Background:
100 gecs might be one of the most interesting acts of recent years. Comprised of Laura Les and Dylan Brady, the avant-garde duo... has released some of the most unique and creative music of the past decade. Their omnigenre exploration of music has redefined some smaller spheres, such as hyperpop and even punk for the new wave of artists, in subtle ways.
My first introduction to their discography was in 2020 with the infamous “money machine”. I remember listening to that song and having a moment of complete confusion. “Should I laugh or bang my head?” is the question I asked myself, not being able to answer myself until the release of their follow-up LP. 100 gecs is a true phenomenon in music, walking the line between meme and art.
Review:
This album holds no punches in a rushed, yet complete array of sounds and experiments that defies genre and thinks not only outside of the box, but out of this world. There truly is no artist doing it quite like gecs, not only in their exploration through genres and eras of music but in the feeling you get from it. I briefly explained my introduction to their works in the background section, but what I left out was how the memes and comedic aspects play to the gecs’ strengths effortlessly.
The whole time you’re listening to a 100 gecs album, you feel this combination of conflicting emotions that are outright addicting and aren’t combined enough in music. Usually, when you listen to an electronic song or a punk song, they take themselves seriously through lyricism and atmosphere, but what sets Dylan and Laura apart from the others is they are completely, wildly, and absurdly unserious, and it works so well for them because it’s so silly and fun. In this way, it brings me to an extremely weird comparison that I could not unthink once I connected the dots. 100 gecs is like the reincarnation of They Might Be Giant’s energy into a completely different form. What makes me return to 100 gecs so much is the same drug that TMBG’s music is laced with: pure humanity and whimsy. Not too overdone to the point it becomes a novelty instead of a piece of art, but not so monotonous it becomes another brick in the wall of new music.
All of this aside, the tracks on their own are produced incredibly well, reflecting a lot of the absurdity presented in Dylan’s cadence. Some of the biggest highlights in this album are the points where it changes out of nowhere, like the random nu-metal track ‘Billy Knows Jamie’ or the beat switch in the middle of ‘757’ leading into an awesome verse. In some ways, even though the album doesn’t take itself very seriously, there are some points where you can see genuine growth from their last project. Tracks like ‘Hollywood Baby’ and ‘Dumbest Girl Alive’ almost make you forget who you’re listening to. These moments keep their personality while proving that they are extremely capable and talented at their craft. Overall, this album blew me and my expectations away.
Ratings:
Favorite Song: Billy Knows Jamie
Other Great Ones: 757, One Million Dollars
Hollywood Baby, Dumbest Girl Alive
Least Favorite Songs: I Got My Tooth Removed
Favorite 3 Track Run:
Billy Knows Jamie
One Million Dollars
The Most Wanted Person In The United States
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You'll never make it in Hollywood, baby
You'll never make it in Hollywood, baby
You'll never make it in Hollywood, baby
You'll never make it in... Hollywood, baby show more
