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7.3/10
Ever since their 2019 release of '1000 gecs', hyper-pop duo 100 gecs, consisting of Dylan Brady and Laura Les, have seemed to have a controversial chokehold on the genre and music scene in general ever since, with some saying their music is undoubtedly the worst of all time, and others saying their unique and foolish sound is what makes them stand out. Four years later, 100 gecs continue to prove why they're the kings of hyper-pop with '10,000 gecs', an album so horrible yet amazing at the same time, taking you on a rollercoaster through fast-paced, distorted, and hard-hitting tracks.
The combination of "Dumbest Girl Alive" and "757" make for a gripping start to the album. Kicking off with a hypnotic synth, then immediately punching you in the face with a heavy drumbeat, "Dumbest Girl Alive" offers up so many surprises, going in so many different directions. 100 gecs seem to pull in influence from Travis Scott and Papa Roach, with rich distorted drums that sound straight off of "SICKO MODE", and a riff that sounds similar to Roach's classic track "Last Resort". All in all, this makes for a solid intro track. "757" follows, a track representing peak hyper-pop. The way the drums are mixed on this track is wonderful, so punchy you can almost feel it in your chest. The vocal effects they use cause their voices to sound like instruments, especially in the break before the outro, which goes into this wonderfully powerful beat switch. "757" transitions smoothly into "Hollywood Baby", one of the most well-rounded tracks on the album. The distortion all around this track is perfectly balanced, and the guitar stands out throughout the track with its crisp mix.
"Frog On The Floor" is probably the most bizarre track to come out this year. It's an odd switch into a slower, nearly indie-rock-sounding track. I enjoyed the smooth bassline at the end, but it's overall underproduced and lyrically odd, making for an uncomfortable listen. It's so unserious you can even hear what sounds like Laura on the verge of laughter throughout the track. Thankfully, "Doritos & Fritos" follows, one of my favorites on the album, with a disgustingly beautiful distorted electric guitar, and a great flow from Laura that meshes with the beat well. The layers this track has is what make it special--it's an over-stimulating but entertaining listen. I love how the guitar just unleashes near the end and distortedly dies off as the track closes. "Billy Knows Jamie" is another stand-out banger, bringing you on a ride through powerful drums and a grimy electric guitar. The death metal-esque ending is unexpectedly spectacular, and it's also lyrically mysterious; who is Jamie? We'll never know.
I thought "Frog On The Floor" was going to be the only underwhelming track on the project, but "One Million Dollars" proved me wrong. This track is like an interlude that goes on for too long. The distortion on the bass may be nice, but that's all it has going for it. Overall, it doesn't carry much weight, making for a forgettable and dull listen. "The Most Wanted Person In The United States" is one of the more goofy cuts, but it's executed well. Those "boing" sound effects are such an unnecessary yet wonderful touch, and it's lyrically hilarious but also captivating; the storytelling is solid. "I Got My Tooth Removed" is a track I have mixed feelings on. The intro is pretty with its dreamy guitar and reverbed vocals, sounding almost R&B-like, but other than that, nothing production-wise really stood out. Lyrically, it's quirky, talking about frustrations over getting a tooth removed. I can't name another track that talks about the insecurity that comes with getting a tooth removed, as it can actually be an embarrassing and humiliating experience. Closing the album is "mememe", opening up with awesome vocal effects that continue into the chorus, something about them just scratches an itch. On top of that is this incredibly naughty distorted bass that just pulls you into the track. Laura talks about a relationship where her partner/friend doesn't care to give any attention to her, and because of this, she mentions how they'll truly never know anything about her. Overall, this is an incredibly replayable and catchy closer.
100 gecs come through with yet another solid release, showcasing their diverse production ability and ability to subtly mix different genres and abnormal sounds to make an upfront and badass hyper-pop project. With this formula, I know they'll continue to release amazing work going forward, and hopefully will be able to evolve their sound somehow.
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