementioned moment?
That idea is exactly how future funk takes this sense of ignorance and puts the most blissful of spins on it. It recognizes that living under this corporate umbrella can be undeniably hectic, yet so intoxicating at the same time — so why not revel in its wonderment? Why not take on this fast-paced, capitalistic lifestyle with music that matches its velocity?
Well if it isn’t obvious enough already, you begin to fall deeper and deeper down this path of ignorance the more you accept the “right” answers to these questions while experiencing this genre. It gets to a point where there has to be something more to this life than what’s being presented to us at that moment — something festering behind this endless stream of commercials and city life.
Believe it or not, these speculations couldn’t be more valid; there exists an entire subgenre that embraces these corporate cues just as openly as future funk does, but in a far more restrained sense.
PART 3: Utilize Your Impact
Here we arrive at “utopian virtual,” the vaporwave genre with a whole different way to express its love for the corporate world. But unlike future funk, utopian virtual sees its ideals falling more within the realms of acceptance and admission of the capitalistic mindset rather than blissfully living amongst its luxuries. This genre takes the everyday world for what it is, and instead of feeding into any sort of critical vitriol for all of its most negative features, it presents a counter-mindset to what is perceived as evil by the loudest of critics.
Arguably the two biggest themes that this genre calls its own are “recognition” and “compliance.”
“Recognition” in the sense that it calls upon society to recognize that the world will never see its oversaturated fixation on advertisements and collective branding go away. Because if anything, it is only going to become stronger and even more all-encompassing. And “compliance” in the sense that instead of putting up a fight against this environment as it stands (and will continue to stand,) it is more optimal to celebrate this culture and engulf ourselves in its admittedly endless benefits.
It presents an all-too-realistic depiction of an ordinary 9-5 workday, where one’s biggest rewards are a coffee from Starbucks in the morning, an efficient and productive day at the office in the afternoon, and a McDonald’s dinner for the entire family to enjoy. All in a day’s work — now do it all again tomorrow.
This mundane and unexciting style of life is presented through the most complimentary light possible, with the genre focused on making every single day as impactful and ultra-productive as it possibly can be. You experience this through the texture and environments of the music; jaunty and subdued sonic passages that often incorporate the sounds of office life, mobile devices, or your typical quick stop at the local fast-food restaurant during break time. The music itself inspires this rat-race style of motivation through oval sentiments that almost hypnotically coax you to get as much work done as possible in order to adhere to that necessity for capital, for endless quarterly growth, that necessity to succeed, that necessity to keep living…
The fact that the genre can present this daily routine with such positivity and idealism is arguably its most fascinating feature, and one that is made even more fascinating when juxtaposed against the openly detracting genres that see this world just as vividly, but under a completely opposing viewpoint. This concept of needing to succeed and keep living at the hands of capitalism just doesn’t appear to be the most accurate depiction of reality. A third dimension must exist — one rooted in tragic realism.
Tackling the other side of this coin is quite a bit more depressing and disheartening. Especially so when considering the light-hearted and apparently perfect world that both future funk and utopian virtual create. But it is a side that deserves just as much consideration and, like it or not, has just as much weight on the realities of the world we live in today as its counterpart. The vaporwave antithesis to all things great in the corporate world can be most prominently found in the subgenres like “faux-utopian” and others akin to it.
Subgenres like this have aroused the ire of some in the vaporwave community for various reasons. They criticize them for being too broad and loosely defined as a whole, for example. Despite this, their collective sound and thematic elements are enough to serve as the best example of how we reject corporate culture. Even as we embrace or resign ourselves to this very culture, the same fact remains true. Whereas future funk and utopian virtual paint a world full of optimism, gleefulness, and sincerity, this area of vaporwave sees that same world and completely indulges in nearly every single mishap, failure, and resulting catastrophe that has occurred at the hands of capitalism since its once-unquestioned era.
It obsesses over the themes of lost love, lost passion, and a lost sense of being. And instead of blaming anything else for these things, it berates those who have made this world so empty for them from their point of view: the untouchable, the invincible, the ones with all the power, the ones with capital. No better word describes this viewpoint and corresponding feeling than “emptiness” as it is, and in doing so, it also best represents the meeting of this style’s themes and musicality as well.
