My project dives into the artistry of hyperpop inspired by features of PC Music and its “bubblegum pop”(Wray, 2023) sounds. Through the track, a futuristic and almost synthetic atmosphere is created from the use of exaggerated pop music conventions such as intense processing and artificial sounds like a reliance on synthesis.
For the production of this track I used FL Studios, selected due to its “following in dance music circles”(Walden, 2003). Its flexible, easy-reading workflow allows quick experimentation in aspects such as automation and looping. I have also become proficient with the sound design on its stock plugins such as the 3xOSC (Fig1 and 2), Harmor (Fig3 and 4), and Sytrus (Fig5 and 6). “Big bass and soaring synths”(Cant, 2023) are key components of this genre and are achieved in this track through said synthesis alongside the mixing undertaken. A focus again on stock plugins was taken here with plugins like Fruity Parametric EQ 2 (Fig 7) and Fruity Limiter (Fig 8) utilized frequently. Specific focus on this “crisp, polished and refined sound”(Venutti, 2023) was achieved through bright EQ shaping and effects like Valhalla (Fig 9) reverb and delay.
For the drums, hyperpop is said to be “digitally mediated popular music” (Pennysylvania State University, 2025) with sample-based drums being a part of the genre. I used a mixture of drum machine sounds alongside manipulated samples to create the different drum tracks used throughout the track. Techniques including slicing, rearrangement and repitching were used to create the “maximalism” (Pennysylvania State University, 2025) displayed in PC Music’s catalogue. For the mixing of the drums, I created a drum bus (Fig 10) to create harmony within the drums, whilst also speeding up processing on my DAW. It also helps “getting large, full sounding drums”(Sturgis, 2018), a key part of the hyperpop sound.
The vocal is a 3rd Party Sample that I have progressively manipulated more as the track moves on with Gross Beat (Fig11 and 12) “a real-time manipulation effect”(FL Studios, N/A). Influence for the vocals came from Charli XCXs song Club Classics, where the vocals at times feel like a percussive/harmonic element within the track – something that is part of hyperpop’s “characteristic machine-like sound”(Musgrave, 2024). I used two effects channels (Fig13 and 14) to mix the vocal – one as an initial mix to get a starting sound I wanted and then a second following an initial bounce of the vocal. This second channel is where automation and progression of the vocals occur. I also chose not to have a main vocal line with lyrics to hone back to my own production craft, where I produce music to mix into my DJ sets.
A list of samples used on this track is featured below.
The main influence for this project is the work from and associated to the label PC Music, particularly of the founder A. G. Cook and SOPHIE. Cook is known for his “maximalist, glitchy and extra terrestrially electronic” (Mckendry, 2020) sound, whilst SOPHIE “shaped much of the sound of modern pop” through her “ability to fuse” (Shaad, 2024) genres and sounds seamlessly.
For the timbre of my track, I focused on achieving a bright, artificial feel through neat production techniques. These included raising high frequency sounds for shimmers and intentionally artificial sounds that almost feel too perfect. Tracks like Immaterial and Faceshopping – both by SOPHIE – heavily influenced the complex sound design achieved, which is particularly noticeable in elements like the bass.
My drums take inspiration from PC Music general hyperpop feel whilst merging with my own underground electronic background in genres such as dubstep and UK Garage. Hyperpop influence comes from tracks like Cluck by felicita and Kero Kero Bonito and merges with my own influences like Fred Again and Hamdi.
In terms of structure, I initially followed conventional pop outlines but mixed it up with breakdowns and unconventional sections to contrast the traditional structure. This is reflective of A.G. Cooks album Britpop alongside his work with Charli XCX on the Brat Album.
Even though my track doesn’t center too heavily on vocals, the processing undertaken is showcasing the influence of hyperpop vocals seen throughout all of PC Music’s catalogue.
Whilst I believe that the finished product reflects a successful merge of hyperpop sounds with my own UK electronic sound, certain features of the track could undertake further development to progress. For example, a lack of a leading vocal line sometimes creates repetition in the track as it can feel more like a backing track. Alongside this I could have created more variation in sounds at certain points, rather than repetition once again.
However, I do believe that this track reflects the work on PC Music learnt on this course well through a strong aesthetic and a unified mix. This is something I am extremely proud of as it is a scene that I have never really explored into whether it be from a listener or producers’ perspective. The content learnt through this and during production has inspired me to further explore this avenue within my own sound – not necessarily to produce more hyperpop but to take elements like the sound design into my sound.
Figure 1 and 2 – 3xOSC – Lead
Figure 3 and 4 – Harmor – Bass
Figure 5 and 6 – Sytrus – Arpeggio
Figure 7 – EQ
Figure 8 – Limiter
Figure 9 – Reverb
Figure 10 – Drum Bus
Figure 11 – Vocal
Figure 12 – Vocal Gross Beat
Figure 13 and 14 – Vocal Mixing Chains
