Internet music

1980s–1990s: Forerunners#

Internet music traces back to the late 1980s to early 1990s, beginning with the rise of tracker music, a form of digital audio files made on music trackers and shared online through early internet communities like Usenet. Tracker scenes helped establish norms around open sharing and online collaboration that would later shape broader internet music trends. Many tracker musicians gained international prominence within MOD software users and some of them went on to work for high-profile video game studios, or began to appear on large record labels. The Usenet newsgroup “alt.music” would focus on music submitted through the platform. In 1990, the Residents released the CD-ROM The Residents: Freak Show. At the time, Todd Rundgren would also be credited as an early pioneer of Internet music distribution through self-made music videos and his interactive album No World Order. In 1996, David Bowie released the single “Telling Lies”, which was made exclusively available as an Internet download on his site BowieNet. The song was the earliest lyrical reference to the Internet in pop music, and its promotion campaign marked a landmark in online music distribution. The Guardian later stated that Bowie helped create a market for “digital music”, his 1999 album Hours was first released online before reaching in-person stores. In 1997, Duran Duran’s single “Electric Barbarella” became the first song by a major label artist to be available for digital purchase. During the late 1990s, American rappers such as Canibus and Trick Daddy would set up sites and promote their music on the internet, with Canibus referencing the internet on his songs. Trick Daddy released the album www.thug.com. Other albums following this format include Pitchshifter’s www.pitchshifter.com (1998) and Jethro Tull’s J-Tull Dot Com (1999).

2000s: Blog era#

By the early 2000s, the growing prominence of the internet saw the emergence of music proliferated through the early online blogosphere, characterized by genres and scenes such as bloghouse, blog rock, and blog rap. The post-noise underground also known as the Blogspot scene would develop around this period alongside hypnagogic pop and shitgaze. These styles were heavily circulated through the Millennial blogosphere and music forums, with sites like MySpace and Tumblr playing a critical role in promoting artists and shaping early internet-based scenes. At the time, “Myspace metalcore” and “Tumblr pop-punk” became underground scenes which emerged purely from bands distributing their music on those sites. Mixtape-sharing platforms like DatPiff also became hubs for early internet rap scenes including the blog rap movement.

2010s#

In 2010, Oneohtrix Point Never released the album Eccojams Vol. 1 (under the pseudonym Chuck Person), quickly followed by Floral Shoppe by Macintosh Plus, spawning the musical genre and digital art movement Vaporwave, which explores late 1990s and early 2000s computer graphics, as well as the corporate advertising styles of the 1980s, and is considered by many to be the first “wholly virtual” musical genre. Like vaporwave, the label re-interpreted the “least cool” aesthetics from previous decades; where vaporwave drew from 1980s and 1990s advertising themes, PC Music focused on 90s musical genres like Eurodance, Happy hardcore, and Bubblegum music. PC Music embraced online platforms, releasing their first tracks on SoundCloud. As the scene progressed into the late 2010s, the genre began to be referred to as Hyperpop, a term coined in 1988 to describe the band Cocteau Twins, but repurposed by Spotify data scientist Glenn McDonald to describe the duo 100 gecs. The genre was celebrated for its democratic nature thanks to accessibility of the tools used to create and distribute it, including Audacity and SoundCloud. Into the later 2010s the prevalence of streaming as a musical medium continued to affect the culture and industry in all genres, with Chance the Rapper shouting out SoundCloud after winning best new artist at the 2017 Grammy Awards, something only possible following a rules change that allowed streaming-only albums to be eligible for nomination. In 2019 both Charli by Charli XCX, and Pang by Caroline Polachek were released, both described as “cornerstones” of the hyperpop genre. In the same year Spotify created the now famous playlist “Hyperpop”, featuring music by 100 gecs and A. G. Cook, which spread specifically through the internet based channels of social media including TikTok.

2020s#

In the early 2020s, hyperpop was popularized as an influential leading genre in the online music space. In 2024, Rolling Stone described the online underground rap scene as “extremely online,” which included acts such as Nettspend, Xaviersobased and Yhapojj. These artists often found success online through TikTok, Instagram and YouTube. Pitchfork credited the American netlabel Dismiss Yourself as an internet music “forager”.

Internet rock#

During the 2000s, rock music microgenres such as shitgaze and blog rock would develop on the Internet. By the 2010s, egg punk, originally known as devo-core, emerged as an Internet microgenre primarily based on the new wave band Devo. In August 2025, music critic Kieran Press-Reynolds credited online musicians Jaydes and Wifiskeleton with inspiring an “online indie music boom” and “new wave of SoundCloud indie rock”. Press-Reynolds used the phrase “BandLab rock” to describe the style. The genre is defined as a form of indie rock primarily distributed on SoundCloud. It grew in popularity on TikTok in 2025, with artists making use of “Alex G samples”. Press-Reynolds noted that bedroom producers posted video tutorials on YouTube for “indie rock beats (without a real guitar)”. Notable acts included Aeter, Ayowitty and Bunii.

See also#