This style goes completely against the tight, controlled, and easily accessible compositions that the other two genres have to offer. It mirrors its unquestionably seclusive motifs with either long and drawn out passages of pure aura and atmosphere, or through a deconstruction of those previously mentioned positive elements. All of these aspects combine to illustrate an intentionally distasteful and unsettling commentary. That distaste falls back on the concept of recognition as described before. Instead of recognizing the positive perceptions of the corporate world, this genre recognizes every single negative facet that comes about as a result of feeding into that “ignorant” mindset.
This despair is completely rational, it is nothing that is extrinsically fabricated. And yet, the other side is just as real too. Somehow, someway, vaporwave was able to take a completely divisive concept and intensify its highest highs and lowest lows within two entirely separate visual, audio, and thematic styles respectively.
Because these two contrasting viewpoints are emphasized to their most radical and almost unattainable degrees, we really cannot come up with an answer to our central question: whether we show more love or hate for the corporate world. Perhaps the only way we could come up with something is to enter the intersection between the two — a single instance of vaporwave that, in itself, depicts both points of view in its wake. To do this, we must enter the hub of all things corporate. We must enter the mall.
No place, no setting, no structure, better represents both contrasting sides of vaporwave’s fixation with the corporate world than what can only be described as the pinnacle of consumer culture. The shopping mall is without question the defining mark for this dichotomy; it represents the themes, spirit, and general reasoning of both sides of this struggle in full. Of course, vaporwave’s obsession with the concept of the mall revolves primarily around its corresponding medium of artistic translation: the ever-popular subgenre of mallsoft.
Mallsoft takes the visuals, audio, and feelings of this physically and psychologically massive structure and places them in various, distinct situations. While some reflect a sincere enjoyment of consumer culture and the participation in the capitalist lifestyle, others choose to present a state of abandonment, lost hope, and decay as a result of that glittering world’s economic changes and proceeding failures. These two perspectives blatantly portray our conflict from each side, and the reason it’s so significant that the genre can accomplish this is that it allows for a narrative to be constructed.
Through experiencing mallsoft, we can visually see the history of how we got to this point, and as a result of this, we can better identify why each side of this debate conveys the respective themes as they do. Take the journey from the whimsical nostalgia heard on an album like Disconscious’ Hologram Plaza, and follow it up with a desolate wasteland of a listen like Hantasi’s Vacant Places. That chronology is illustrated artfully. We can feel sympathy for those that want to live in a wholly perfect world where one’s only worry is if they’ll be able to get all the products they want by the time the mall closes.
At the same time, we can also better understand the reasons this mindset led to such peril and despair via the sheer decay of these malls in the subsequent years. That depressing aura you feel when listening to any particular project that indulges in the dreadful world of deterioration, disintegration, and corrosion that most malls have succumbed to is felt as sharply as can be.
But back on the other side, there still exists a fleeting hope to return to a time that, for the most part, has been completely erased from history… all except for the undemolished remains of these abandoned structures. That’s why the idea of the mallsoft narrative works so well: it presents each viewpoint as if a story is being told, and a true story at that. In doing so, it gives us a partially conclusive answer to this subject as it stands.
PART 6: Conclusion
Okay, so maybe our central question hasn’t been directly answered, but that does not mean we’re without any form of resolution. Through the intersecting viewpoints provided by the pure narrative essence of mallsoft, we can reasonably claim that vaporwave perhaps should not strive for a collective agreement on the state of corporate culture, but should simply draw their own interpretations on it based off of admiring both the historic and contemporary state of the world.
In doing so, we are able to acquire evidence as to why we might adore the capitalistic world of the past, or despise the state it is in right now. Both perspectives, if it hasn’t been said enough, do have equal weight, especially through the lens of vaporwave. And that just proves that this genre does more than the average style of music, art, or any other form of expression as a whole when it comes to redefining what it means to historicize and conceptualize certain facets of society in a completely nuanced way.
Only vaporwave could ever accomplish this, and we have to give it credit for that. Coming to these stark realizations serves to reiterate the following points: there are no right answers in this genre, no single way of thinking, and no collective agreements.
