“Let’s Leave Our Bodies”: Vocal Somatechnics and Queer Identity in Hyperpop and Lo-fi Folk

Abstract

Recent online subcultures, such as hyperpop, have brought attention to artists such as SOPHIE, 100 gecs, and Dorian Electra, for their innovative use of vocal technologies to challenge traditional gender norms and construct fluid personas. Despite this contemporary spotlight, artists across various genres and historical periods have long utilized vocal techniques to explore and express diverse identities. The notion that recent queer expressions are unprecedented reflects a common misconception about queer identities: that these are new phenomena, overlooking their connection to a history of gender variation. Similarly, existing research often isolates queer musical expressions within specific genres, missing their broader historical connections. This thesis aims to bridge these gaps by exploring how vocal technologies and techniques function as somatechnics of genre in shaping and expressing queer identities, asking: how do vocal technologies and techniques function as somatechnics of genre in the formation and expression of queer identities? Using the concept of "somatechnics," as developed by Samantha Murray, Nikki Sullivan, and Laura Glitsos, this thesis looks at musical identity expression and formation through an understanding the body and technics as developed by each other. I argue that vocal technologies and techniques are somatechnics that influence the creation and expression of queer identities, with these processes varying across genres. First, I conceptualize genre as consisting of somatechnics. Then, I explore voice as one of genre’s somatechnics. I argue that voice exists of a material component, rooted in the body’s physicality, and an immateriality that has the potential to deviate from the body’s materiality and has queer potential. This can be harnessed through vocal somatechnics, which are genre specific. In this, I pay attention to listener engagement, as music both expresses and shapes identity. This thesis undertakes an analysis of discourse around SOPHIE and lo-fi folk artist Jordaan Mason, supported by a musical analysis, focusing on vocal somatechnics. I find that both artists practice queering through vocal somatechnics. These also form listening practices which foster identity formation for listeners. Ultimately, this study advocates for the importance recognizing the differentiating effects of genre conventions to connect disparate queer practices. This approach acknowledges that queering inherently resists simple categorization and seeks to foster a cohesive lineage of queer expression by integrating diverse practices.