100 GECS IS FLAWED AND HERE'S A DUMBASS THREAD ABOUT IT

-~a thread~-

If you've been following me for a while, you should know that 100 gecs, and their album 1000 gecs, are genuinely some of my least favourite music projects of all time. But I'm starting to realize that I've gotten a random influx of gecs stanning followers, and I need to explain.

I should probably line this thread with the fact that 1000 gecs could have, and very easily, have been a masterpiece. Subversive, surreal, and absurd, the ideas of 1000 gecs are great. "stupid horse" is genuinely an incredibly well written satire of Bragging Pop Music.

Hyperpop did not start with gecs. I'm referring to it by hyperpop despite the fact that everyone knows that hyperpop was a term invented by spotify employees - mainly because it's an easier genre term to say than any of the other synonyms.

Anyways, hyperpop did not start with gecs, and it's existed for years before - but my theory is that the modern interpretation of hyperpop, as fun experimental pop music with a fuck ton of loud glitched out noises, started with gecs.

"what do you mean modern interpretation? that's what it is!" no. Hyperpop started as an inherently anti-capitalist genre, one meant to take the ideas of modern hypercapitalist machine music, and take them tao their extremes, by twisting and fucking with it as much as possible.

It was meant as an absurdist satire of the pop scene of the early 2010s and late 2000s, and one that worked very well. Usually ost early hyperpop projects don't even border on pop - they're closer to harsh noise. It took them to their natural extremes, and there was

absolutely no way it could be interpreted as anything else than satire.

Then SOPHIE, Charli, and gecs rose up upon the scene, and everything seemed to change. A lot of these musicians took the ideas of hyperpop but removed the nightmare noise aspects, and made it more palatable

to a modern audience. This meant... well, a lot of the anti-capitalist metaphors started to be erased. A lot of people think of gecs as "Dumbass experimental dance music", and not really as the anti-capitalist genre it was supposed to be. TL;DR, it removed everything interesting

about hyperpop.

Gecs is the, in my opinion, catalyst for everything that I hate about hyperpop's transformation into hypercapitalist satire into just... slightly experimental hypercapitalist music. It was the first big project that, unlike sophie and charli, I genuinely think

was trying to be like the original hyperpop - a lot of the songs in that album can be interpreted as satire, as shitposts, ones that have a point. But over time, gecs' interpretation changed from satire to... just wacky pop music. And I really really dislike that.

I'm tired as shit, and I don't really want to type any more, so I'm just gonna end it here. TL;DR, gecs is a key stone in how we interpreted hyperpop, and how it changed from an interesting satire into exactly what it was making fun of. The fact that the exact type of music

early hyperpop was satirizing is now "og hyperpop" should say something.We cannot accept capitalist satire, we just want to submit to the Machine.