The corporate world will always exist, and though its form may change in both positive and negative ways, vaporwave will always be there to present the most realistic takeaways from these changes in our current day and age.
Hello and welcome back to the Utopia District podcast! ✨ Today we sit down with Nintendo Switch game developer Jose Abreu and music composer Skule Toyama and their new future funk inspired musical shooter video game, PopSlinger! Join us for a deep dive into the development of the game, discussions on the childhood inspirations from the director and composer, and ruminations on the game from inception to publishing with Nintendo.
You have arrived at Utopia District, the premiere destination for vaporwave, future funk & internet music, art, culture, and community! Feel free to visit our website! https://utopiadistrict.com
Hello and welcome back to the Utopia District podcast! ✨ We’ve got a fun episode for you today, so kick back as Indy and the UD team cover some latest vaporwave news, look at our Aesthetic Archives, discuss upcoming vaporwave events, and break down the recent Utopia District Christmas special. A wrap up of another great year of Vaporwave with a fond look back at Utopia District and the vaporwave communities favorite albums of 2021. Join Indy, Gbanas92, DJ Nonn, Maxemus, Charavale, mallbert, and Pizza SLT for this great episode!
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Celebrating the wonderful work by vaporwave and adjacentartists from 2021!
Published January 12, 2022
A toast to some of our favorite vaporwave, future funk, and adjacent albums from 2021, chosen by the vaporwave community! Take a moment and peruse some of what we think were the best albums from 2021!
For reading accompaniment, check out our latest podcast episode where we discuss the
article and celebrate the vaporwave of 2021!
The current chaos of the world can be overwhelming, so the beautiful simplicity of L a t e N i g h t T V makes for a relaxing getaway. The warmth of fuzzy TV static over soft instrumentals creates a soothing atmosphere throughout the short album. Like the blurred city lights on the cover, a hazy cloud of comfort takes hold in each track.
When you’ve been producing upwards of 50 projects a year since the mid-2010s, it’s safe to say a short retrospective or two wouldn’t hurt. Longtime vapor progenitor waterfront dining has given us two such examples of these projects, with the latter compilation, essentials II, hitting Bandcamp in 2021. The delicate sounds of late-millennium pop and R&B are heard in droves here as always, all wrapped up in a digestible package that chronicles just a small portion of this icon’s immense discography.
PARADISEပေါ်တယ်PORTAL by Vįr+üål Åįrßñß & h º r ¡ z º n щ ¡ r e l e s s
Both artists work to compliment each other on this beachside, mallsoft journey. Vįr+üål Åįrßñß provides an atmospheric blend of ambient mallsoft while h º r ¡ z º n щ ¡ r e l e s s offers a more rhythmic style of track that stays in your head long after listening. I fell in love with both artists in 2021 and this album was a huge reason why.
The album’s Venetian flair and early 3D-renders in its artwork help set the stage for a whimsical, yet delicate ballad of a creative and well written soundscape; Sit back and enjoy this romantic vapor performance 🎭
Asutenki’s World Guide albums have always appealed to me (1987 Weather Guide is one of my favorite vapor-adjacent releases), so when he announced he would be releasing an album every day of December, I was hoping for some gems. He really knocked it out of the park with World Guide! Expertly produced funky quasi-signalwave really hits different when you’re having a bad day. I’d highly suggest checking this one out primarily for the samples used, as well as the kick and claps that are present in most tracks.
Hollywood Burns have yet again captured the excitement, the darkness and general intensity of an alien invasion movie in this, their sophomore album. Demonstrating a versatility not many other artists can boast of, HB cover a wide range of emotions, from the tranquil and meditative sections in “A Moment of Bliss,” to the smarmy terror of “Saturday Night Screamer,” and the heady Scorpions-like excitement of “Skylords.” All of this is unified by smooth and melodic synth sections, paired with merciless guitar passages, creating that signature dramatic sound.
An incredible and, (unfortunately) criminally overlooked album that masterfully utilizes ultra high quality sound effects, textures, blips, and samples to create a warm and mysterious atmosphere. The highly intricate production on each individual element in the mix keeps even the most minimalist tracks interesting and completely captivating. Truly an amazing and unique listen!
