Switched on Pop - 100 gecs and the new sound of hyperpop

Episode Date: March 21, 2023

Everyone will describe the music of 100 gecs differently. To some, Dylan Brady and Laura Les make deeply satisfying earworms, tracks able to scratch the itches that occupy the deepest memory-holed corners of the brain. To others, though, their music is an "anarchic assault on the ears,” a quilt of all of the genres historically ridiculed in the popular canon: nu-metal, scuzz-rock, ska and 90’s pop punk are all fair game in the world of gecs. On their latest record, aptly titled 10000 gecs, Brady and Les double down on the crunchy distortion and harmonics, creating tracks equally influenced by Primus and Eddie Van Halen as they are by their hyperpop contemporaries. The album reflects a Internet-core approach to music as a whole, shedding notions of “good” and “bad” music in favor of catchy melodies and intricate song construction.  On this episode on Switched On Pop, we dig deep into the ethos of 100 gecs, and producer Reanna Cruz talks to the duo themselves about their eclectic sophomore record. Songs discussed:  100 gecs – Hollywood Baby 100 gecs – Billy Knows Jamie 100 gecs – stupid horse 100 gecs – 745 sticky 100 gecs – Doritos & Fritos Primus – Jerry Was A Racecar Driver Ween – Bananas and Blow Limp Bizkit – My Generation Gorillaz – Dirty Harry Future – I Been Drinking J-Kwon – Tipsy Justin Timberlake – Summer Love Violent Femmes – Added Up 100 gecs – Dumbest Girl Alive THX Deep Note Cypress Hill – Insane in the Membrane 100 gecs – The Most Wanted Person in the United States 100 gecs – Frog on the Floor Alan Jackson – Chattahoochee Limp Bizkit – Dad Vibes Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you're tired of endless scrolling to figure out where to eat, same. I'm Stephanie Wu, editor-in-chief of Eater. We've just launched the new-ish and way better Eater app. It has all the restaurants we love, gives you personalized picks wherever you are, and serves up smarter search results just for you. You can find my list of the best places for martinis and fries in New York City. And save your favorite spots, share lists, follow editors, and book right in the app. the eater app at eater app.com. It's free for iOS users. Welcome to Switch on Pop. I'm producer Rianna

Cruz. And I'm songwriter Charlie Harding. So Charlie, this is going to be like a setup to a joke. Okay. You ready? Okay. Weezer, Skrillix, and Slaybells all walk into a bar. What comes out? I guess the only answer is the Weezer holiday album remixed and chopped and screwed? I don't know. Close, but no, it is this. Right, that's like Weezers, Beverly Hills, but totally messed up. Yes. Like it hits harder, the vocals are completely manipulated. That's wild.

What are we listening to? This is Hollywood Baby by 100 gecks off of their new record, aptly titled 10,000 geeks. Right, because their last. album was a thousand gex. Exactly. This is very funny. By their seventh album, we're going to be at a number that nobody can say, I feel like. Are you familiar with the work of 100 gex, Charlie? Kind of casually as like a band in the world of hyperpop, I guess, but I've never been a dedicated listen. I've probably just heard like one or two songs. Well, the first thing is that 100 Gex is not necessarily a band, but rather a duo. It's two people. Okay. Laura Lest and Dylan Brady.

Their music has been called everything from an anarchic assault on the ears from complex to disruptive innovators from the New York Times. And pitchfork has referred to their music as abrasive maximalist pop. Yeah, I've always thought of their music as the sound of the internet. Tons of bleeps and bloops, infinite genre mashup, but also kind of like spawn con on. the internet, it's like as catchy and hooky as possible so that you're going to have to click on the thing. Yeah, it's got, it's a mashup of everything. It's totally discordant, but it also has lots of hooks. That's what I've always thought of 100 gecks. Yeah, and that's sort of the sound of their scene, the hyperpop scene at large. It's genre mashing. It's very digital. It incorporates

all of these aesthetics from emo to rap, to dubstep, you know, the Weezer Scrillic. sleigh bells combination that I explained to you at the start of the episode. Yeah, yeah. So in the years since their debut album, 1,000 gecks dropped in 2019, they have become one of the biggest success stories of this genre-mashing scene known as hyperpop. But at the same time, when some people hear 100 gecks for the first time, they aren't quite sure what to make of it. Their songs are such a mash-up of styles and influences and scenes.

