The Winston Brothers’ 1969 ‘Amen Brother’ break, originally lasting 7 seconds, carries with it the gesture of the drummer [the controlled muscular spasms, performed by the body in a moment of energy exertion] , the resonance of the recording space in Washington D.C, the texture of the recording material, the haptics of the vinyl [the damage of the needle], digitised and shared online again and again. The looping of these 7 seconds, often at double speed resurrects this moment of freestyle again and again and relocates this spatially

I am proposing a blanket term that, rather than grouping all music which has emerged from an internet scene in a group, acknowledges the expansive and experiental lineage of hardcore music emerging in the 1990s. Hardcore similarly underwent a craze of taxonomy giving birth to a myriad of cores such as frenchcore, speedcore, j-core. Another important aspect of ‘-CORE’ genres is their process of normalisation through  -- “artist, label and critic arbitration and consensus” (Press-Reynolds, 2022). This further plays a part in the reconceptualization of a ‘-CORE’ as a vibe embedded in associated aesthetics which runs parallel to social media culture. An undergraduate student of mine even re-termed Magritte’s paintings as a cross between weirdcore and dreamcore.

IN CONTRAST TO writing about internet music  description of core CORE -- in the lineage of hardcore which itself gave birth to a myriad of cores frenchcore, speedcore, j-core  -- these cores have been normalised “through an organic process of artist, label and critic arbitration and consensus” (KPR) but also plays a part in the reconceptualization of a ‘core’ or even a genre as a vibe embedded in associated aesthetics which runs parallel to socia media culture. even yoonbi who re-termed magritte’s paintings as weirdcore.


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