Vaporwave has a reputation for being two things: lazy and depressing. It is awesome to come across an album that is neither of these things. This album paints a musical soundscape that is only found on some of the best works of the genre and has a sound unlike anything else I have heard in the scene. For synthesizer fans, this should be mandatory listening, as Bathroom Plants puts the instrument through its paces in every imaginable way, to create a future that seems bright, hopeful, and with any luck, COVID free. With this relatively new artist putting out work that sounds like it came from a veteran, I cannot wait to see what he comes out with next.
There’ve been a lot of great vaporwave albums this year. I wish I didn’t have to choose just one, but I think this is one that I’ve enjoyed the most and would definitely recommend checking out. It’s got some fantastic jazzy vibes throughout and a nice Sade remix at the end. In my opinion, it’s one of the best so far in the fairly new “barber beats” genre.
Cold Nite Satellite Jams by Cube Underlord and Late Arcane
This album, produced by two of my very good friends, completely knocked me out the first time I heard it, because it instantly transported me back to 2016 when I had just discovered vaporwave and listened to Chuck Person’s Eccojams for the first time. It fills a spot in my heart that I feel like a lot of vaporwave albums nowadays fail to reach. Hazy, disjointed, nostalgic, half-recognizable, glitchy, uncanny, and at times, touching and comforting. The only other album that filled that spot for me in 2021 was death’s dynamic shroud.wmv’s Sleepless, which has similar qualities, but Cold Nite wins by a slim margin. It’s a shame, I feel like it went a bit under the radar! Makes me wonder how many other vapor gems are hiding out there.
Faith in Persona is a masterclass in sample-based composition. It’s an instant vaporwave classic for the modern age, yet simultaneously one that transcends the genre. DDS has mined gold from their source material, and with it, created a cohesive and unexplored world that only gets richer with repeated listens.
This album is a fantastic example of the ‘vaporwave zero’ genre which seems to be an upcoming genre based on lots of vaporwave mixed with breakbeat/jungle era music. This album shows a fantastic use of samples mixed with original music and Simple Syrup shows an absolute mastery of the sample-based and sample-free music games.
Like what you’re reading? Check out Pad Chennington’s Top 5 Vaporwave Albums of 2021!
You may be tempted to see the artist’s Bandcamp and immediately dismiss this as yet another vaporwave-tagged shitpost album, but I promise you this is some of the finest party funk you’ve ever heard. DJ GULFWAR HEATMAP does an excellent job, combining vaporwave and his own unique brand of edm in a way that doesn’t feel too much like one or the other. A particularly impressive skill of his is restructuring his samples to create new riffs (if you’ve sat in on his twitch streams as much as I have, you’ll know how insane his chopping skills are). I really hope this producer becomes one of the big names to watch in 2022.
Sounds from the Black Lodge: The Return – A Tribute to Twin Peaks, Vol. II
This is a massive album beautifully packaged on two cassettes. The art is phenomenal on the case, as is the printing on the cassettes themselves. As much as it pains me to admit, I walked into this album completely blind to Twin Peaks. I did not need to know anything about the series to enjoy this haunting sonic journey into the unknown. Driving beats lead you through steep tension as the album progresses. A very easy listen from start to finish, it was challenging for me to pick only one track I liked the most. I think this album has something for everyone, even if you are not familiar with the source inspiration. This album has given me the curiosity to check out Twin Peaks ASAP. My only regret was not picking up a physical copy when I had the chance.
There is a biological phenomenon defined as the sensation of becoming rapidly immersed in cold water from a warm state: cold shock. Known as one of the most intense stimuli the body can encounter, it, oddly enough, opens the doorway for one of the most blissful as well. Recovery from cold shock by immersion in hot water replaces all that pain and panic with a serene sense of warmth and calm. Paradise Tension is cold shock for your ears. It lulls you with resonating nostalgic loops in classic vapor style, only to suddenly – sometimes mid-song – cut to dark, sadistic, glitched-out beats, like tripping from a cloud in heaven and plunging directly to hell. But with sin comes salvation, and when the euphonic melodies return they bring with them a sensation of pure ecstasy. Either of this album’s two faces would be solid on their own. The sample-manipulation is superbly beautiful, and the glitch-breaks showcase supreme technical skill. But the artful tension between paradise and perdition elevate this to my vaporwave album of the year.
