100 Gecs’ 10,000 Gecs is an irresistibly inventive snapshot of popular culture

Four years ago Laura Les and Dylan Brady released their debut album as 100 Gecs which was an explosive success. 1000 Gecs was equally as hard to grasp for the critics as it was mesmerizingly fresh to their fans. The task of following up such a breakout project is no small feat, but the duo have managed to look past the public pressure and instead turned inward. The sound has crystalized into something more self-assured, both bigger and bolder.

Most noticeable is the swerve from the excessive use of autotune. Clearly, it’s still a staple for the duo, but an accessory rather than the obvious first-hand choice. The vocal effects were first used as a kind of costume for the transgender singer Laura Les, who didn't like her voice. Since the last album she has taken vocal lessons and begun to embrace her own vocals, and it’s very evident.

This time the duo is not as clearly based in hyperpop and the list of references seems infinite. Ranging from Moldy Peaches, to Crazy Frog, Blink-182, Yung Lean, System of a Down and of course the queen of hyperpop herself, Arca – a hotchpotch of the high and the low. Put them all in a blender and you get the dizzying, mismatched, cartoonish mosaic of popular culture that is 10,000 Gecs.

The somewhat calmer and dreamy aura that permeated their last album is gone. Instead, there are darker undertones gathered from early 00s punk, industrial metal and even j-rock. Like the pop-punk hook and guitar riff on “Hollywood Baby”, the j-rock inspired syncopated bass lines on “Doritos & Fritos” and the distorted screamo of “Billy Knows Jamie”. On the other hand, they also dip their toes into the other end of the spectrum with trippy ska and psychedelic funk, like the album’s more goofy tracks “Frog On The Floor” and “I Got My Tooth Removed”. According to themselves, they have been more selective, wanting each song to have its own identity. And it’s true, the indecisiveness of a beginner has changed into a clearer direction, truly peaking on the last song “Mememe”.

With a furiously fast tempo, the duo are able to cram ten short songs into 27 minutes. The music is still built on the same shattered fragments, forcing the listener to embrace the very short attention span and the never-ending stream of consciousness. On first impression, it could seem recklessly random, but there is a true art to being able to navigate all these puzzle pieces this carefree without descending into chaos. The musical tailoring is both electric and refreshingly liberating, with rich textures and stark contrasts. Always perfectly balanced, with a minutely tuned on and off switch that also leaves room for silence. Nothing is dragged out for too long, so you won't ever have the possibility of being bored. The only downsides are the seemingly never-ending outros on some of the songs, where the metal completely takes over.

It’s impossible not to be drawn into the ultra-stimulating music. It’s the result of what emerges when truly nothing is off limits, a skill actually not many are blessed with.