The Sound of the Internet Age: Emerging “Bedroom Pop” Artist, Clairo, Releases Debut Record “Diary 001”
In 2017, then eighteen year old Claire Cottrill uploaded to YouTube an unassuming compilation of webcam footage of herself dancing and singing along to original song,“Pretty Girl,” in her bedroom. First released as part of a compilation album featured on The Le Sigh, a blog for female artists, “Pretty Girl” tells the story of a girl realizing she has has sacrificed her individuality at the expense of pleasing her significant other. Muted by hypnotic vocals and a soft synth beat, “Pretty Girl” is a repudiation of misogynist expectations and urges young women to recognize their self-worth. Cottrill’s undoubtedly homemade music video candidly embodies the song’s message; she embraces an “I woke up like this” aesthetic, makes goofy facial expressions at the camera and playfully serenades a plastic doll. The relatable and endearingly awkward music video instantly went viral; it has received over 17 million views since and captured the ears of FADER Record Label and notable industry figures such as Chance the Rapper’s manager. A product of the viral era, her self-made success transformed ordinary college freshman Claire Cottrill into Clairo: an up and coming superstar known for coupling dreamy vocals with lo-fi synth beats.
Her success story captures the ethos of music in the digital age; for the first time in history, the industry is defined by a generation of artists who have never known life without the internet. Modern technology has the potential to produce music with an unprecedented sound quality that can be coupled with complex, high-definition video footage, however, it also allows young artists like Clairo to create an entirely new type of music in their bedrooms. Along with the advent of media platforms like SoundCloud and YouTube, an artist’s homemade music can be heard around the world without the need for a studio or record label. This “do it yourself” approach to music production led to the rise of “bedroom pop:” an increasingly popular genre characterized by lo-fi synthetic beats, hypnotic vocals and noticeably unprofessional quality that is more accessible and relatable to a young audience. A modern variation of 1980’s electro-pop and 1990’s chillwave, Clairo and other emerging young artists such as Billie Eilish and Gus Dapperton have created an entirely new sound emblematic of the internet age.
Since emerging as a YouTube phenomenon, Clairo’s self-made sound has earned her a year long record deal and a multi-platform fanbase. The distinct “bedroom pop” sound has seen a rapid increase in popularity, yet many artists themselves abnegate the term. Clairo stated in an interview with FADER:
“It’s really weird being placed into something like that because it was never an intention to make bedroom pop. I was just making music. All the people that have that genre placed on them are not the first people to have a home studio and and post it on the internet. I kind of feel like it can be limiting because I want to progress and I want to make things that are higher quality. I wanna make music that’s meant to be heard.”
Her debut album, diary 001, includes the lo-fi hit single “Pretty Girl” along with five newly released tracks that confirm Clairo is destined for a music career beyond her bedroom. The album adheres to her trademark “bedroom pop” sound, combining mellow vocals with a faded electro-pop track, while featuring an added level of complexity that reaffirms Clairo’s talent and legitimacy as a professional musician. Coupled with interesting and thoughtful lyrics, the album explores various facets of the digital age.
Album opener, “Hello?” featuring rapper Rejjie Snow, discusses the ambiguity of online romance as apps like Tinder gain popularity; “you’re just one click away / from something real or fake,” she sings. Clairo maintains her lo-fi synth sound and understated vocals while seamlessly embedding iPhone ringtones and Snow’s rap verse, taking full advantage of digital sound technology to create an innovative track consistent with her unique sound. “B.O.M.D” (abbreviation of “boy of my dreams”) captures the childlike giddiness that accompanies a budding romance. Clario’s strong yet simultaneously understated vocals appear effortless while DJ Danny L Harle layers computer generated sound, finger snaps, the sound of wind and an eclectic baseine. The resulting track is consistent with Clairo’s soft and dreamy “bedroom” style, however, the two artists are still able to evoke the anxious yet invigorating feeling of falling in love.
Clairo’s complex use of electronic sound in place of traditional instruments is highlighted in “4EVER.” Arguably her most dynamic track yet, the song features a jaunty baseline, hypnotic synth beats and euphonic harmonies. Clario methodically staggers each syllable to seamlessly align with the album’s melody. She shifts between quickly compounding each lyric to extening each syllable according to the current tempo and measure while remaining on key. Her soft vocals and ingenious use of synthetic sound technology are intricately combined, yet appear effortless.
Diary 001 has effectively established Clairo as a legitimate and talented artist, discrediting the common assumption she was simply a one hit wonder whose success would be limited to what she could produce in her bedroom. “Pretty Girl” offered a straightforward, slightly diluted introduction to her “bedroom pop” sound that she has since elaborated on. The release of Diary 001 revealed the complexity the young artist is able to apply to her foundation to create a unique, professional sound.
Clairo has established herself as an icon of a new wave of digital music production. The success of her debut album is not only an accomplishment for the young artist herself; it has a greater significance for the up and coming “bedroom pop” genre as a whole. The internet age has allowed aspiring young artists to teach themselves how to produce high-enough quality music and individually garner an online fanbase as a “foot in the door” into an industry that has always been notoriously difficult to access, redefining how music is heard, experienced and produced.
