'10,000 Gecs' Puts the Hyper in Hyperpop

Written by Gordon Beck, Photo by Andreas Lawen, Fotandi 100 Gecs made a significant wave in 2019 with the release of their debut album 1000 Gecs. Kids were practically rolling on the floor in excitement at the absurdity of their sound - screechy vocals autotuned to nightmarish levels, everything audible being distorted, and sound effects perfectly curated to fit into some sort of outlandish meme format. While this may sound like it would be annoying, 100 Gecs proved they were far more than the sum of their parts. With undeniable hooks and an unhinged sense of humor, the absurdity stood as the perfect backdrop to what was one of the most infectious and freeing albums of that year. The duo - made up of Laura Les and Dylan Brady - don’t take themselves that seriously. Their attitude is a ‘set a firework off inside your parents house’ kind of good time that many young fans want to be a part of. It took four long years for a follow up release with 10,000 Gecs, but the wait time hasn’t diminished the impact. Now with praise fresh on the mind, here is a statement that may alarm some: every less than reputable pop music trend of the last 15 years has weaved its way into this album. Think the outdated energy of a 2010 Skrillex album smashed together with ska and Crazy Frog. 10,000 Gecs is not an album to be easily dismissed however, because this direction is miraculously a good thing. The duo has taken tired and annoying cliches of the genre and cranked them up to satirical levels, similar to what Death Grips did with hip hop 10 years ago. The result is a humorous, refreshing, and liberating listen that consistently slaps a smile on the listener’s face. Les and Brady are self-proclaimed hit makers, and there is no better way to describe the tracks they have crafted here. While the weirdness of their sound oozes over everything, it all goes down easy due to songwriting and hooks that can get any party moving and stay stuck in the patrons’ heads weeks later. Tracks like “Hollywood Baby” and “Dumbest Girl Alive” have all the trappings of late aughts pop bangers that could belong in a poorly aged YouTuber’s video but with an attitude that screams twice as loud. There is a self-awareness here that blends seamlessly with the humor and catchiness in a way that is undeniably fun. The band is also unafraid to pull all the stops with songs like “Billy Knows Jamie” and “I Got My Tooth Removed” which feature an ear-splitting breakdown and Nicktoons-esq ska respectively. With the absurdity of everything else going on, these sections don’t seem out of place and in fact illicit welcomed laughs rather than eyerolls. It's difficult doing these songs justice due to how off putting they may sound in description alone, but upon listening everything becomes clear. It’s admirable the duo so bravely tackles sounds most other artists would be too afraid, or too proud, to touch themselves. It’s a dangerous game 100 Gecs is playing, one that could invite alienating potential fans and losing their credibility, but the band navigates this space deftly by creating songs that rise above the gimmicks they satirize and stay with the listener for the right reasons. It all comes together to create a rave scene bridging severe ADHD and laugh out loud nostalgia in the best ways. 10,000 Gecs is certainly one of the biggest parties of 2023 so far, so if this sounds intriguing, then best procure a spot on the guest list.

'10,000 Gecs' Puts the Hyper in Hyperpop

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