The Sound of Music: 100 Gecs’ Forward-Thinking Pop Defies Labels
100 gecs’ genre-bending experimental music embraces the chaos of the Internet Age.
The Sound of Music breaks down how every little noise ― that instrument, that sample, that oh-so-significant pause ― makes a song special.
Written by C.S. Harper
Photo courtesy of Nic John
When asked about the genre of 100 gecs, Laura Les and Dylan Brady offer a slew of answers: kooky pop, electronic banger music, hexstep, jazz, and funcore, among others. The duo’s inability to categorize their own music perfectly captures the essence of their band. Their songs reject the confines of conventional pop, blending many genres together to create transgressive experimental tracks.
100 gecs is a pure product of the Internet Age. Emerging from the post-PC Music sphere, the duo creates “hyperpop” with fast tempos, high-pitched vocals, and electronic beats, much like their predecessors. However, instead of adopting meta, ironic Internet commentary like many PC artists did, 100 gecs genuinely revels in its online presence. Its music is rooted in the digital world in every way, from its sound to its creative process. One of 100 gecs’ first concerts was the 2019 virtual Minecraft Fire Festival, for which it produced new songs that would eventually lead up to its debut album, 1000 gecs. Since Les is based in Chicago and Brady in Los Angeles, the process of creating this album was mostly remote. According to The Outline, “80% of the album was constructed via email,” as they shared Logic Pro files with each other over the course of 2019 to create each song.
100 gecs’ digital nature is reflected in its artistic influences and sound. Citing YouTube and nightcore as two of its most prominent Internet influences, the band also lists diverse artists like 3OH!3, Naked City, and Cannibal Corpse as important inspiration for its music. 100 gecs’ wide-ranging influences are a testament to its online collage production style. Incorporating nightcore vocals, emo-style singing, and gritty guitars into their glitchy electronic sound, Les and Brady create chaotic atmospheres that provide a perfect soundtrack for their technology-driven world.
Photo courtesy of Andi Elloway
The band’s debut self-titled EP offers a glimpse into its trademark production style. The 2017 EP begins with “dog food,” an electro hip-hop track with dainty synths and the duo’s signature high-pitched vocals. “Bloodstains” and “f--- Teeth” have more emo rap production, with angsty singing and grungy guitars. However, not every song on 100 gecs has hip-hop influences: “gum” sounds like an early 2010’s pop hit passed through a nightcore filter, and “25 bands and a geccco” showcases Les and Brady’s use of unconventional sounds like dog barks. Even though this EP contains staples of 100 gecs’ music, it is less cohesive and more minimalistic than the band’s later work.
In their 2019 debut album 1000 gecs, Les and Brady fully flesh out their creative vision. A revolutionary record, it introduced listeners to the duo’s sensory overload production style. Rap influences take a backseat, as the band opts for a grimier, hyper-produced sound. The hit song “money machine” brings a danceable side to the album, with experimental pop production that sounds like Charli XCX with twangy country guitars and a heavy distorted bass. Much of 1000 gecs is peppered with emo moments, like the fuzzy guitar bridge of “ringtone” and vocals reminiscent of Hayley Williams in “hand crushed by a mallet.” Some songs even cross over into metal: halfway through “800 db cloud,” the music switches from bubblegum bass to a wall of pig squeals.
Despite the record’s prominent rock sound, the duo keeps it sonically diverse with songs like “I Need Help Immediately” and “gecgecgec.” These tracks build on the quirky production of “25 bands and a geccco,” juxtaposing an assortment of computerized sounds. In a two minute runtime, “gecgecgec” shifts between dubstep, ominous violins, text-to-speech audio, and poppy instrumentals fit for a Mario Bros. soundtrack. “I Need Help Immediately” is more like a medley of chiptuned sound effects than a song, with its instrumentation changing every few measures.
In addition to its sonic experimentation, the band also uses its adaptable production style to explore different tones in its music. While “745 sticky” and “money machine” have a braggadocious, in-your-face mood, “gec 2 Ü” reveals a more emotional facet of its sound. Les and Brady use sparser production in this song, focusing on their heartfelt vocal performances as they sing an ode to their friendship. The duo also conveys heartbreak in “hand crushed by a mallet,” which begins with spacey synths that build up to a cathartic bass drop as Brady sings about a relationship breakup.
Just a year later, 100 gecs followed up its debut with 1000 gecs and the Tree of Clues. A remix album, it demonstrates the duo’s artistic versatility by re-envisioning their debut album. For example, “745 sticky” transforms from a short pop banger to an experimental rap track with verses from Injury Reserve. Other songs maintain their original structure but introduce new sonic ideas and replace Les and Brady’s vocals with guest performances. In their second go at “hand crushed by a mallet,” they swap the opening synths for a minimalistic bassline as Fall Out Boy’s Patrick Stump sings the first verse. Similarly, “stupid horse (Remix)” samples the Minecraft angry horse sound and contains references to farm animals in GFOTY’s verses. By reinterpreting their own music, this record proves that Les and Brady are not done innovating, and their rule-breaking pop is here to stay.
Laura Les and Dylan Brady are polarizing creators who are rocking the pop world to its core. The pair of visionaries are masters at subverting expectations, and their unorthodox blend of genres results in albums that always feel inventive and never dull.