One Mind Stand has done a fantastic job creating some of the most creative mashups I’ve ever had the pleasure of listening to. There are so many different emotions being expressed through the songs at the same time but it all works so beautifully.
I imagined a FNAF inspired vaporwave album to be more ambient and horror-esque. This showed me a new light that art doesn’t have to be taken for what it is most commonly known for. This really captured the timeline of the games story rather than the horror of the games themselves. Brilliantly well done alternate perspective.
Trying to keep on top of all the new vaporwave releases means I rarely get to spend a lot of time with an album. To have any hope of keeping up, I can usually listen to something once, and then I have to move on. So that’s why it’s astonishing that I’ve listened to autogrill closer to thirty times. The music manages to combine the surreal unease of driving alone late at night with something more…hopeful. The synth tones are cheery, and the various sounds optimistically alluring. The entire album doesn’t even clock in at 10 minutes, but I find myself coming back to it again and again. And despite the fact it came out the first month of 2021, it stuck with me through the entire year, never wavering in its presence.
ELEKTRIC DREAMS BACK AT IT ONCE A MF AGAIN WITH THAT VAPORFUNK MY WAY. Anno 2352 was one of the initial albums I peeped that got me into vaporwave and ED. keeps that same groovy magic here in Forever. The funkiness of this album just makes me have this vision of Shaggy from Scooby Doo boogying in the underground secret disco club that no one has ever seen or even knew existed underneath Portland’s skyscraper-filled city.
A silky smooth classic vaporwave album consisting of perfectly chopped 2000s nostalgic R&B/Soul samples. If any style of music could be called “sexy,” this would be it.
Luxury Elite’s surprise love letter to her partner, THE HOMIE and beloved vaporwave DJ Yung Shiro, Lux takes her core production style to even greater heights this time around, bringing in a crunchy thickness to a rich lovingly crafted soundscape. A brilliant arrangement and flow of tracks that blend from song to song as Lux applies her magic touch to unify her samples and bring them together as a perfect treasure and cohesive package.
This album has become THE soundtrack to my yoga routine. Barber beats and mindful exercise, who knew! I highly recommend you give it a try. It just might open your mind to all new possibilities.
Oneiromancy and the Memories of a Past Life by クリスタルKITSUNE
This future funk album was my most played in the genre for 2021. The samples are fantastic, catchy and filled that moody aesthetic only クリスタルKITSUNE is able to pull off. Even though every track is high in tempo, there is an element of somberness between the beats and that is what draws me into the album. It’ll be on Spotify repeat going into the new year for sure.
There’s something really magical about Who from 1am バイブBlunts. This ambient vapor album feels ethereal and flooded with emotions and introspective feelings that never fail to put me in a trance with its beautiful melodies. Truly a masterpiece.
Sounds For the Office, and by extent, the rest of the work produced by Floridian artist Kody (a.k.a. コディ), seems (if inadvertently) built to strike a chord that has been particularly important in recent years. It feels constructed not for the sake of pushing immediate product or out of necessity to build community presence, but rather to present ideas and soundscapes that the artist found interest in building. While the idea of an office-themed album focusing on chopped muzak is certainly not new, the presentation and execution of it are emblematic of the root purpose for creating vaporwave, which direly needs a revisitation in the current era: Sampling and creating with the intent of personal expression, while expressing it in the most earnest, human way possible.
My favourite vaporwave album this year was Froggywave Vol. 1 from Mossy Frog Tapes. Although I’m a little biased being part of the project and all, I think it really was a great release with lots of awesome tunes on it! The vapor vinyl community really came together to create an amazing compilation of tracks, from some upbeat bumpin’ future funk, to some more laid back classic vapor-esque tracks, along with some ambient cuts as well! It really shows off the talent we have in the community and I’m really grateful to have been a part of it.
