Abstract
This article investigates two current incarnations of ‘lo-fi’ music and questions the extent to which these subgenres are actually low in fidelity. In essence, mainstream ‘hi-fi’ productions use similar effects, such as filtering to sound like a radio or adding noise to sound like a vinyl record. To understand lo-fi today, this article explores music by a lo-fi hip-hop producer and a lo-fi ambient producer, drawing upon the analytical methods of Alan Moore and Dennis Smalley. First to be discussed is Glimlip, one of the many anonymous producers behind the popular Lofi Girl YouTube streams. The next discussed is Amulets, an ambient musician known for using hacked and looped cassette tapes. Analyses of their music demonstrate a level of care in production that goes against the idea that lo-fi is primitive or naive.
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