It's hard to parse. Like, are they being ironic? Are they being earnest? Are they in jest? You know, are they genuine? So to try to answer that question, I wanted to do a deep dive into their latest album, 10,000 gecks, which dropped last week. And I think you'll find that, like, their first album, this one is all over the map.

Listen again to what we heard at the top of the episode, their song, Hollywood Baby. So you listen to that. It's very poppy. has that pop rock sheen to it, very 90s. But if you listen to another song from the album, Billy Knows Jamie, you'll understand why 100 Gex are so hard to categorize. It sounds like if you took a red hot chili peppers MP3 that was at the lowest quality, slammed it through distortion,

and then auto-tuned the entire thing. I've never heard anything. like this, but I can see that they're still mining a lot from 90s, mid-90s, late-90s culture. Yeah, it's so fascinating the way you described their music because you can't really describe it in regular terms. You kind of have to describe it as like, oh, it's this group, ran through this filter with this slapped onto it and also a dash of this, you know? Yeah, it's almost like you're watching an old CRT television with an analog risk. and it's caught between competing stations with a lot of analog fuzz in between.

But that's like the beauty of 100 Gex. Their sound is so intangible and ineffable. The way I see it, I think Gex are one of the most transgressive pop duos making music right now. And yes, I said pop. Yeah. Because their music combines high concept pop in both. skill and songwriting with genres that have been considered some of the lowest common denominators in the music world. Yeah, the structure of these songs feels very pop-oriented. The hooks are, as you pointed out, very catchy. The chords are familiar. The energy is kind of familiar. I think

all of the discordant nature is in the production, the arrangement, all of their sound choices. create this contrast between the pop sound and this soundscape, which again, for me, feels like you just grab like 18 different playlists. You mash up all these different things that usually don't fit together. It's compelling. Yeah, it's like supercharging pop into all of these various unrelated seeds. The duo has repeatedly toyed with the lovely genre ska on songs like Stupid Horse. Yeah, it's like me on a stupid horse I lost that. Get my cash back.

I just got to leave this place with a beat back. Yeah, it's like no doubt era Gwen Stefani took speed and helium balloon and that's what you get. So accurate. And on the same album as this lovely Scott track, they also have 745 Sticky, which has a full dubstep breakdown. That's fun. Especially because the music leading into it is this almost like Devo-like 80s synth bass line. Yeah. And then this contrasting Dubstep Drop,

there's so much influence in pop music from the world of Dubstep, because the Dubstep Drop is all about taking fragments of sound and playing them momentarily and then switching to another sound, often very harsh and intense. And it's the glitching between these different unexpected tamer. that is often what is so pleasurable about the music. Because the drum groove is actually very simple. It's usually just a,

boom, ta, boom, ta. And then all around it is the that kind of stuff. And so if you take that concept of how you make a dubstep drop, when abstract it out, it gives you something like 100 gecks. The we can mash together genres that maybe usually would never fit to,

together. Right. And part of the discussion around Dubstep, I feel like, in the early 2010s, was that Dubstep is the worst music to ever be brought upon the music listening populace. Like, people absolutely despised Dubstep and the way that it sounded, and Scrillix was like sort of target of raucist attitudes being like, oh, well, the Beatles made this, but Scrillix can make this, you know, it was very like, it was very, uh, uh, genre classist, if that's a way to put it. People did not like it. I don't think that dubstep has ever been made to be particularly approachable. It definitely was seeking an audience through transgression at the time.

But that style of drop, I think, became so heavily repeated that, I don't know, I listen to something like that. I don't even find it surprising anymore. It's just sort of silly and fun. It became kind of cliche. Right. I love it because it sounds different than other things I've heard. And that's kind of why I come back to 100X at large, I think.

It sounds different from a lot of the other music that I'm hearing and a lot of the other sounds that people are pulling from. They tend to grab inspiration from genres that have been historically derided in the popular music canon. there's doom metal, there's, you know, 150 BPM Eurodance. Like they're here to mash them all. And on 10,000 gecks, there's a rock tune that they've released as a single called Doritos and Fritos that has this tone to it that speaks to underground primus core rock music. Let's take a listen. This is a weird reference for me, very fun. I love Primus.