Earth Boy Advance’s self-titled is all about the blend. Flavors of idm, chiptunes, vaporwave and house all coalesce in a way that is seamless yet constantly traveling. You don’t know where exactly the adventure will take you next, but you do know you’ll be groovin’ along the way. Many tracks here have what I like to call the “microgroove,” where the frenetic yet delicate percussion keeps things spicy while the song’s energy level is simultaneously in cruise. It’s like I’m in the club, but I’m also underwater in a little submarine zoomin’ past some cool fish.
I absolutely love the ever-expanding experimental vapor universe, but I’m also sure glad that someone can still create something that makes me feel that purity and wonder like I’m listening to vaporwave for the first time again.
This has to be one of the best VHS Pop albums I’ve heard, and easily my favorite from the extremely talented A R I S T U R T L E. Soulful samples, jazzy saxes, lo-fi synths and bumpin’ beats combine to create a supremely nostalgic, late-night TV soundscape alive with Hip-Hop and R&B flavors. My pick for one of the best vapor releases of 2021.
Even if Strawberry Station wasn’t a friend of mine, this album would feel like it was made by one. Filled with warmth, hope, loneliness, wondering, and all the feelings in between, this is the kind of album that could only be written from the heart—like an old, dear friend returning home to share the stories from a very special journey.
DJ Prom Knight’s I’m Not In Love takes the spot for one of my top albums to come out of 2021. He’s got this signature style of slush that pushes boundaries most in the subgenre won’t cross. Just blissfully refreshing while staying well rooted in this scene of samples.
l u n a r l e I s u r e l i v i n g by a r c t i c b l a s t
As a lover of classic vaporwave, this album represents what real vaporwave is…manufactured nostalgia from a time period you never experienced. It’s not just a selection of catchy melodies and beats. You’re being told the story of commercialized space travel.
ELECTRONIXOTICA blends the low fidelity sounds of hypnagogic pop and the sample manipulation of vaporwave. There are some really good loops in here and the chorus, wow, and flutter add a lot of character to the tracks. It really reminds me of when I used to stay up all night watching boomerang when I was a little kid. Origami Vato (known as Pallida Mars on the album) is really good at capturing that late night lofi vibe.
Relaxed, immersive, transient, and trance inducing, I’ve easily listened to this album a couple dozen times. The airy ambient pads throughout the album are contrasted nicely by thick, hard hitting, and infectiously groovy bass lines that are very prominently featured track to track. There are so many subtleties and added textures that help fill the sound out, while showing just enough restraint to ensure each instrument has its voice heard. One of the cleanest vaporwave albums I’ve heard, and an easy pick for my favorite album of the year.
A really funky joint venture. Both artists bring their chopping styles to the table to create 30 minutes filled with memorable and catchy chops. This album is a promising debut project for Fvert and a really strong sophomore effort for Cherry Condos.
Often our memories manifest not in an index, but in a cluster of sorts. Video forum is an expert at helping me remember memories I long forgot, and memories I wish I had. I’ll never forget the memories I also made while listening to this one. Be sure to download for an additional hidden bonus track.
There are times I feel it’s important to sit in a dark place and turn off. These moments of dissociation I believe allow one to explore alternate avenues of thought, leading to new experiences and epiphanies. Channel of Dreams consistently has been able to bring me to a place where this is possible and 苦難之城 (City Of Misery) this year was no exception. If you’re looking to explore some more melancholic themes I highly recommend you give this a listen.
VIRTUAL PLEASURE is a new up-and-coming talented vaporwave producer in the barber beats scene. Their album, 病理学的思考 exemplifies the best of what barber beats has to offer, with its minimalist yet sophisticated jazzy production. Listening to this album truly is a virtual pleasure and the music speaks for itself.
Lost Traveler is new to the scene and already captures those classic vibes, ending 2021 on a strong note with Twin Elegance. If you like late night lofi listen to this.
2021 was a year of experimentation as far as my listen habits were concerned. Usually, I stick to playlists or a handful of Vaporwave artists, but this year I tried to immerse myself in full albums and projects. If my Spotify Wrapped is anything to go by, the two artists I stuck around with the most were 3D Blast and Death’s Dynamic Shroud. Had Faith in Persona come out earlier in the year I might have picked that album, but by far the album I most returned to was Music: Here to Stay by 3D Blast. The beautiful mix of samples and the delicate balance between bangers and memes had me hooked from the first listen. It came out early in the year, but it was a great way to start off 2021.
