by Camryn Brathwaite
100 gecs’ first album, 1000 gecs, routinely seems to be written off as a relic of 2020 quarantine—for many, it falls into the same cringy category as pictures edited with an ugly amount of saturation, low-quality Pics-Art stickers on IG posts, and TikTok humor that we are embarrassed to have found funny. However, in 10,000 gecs, Laura Les and Dylan Brady refuse to let their legacy be forgotten. With its overall cohesiveness, attention to production, and more “seriousness,” the sound has evolved far beyond that of their 2020 outing.
The album begins with a standout track, titled “Dumbest Girl Alive.” Once we get past the objectively fearful, blaring frequencies of the THX sound system intro, we get into solid production that combines pop-punk and alternative rock elements with heavy bass and 808s. This is familiar territory for 100 gecs, but there is a different tone in DGA; details feel more intentional than before, and no effects are overused. In that way, this track stays true to the signature 100 gecs sound without causing the overwhelm that is associated with sonically similar tracks (i.e. “stupid horse” or “xXXi_wud_nvrstøp_ÜXXx”). “Hollywood Baby” also takes this approach, and I can see either of these tracks reaching mainstream audiences, via TikTok or otherwise.
In true 100 gecs form, irony is employed heavily as a creative driver on this album. Tracks like “Frog On The Floor,” “I Got My Tooth Removed,” and “The Most Wanted Person In The United States” may not have the most replayability on the project, but their respective productions are still substantial and catchy enough to retain merit. Meanwhile, hyperpop roots are revived most clearly in tracks like “757” and “One Million Dollars”—in fact, they are sonically similar enough to make me think that they might be rejects of this album’s predecessor. Established fans might enjoy them the most, while production-wise, they have aspects of the overwhelm that turns first-timers off from the duo.
Overall, 10,000 gecs makes me hopeful for the future of the duo. Almost every respectable, successful artist goes through stylistic shifts over years of creating; the elevation in this project shows that, even if songs get generally slower or seem more polished, an identity can still be retained.
