There is no subtle ironic detachment that Laura Les and Dylan Brady preserve in secret, nor any concessions of an artist’s facade. Genres such as midwestern emo, nu-metal and ska—all slightly too embarrassing relics of our recent past, not yet distant or forgotten enough for kitsch—find a heightened and exaggerated expression in 100 Gecs’ music, sacrilegiously scavenged and composited. In live shows, she doesn’t turn the effects off between songs: at the show I attended, “hello Berkeley, how are you doing?” was cast out over the crowd in the same lilting, compressed timbre as on the opening track, “Ringtone.” A 2018 writeup from Pitchfork on SOPHIE (another trans musician in the same scene) described her voice modulation as a sort of surgery upon her “artistic flesh,” a mirrored transition occurring in her aesthetic and her physical being. 56826 Followers.  Halberstam, Jack and Livingston, Ira. PC Music’s arch pop experiments were similarly ridiculed for their joke-y nature, but those who appreciated the music saw it as another exciting avenue for pop music. Dylan Keoni Burgoon is a student at UC Berkeley, attempting to be a serious Marxist while remaining an unserious person. There was, for example, a surprisingly large amount of people surprised by Taylor Swift rapping on Reputation — it makes sense given her pop-country beginnings — but the quicker that music fans are unsurprised by something as banal as a white pop star rapping (or in the case of Lil Nas X, a black rapper making country music), the faster we’ll normalize the notion of drawing upon numerous influences and letting it show in our art. They both answer with a resounding, "Yes." 2020. Even with 100 Gecs, a lot of the responses to their music have been that it’s just dumb fun, implying that their music could never be as insightful as, say, a singer-songwriter album. This referencing of “obviously bad” music proved to be a blessing. Watch official video, print or download text in … Christaan Felber for Rolling Stone 100 Gecs … Whereas comedy is often branded as a humorous surface, belying some more serious truth in its depth, In 100 Gecs, the surface and depth have collapsed and become identical. “Ringtone” traverses the emotions that go along with a breakup through the visceral effects that come with hearing a ringtone set for an ex. By Nic John. I have 100 gecs. This past year, the most satisfying attempt was Red Velvet’s “Zimzalabim,” a song that concludes in an impressive consolidation of girl-group harmonies, drumline percussion, and buzzsaw synths befitting festival EDM, though that’s after the song’s incorporated balladry, a breakbeat, and clanging hip-hop beats. The merch table, filled with shirts stylized like a bastard child of video game and death metal tees, asked that you simply venmo “@bikini.” There were old school DIY guys, streetwear clothing flaneurs, bad smelling skaters, glasses-wearing music aficionados: an astonishing superposition of countless subcultural archetypes. 100 Gecs sounds like the internet. Even rarer is when lyrics and instrumentation are both funny and serious, as is the case with 100 Gecs. It is produced by 100 gecs members Laura Les and Dylan Brady and appears on 1000 gecs. In that way that these things possess a subconscious magnetism, the group of five friends with me that night have all come out as trans or queer, though none of us were out at the time, to the varying extents that any of us were even aware of it. “Liking” is the aesthetic response here, and it’s a minor affect that offers a surprising amount of range. 100 Gecs sounds like the internet. Les, in contrast, occupies a vocal range associated primarily with the much derided internet genre of “nightcore”: pop and dance songs sped up to make the vocals nearly squeak, often accompanied in thumbnails and videos with an image of an anime girl, converting whatever original singer into excited hyperfeminine cuteness. Their first album is called 1000 gecs even though the project name is only 100 gecs. One of the year’s most unlikely breakthroughs is a duo that makes disorienting, genre-jumbling music. : Hand Crushed By A Mallet Meaning. 2 months ago. with intense eagerness since 2012! Découvrez vos propres épingles sur Pinterest et enregistrez-les. To borrow Deleuze and Guattari’s language, Laura Les and her microphone appear in my eyes more a constellation, heterogeneous yet inseparable, than discrete bodies interacting contingently—haven’t we always said an artist’s work is an appendage of the self? i swear dude i feel like a normie listening to them now lmao >> Anonymous 12/32/20(Fri)15:27:24 No. 100 gecs Fans Also Like: Taylor Swift song meanings Fall Out Boy song meanings Pink Floyd song meanings Cavetown song meanings NF song meanings Submit Your Interpretation In a January 2020 interview with Them. That 100 Gecs feels like something new is a testament to how far we have to go for that to be a reality. Indiana University Press, 1995. When the reaction to the duo’s maximalist genre mishmash is “what the f*ck,” it should be underpinned with that same sense of dejection: 1000 Gecs and the response to it points to how countless music fans — critics included — have failed to move past outdated notions of what good art should be. But 100 gecs is so much more than fun. Tweet. L’autotune vous répulse ? This essay is running as part of the 2019 Uproxx Music Critics Poll. 100 gecs 1000 gecs & The Tree of Clues On this guest-crowded remix album, the duo continues its wild, swerving path through memes, genres, and decades, making some of … That’s why 100 Gecs dropped the acapellas, instrumentals, and stems for all their 1000 Gecs tracks online and via a website, called 1000stems.com, for fans to do with them what they please. 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December 3, 2020. torture me lyrics 100 gecs Gays, this one's for you. In the context of the music, “What the f*ck” is imbued with both sadness and anxiety: a reflexive response to knowing you’ve screwed up or failed to meet the expectations you set for yourself. They have the same unexpectedly hilarious effect of listening to Babymetal’s “Line!” which features a kiddy-voiced hip-hop interlude in an otherwise trance metal song. As to the chaotic, unyielding sound they produce in common, I keep returning to a quote from Jack Halberstam and Ira Livingston’s introduction to Posthuman Bodies: The self disintegrates in this queer narrative into a posthuman rage for disorder and uncivil disobedience. If this musical ‘bad taste’ chaos, however, represents the present and future of gender and aesthetic transgression, and confrontation with the normative, consider me on the ramparts. It feels, to me, harder to explain that “Gecs” is not simply a joke to be in on, or that my appreciation for the sound does not start or end at being able to laugh at it. If the varied and electric audience of their show is worth anything, shaking loose ceiling tiles out of sublime, ecstatic fervor, I do not imagine I will be alone. The abrasiveness of the transition adds to the absurdity of its existence. magazine, Dylan Brady says “I just like ska, too, and dubstep.” This attitude of “I just like…” offers a useful means of interpreting 100 Gecs’ relationship with aesthetics, as well as their loyal fanbase’s relationship with their music. », pour se libérer des fardeaux et contraintes que trop de personnes s’imposent sans s’en rendre compte pour un pseudo amour de l’art. A 6’4” shirtless man paraded around, embracing random audience members and then (semi-)tenderly tackling them to … There’s a neatness to it all that’s ultimately different from the sudden jerking of 100 Gecs’s genre switch-ups, which is felt both between and within tracks. The group has proven divisive, simultaneously drawing buzz for its abrasive blend of pop and experimental electronica while drawing mockery for the same reason.
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