Favorite track: Earth Worlder (feat. The Wizard of Loneliness)
When I am listening to this Ep it makes me feel happy to be alive and it also makes me want to open a pit up and mosh in my bedroom at 4:00 AM ACTIVE PRESENCE has a entire discography full of hyper heaters that every vapor nerd needs to have in there bandcamp collection.
Detroit has a history of producing some fantastic music, and Kawsaki’s CITY FUNK is certainly no exception to that. The album delivers fresh, high-energy tracks that make you want to dance all night (or day), and splashes just the right amount of vocal samples to polish it out nicely. Not only does it manage to capture the attention of your ears and feet, it also seems to tell a compelling story as you spend your evening traveling through the city, moving from party to party. CITY FUNK is just the kind of thing a weary world might need after a long year. I’m really looking forward to seeing what Kawsaki has up their sleeve for 2022. Be sure to check out their other releases too, especially Designing The Future.
Favorite track: Elite Reality
That wraps it up! Hopefully there was at least one album here that sparked your interest!
Be sure to give the artists a follow on Bandcamp! Happy 2022!
Check out our latest podcast episode where we discuss the article and celebrate the vaporwave of 2021!
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We’ve got a fun episode for you today, so kick back as Indy and the UD team look back over the past 20 years and look at what we’ve lost as a byproduct of shifting to new technologies. Join DemoDawg, Maxemus, AbyssyallSea, Mallbert, and Pizza SLT for on this hilarious and thought provoking chat!
You have arrived at Utopia District, the premiere destination for vaporwave, future funk & internet music, art, culture, and community! Feel free to visit our website! https://utopiadistrict.com
Follow us on your favourite Podcast Platform!
Welcome, and please enjoy your stay!
Join us in this marvelous episode of the Utopia District Podcast for a Fashionable Entrance (mind the Indy’s audio issues in the beginning bit!). Welcoming new staff members Interro and Jupiter while kicking it old-school with some original classic homies, appreciating vaporwave fashion, diving into some vaporwave games and movies, including a segment on Jupiter’s brand new YouTube series: Max Head Reviews, coming to Utopia District in the near future. An episode you won’t want to miss, and a video episode at that! Catch us at YouTube youtube.com/c/utopiadistrict to watch the video, otherwise find the episode on your favourite Podcast network!
– Methods for discovering new and interesting vaporwave
– Approaches on using social media to become more a part of the community
– Utopia District One Year Anniversary! Coming up very soon!
– Is the internet in decay?
– The Land Before Time & other nostalgic films
– Early 90s animation styles, The Minds Eye, Reboot, Jimmy Neutron
– What you lose when re-creating old art
– Background sounds cause nostalgia in vaporwave, liminality
We are thrilled to be sitting down with Groovy Kaiju (FKA Groovy Godzilla) in the UD studio! Join us for a jam packed episode of groovy proportions! Hailing from Long Beach, California, Aaron has been producing music under the name Groovy Kaiju/Godzilla since 2014 and runs music label / collective Oceanfront Online. He also performs under monikers Marquice Turner & Aviscerall. Please enjoy this amazing conversation with one of the communities greatest!
A low level buzz heralds the start of NYX. A little glimpse of the general hue of warm feedback that follows pretty much throughout the release. There’s a sound like some unfathomably large freight train peeling out of a gnarled, gothic station; but as the atmosphere settles a similar sound emerges at a different pitch, clarifying that what we hear is a melodic sequence rather than a sound effect. The hybridization of fizzling static and muffled angelic pads was the cause of such a shocking and intense beginning, but the two aspects separate fairly swiftly. What proceeds from this point sounds something like footage from the rapture spewing from an old television set. Instead of sounding grand and palpable, the pad strings leak out of an unstable and non-grandiose set of speakers. It is almost like awakening from a dream, there was a fleeting moment that felt as though we were experiencing this strange celestial event first-hand. However as we come to understand what is being presented, we realize it claws over toward us from a tired old screen.
