Second, nostalgia is a huge part of what makes up an individual’s authenticity, as well as being a side effect of the idea of a bedroom. This simple connection provides the basis for why so many Bedroom Pop artists indulge in “childish” styles for their music. Sometimes it’s drawings made by kids for albums covers, or using baby toys as instruments, or referencing childhood symbols. In America, it’s difficult to find people who didn’t share at least a little in this middle class idea of childhood, filled with colorful toys and pictures and crayons. The bedroom is where a lot of that happened, so many artists try to stay true to their childhood with their music. This adolescent authenticity certainly has its risks: for one, music has become so complex that many top tier musicians would look down on such immaturity and devolution. Yet still, most everyone feels nostalgia for their childhood, which makes it much easier for Bedroom Pop artists to remain authentic.

The devoted retro 90s focus of a lot of these artists has been defined as kitsch. Kitsch is not indulged in because it’s bad, however. Rather, artists stick to kitsch because it is nostalgic for those that grew up in the 90s, who played with crappy toys and were told they could do anything they wanted. The poor sound quality is merely a by-product of reenacting a time of poor technology. Things like vinyl, VHS tapes, polaroids all remind people of an older and simpler time in their lives, and the rough edges are endearing because of how honest they are. And so, Bedroom Pop is sure to rough it’s own edges in the same way.