With ‘10,000 Gecs,’ 100 Gecs Hit a New Peak in Brilliant Ridiculousness: Album Review
variety.comJem Aswad Senior Music Editor One of the ironies about the rise of 100 Gecs — who have become poster children for “hyper-pop,” whether they want to be or not — is the fact that their hyperactive music, which is filled with lyrical and sonic pranks, changes direction every few seconds and has melodies that are like bubblegum pop through a garish Instagram filter, is being feted for its pretty undeniable brilliance.
Critics slather over them, they signed a deal with Atlantic Records, were the subject of in-depth profiles in the New Yorker and the New York Times, and were even artists in residence at New York University’s Clive Davis Institute of Recorded Music.
While it’s not hard to imagine the hardly-serious duo of Laura Les and Dylan Brady doubled over with laughter when these things started happening, now it’s almost like the joke’s on them.
Strangest of all, this adulation has taken place largely without new music. Since the May 2019 release of “1000 Gecs” — the galvanizing debut album that announced their arrival to the wider world with a comically autotuned jolt — they’ve dropped a remix album, a Christmas single (about robbing Santa Claus, of course), a few features and a three-song EP that is just over six minutes long.
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