KlangweltenLuxembourgish Hyperpop: C’est Karmas new EP „Amuse-Bouche“

With the evergrowing ease of acces to music through streaming services, the rise of new genres knows no restraint. Nonetheless, the rise of a new revolutionary music genre is rare – but it carries the name of Hyperpop.

Perhaps unsurprising, this new extreme manifestation of pop, distinct by its metalic percussions, video game-like noise, and layered autotune, can be traced back to 2010 to London-based electronic music collective „PC Music“, with producers and members, such as A. G. Cook, SOPHIE or Charli XCX.

However, Hyperpop’s rise to fame had to wait another ten years. It is with the creation of the Hyperpop playlist on Spotify, that allowed previously underground artists on Soundcloud, to take the mainstage. Thus, bands like 100 Gecs became a household name of the genre, resulting in collaborations with bands and artists like: Fall Out Boy, Rico Nasty or Kero Kero Bonito.

It was thus only a matter of time until the trend hit Luxembourg.

C’est Karma’s new EP „Amuse-Bouche“ plays with classical electronic pop conventions, while taking inspiration from Hyperpop, joining the changing landscape of the genre. Her new six-song EP starts off with „Bubblegum“: a track very much inspired by synthwave, that leads up to a halt and turns into a ballad. The lyrics and the vocals on the track stay in the background, becoming instruments themselves. The next track, „Bread“, shows the Hyperpop inspiration. Deep 808s build the main structure of the song. Eclectic synth-patterns join the party, and C’est Karma’s voice takes an almost ethereal tone.

„Spaghetti on Repeat“ is my least favorite song on the EP. Although the autotune voice is reminiscent of Charli XCX’s „claws“, the energy is missing, and the track kind of loses itself in the noise.

With „Gateaux“ C’est Karma switched from English to French – a good switch. Here, her lyrics and voice shines. The song consists of deep 808s, joined by wild running effects and metallic drums as if ripped directly from a SOPHIE sample pack. The interchange from robotic, almost alienating demands, to screamed lyrics, to the emotional hook, make this song my personal favorite, and I wished more of this energy would’ve found place throughout the EP.

The last two songs – „Coffee“ and „Popcorn“ – are on the mellow side. In „Coffee“, C’est Karma takes the Lana Del Rey route; a piano melody starts the song, the melody rising, until it ends in her usual style, much like „Pool Party“ from her last EP. „Popcorn“ then becomes Sia-like. Halfway through, her layered voices are accompanied by the same Hyperpop style in „Bread“, becoming chaotic, but in a good way.

All in all, C’est Karma showed with this EP versatility and understanding of the many facets pop has. If this EP is the amuse-bouche, then I can’t wait for the main dish.

Bewertung: C’est Karma – „Amuse-Bouche“ erhält 7,5 von 10 Punkten