Thinking about how autotune in the hyperpop scene is used by primarily transgender and nonbinary artists to deconstruct and subvert the concept of gendered vocalists? Theres the agressive, almost self-destructive femininity from Laura Les/osno1's solo work and things like Bloodstained from 100 gecs, theres the pitch shifted bravado and tender masculity from dorian electra downshifted vocals and the ephemeral almost dysphoric tones from Folie's single Cortisol.
This thought has been brought to you by: "listening to Bloodstains and How To Dress Like A Human back to back and crying a little"
@nellcromancer I think the exact quote was lost to a Discord Im no longer in, but I talked at length before about how something like 100 Gecs manages to capture the feeling of being trans and overcompensating on measures to "pass" just with style: a desperate attempt at modulating societys perceived "feminine" voice but dysphoria pushing you too far with it, into a frightening cyberpunk trans-humanist nightmare screeching into the uncanny valley
@nellcromancer I'm so fascinated by the way Ada Rook layers clips of her own voice sighing or just making sounds with pitch shifting, and how her regular vocals even without pitch shifting are either very breathy whimpers or metalcore screams...
also @junebug has a lot of thoughts about the pitch shifting for Junebug's vocals in KR0
Unsurprisingly, trans musicians fucking with their vocals is a deeply powerful method of self-expression and is something I am now constantly thinking about I. Sound like a robot! fuck the police.