As if the old hardware has been on too long and found a way to connect with the spiritual plane. Needle-like euphoria pierces through the unpredictable waves of fuzz, at points the melodies even seem to push through like a hand of pure light desperately trying to permeate its shoddy, fizzling encasement. Throughout this, Zer0れい remains unafraid of leaving the listener in moments of silence. For some artists, music of this style would cause a nerve-racking pressure, where it might feel as thought the artist must always be presenting the atmosphere explicitly. This would cause an overexposure to the fascinating atmosphere. But with Zer0れい there are gaps peppered about, moments without the guiding light of the euphoric ambience, and also where the feedback ceases to spit out static as well. In these brief periods of silence, it almost feels as though your soul is recuperating after being set upon by a strange and entrancing experience.
These fleeting respites end with a reiteration of the desolate and decrepit aura that controls NYX. There is also something incredibly unique about the melodies Zer0れい utilizes. They are unrelenting tendrils that sneak past the grainy fugue; long drawling laments. When it feels as though a melodic episode has concluded, the artist finds another combination of notes to keep the sorrowful performance going. In this way the track limps at points, with breaks in feedback and melodic narrative. This serves to amplify the fragmented and heady nature of the music as a whole. At certain stages, it almost sounds like there are voices meshed into the slow-attack notes. Noises like bells can also be heard throughout, before the onslaught of melody is enveloped in waves of heavy distortion. Toward the end, a swirling pool of the euphoric ambience begins to build. The lashes of harsh feedback continue, but every time they hit they disappear, more swiftly than before, into the burgeoning sea of beautiful noise. The opening side to Zer0れい‘s NYX is truly haunting. The atmosphere submerges everything from the very start, everything happens through this heady, violent sludge. But even in such torrid audio conditions, Zer0れい sneaks in moments of pure beauty.
The narrative takes a darker turn still as we enter the second half. The same large sweeps of metallic viscera appear, but this time do not often relent in any meaningful way. Instead, gargantuan shrouds of noise crash into slowly descending whistles. The falling tones are unsettling, as if the music has buckled from the pressure and now hurtles downward like a faltering aeroplane. The feeling is one of overarching disorientation. At least the first half of NYX had a safe space in its sheepish melancholy. In this second part, the listener is completely on their own amidst screaming tunes and violent walls of muddy, metallic nothingness. Even when the melody gains a little bit more of a footing and certain notes are sent across the listener’s bow, they are completely bested and beaten down by the constant monotony of the void. Low notes begin to coo patiently against the tide, almost choral in their delivery.
At a certain point, a deep bass sound begins to enmesh itself in with the dissonance, allowing for melody to inch its way into focus without being hindered by the relentless din. Here we find a little ballast upon which to try and weather the storm; we hear muffled ghosts of notes pulse through a thick fog. After throbbing feedback, all sounds begin to falter. Only certain crackles and flickers have a volatile feel to them, the rest of what we were hearing seems to have hurtled far away from us now. This is one of the only times it seems we are able to hide away from the atmosphere Zer0れい has created. But it is in no way comforting, it feels as if we are mere yards away from this strange ghostly tower in which the noisy struggle rages on. A heavenly chorus emerges through the grayscale rage of sound, its tune bending and screeching. The conclusion to NYX is not the rapturous recalibration of light and dark that we may have hoped for. Rather the two sounds slowly simmer down and stop, the pause is so sudden that it almost feels as if it could just be another swift intermission before the roaring shrieks back in. It fills the listener with dark wonderings about the sounds, which harbored so much power and rage that they could easily burn on forever past the project’s runtime.
Zer0れい assembles defunct sounds and feedback, pitting them against each other and occasionally fusing them together. This is a fairly basic methodology. But, in NYX the artist instills an incredibly harrowing atmosphere, an incapacitating journey through a volatile and alien landscape viewed through rusted old machinery. In the first part, one might imagine a lone TV set, spewing sick light into a living room and entrancing an unaware subject with visions of angelic beauty. The second part sounds like what would be playing when the police break down the subject’s door a few weeks later, finding the apartment’s contents vaporized and the owner driven to madness by the indescribable dark energy enshrined within what was playing.
Check out the album on Aquablanca 音楽レーベル Feb. 13th