I listened to a lot of them growing up. And they're a bizarre reference because A, Primus is probably the strangest band to have ever been created a hybrid of funk metal, Tom Wait, circus music. Like free jazz. Yeah. I don't think they had a single Hot 100 hit, but people might know a song like Jerry was a race car driver if they played Tony Hawk growing up. They were definitely an alternative, alternative, alternative band that had more success than anything so strange ever deserves. And I feel like 100 gex is maybe in that lineage.

When they're talking about Fritos and Doritos, Primus had albums like Sailing the Seas of Cheese and Pork Soda is maybe a good reference. So what a fun connection to be making back to Primus. I hope that they have yet another coming. The Primus career resurgence is here. I hope this turns on more people on Primus. Yeah, exactly. So yeah, let's take a look at Doritos and Fritos. And the song starts off with the harmonics guitar.

You know, as much as this reminds you of Primus, it's also totally 100 gecks because it does sound like contemporary music. the guitar sounds, I'm assuming, are sampled. It feels like they just grabbed 50 different distorted harmonics of the guitar, ran them through a sampler, and then found a total strange assortment of those sounds, ordered them together with MIDI, and play them back through the computer. Like, I don't think I could play that riff on the guitar.

It's too strange. A guitarist would never make that as their default thing. It is analog playing. for the record. But I do think that it is ordered and structured in such a way that is difficult to play. It's the analog made so digital. Well, that's fascinating because it definitely has the sensibility of someone who has spent their entire musical life grabbing and chopping up samples and putting them in unique and surprising orders, kind of like a dub-step drop. No, yeah. And the lyrics, similar to the harmonics guitar, they sound like.

wrong and abrasive and like you said they're kind of just like nonsense right where your reference is primus mine is the band wean where they kind of take this genre jumping irreverence and put it in all of their songs which are also really really good pop songs so yeah that's a song aptly named bananas and blow sounds like if the writer hunter s thompson became a lyricist What mindset do we have to be in to want to really dive into this level of bizarre music? Is this just where you're at, like, 24-7, Rihanna? Like, what do I need to put myself in the mindset? I don't know if I could say on a podcast, Charlie.

My mom listens to this. That's nonsense. I mean, like I said, a lot of primus in my youth. But I don't think it had to do with anything other than maybe sometimes wanting to get into the place of feeling like my brain is as scrambled as it is and that's okay? Yes, I personally really enjoy listening to things I've never heard before. That's sort of what I pursue when it comes to music. I like things that like, in the case of gex, have these pop sensibilities where I could

listen to it and latch on to these melodies and these rhythms. But at large, it is confusing and it's different and it's new to me. Like I play gex in front of like other people, right? Like my partner. And my partner is like, I don't like this. It's confusing. I like predicting where songs will go, which is a totally valid reaction. And I kind of skew towards the opposite where like I listen to wean, I listen to Primus, I listen to 100 Gex.

I listen to these acts that kind of subvert what you think a song should be or what the listener thinks a song should be. You know, they kind of skew that and like flip it on its head. And that is sort of the inherent beauty in what they're accessing. The 100 gecks might just sneak into your mind, even if your first reaction is I don't like it. Because as you established, like pop hooks. Right. Pop song forms. In fact, lots of familiar instrumentation just done often in ways that are not particularly comfortable.

I mean, even we haven't talked about the vocal, right? These are very unnatural voices. and the formance of the voice are shifted all over the place as well, which makes the voices somewhat alien hard to create associations with. It's definitely a bit out there and very in at the same time. Exactly. And that sort of distortion is present throughout the entirety of Doritos and Fritos. Even when the hook switches to twangy ska guitar.

So in that hook, you know, it's melodic and we have this guitar in there, which is so different in direct contrast with the abrasive harmonics that we're getting in the rest of the song. But the ska guitar even in it of itself is abrasive on its own, you know, like all of these disparate parts are together. Right. But they all kind of sound the same, which is, it's a fascinating way to go about constructing a song. Which is why I said earlier, I feel like the sound of 100 gex is the sound of the internet. It is how we consume media now, and so it feels very appropriate for a song to take us from place to place to place to place. Maybe the better metaphor is like a TikTok feed, right?

When you're scrolling through that, you're going to jump from song to song to song in a 15-second, you know, clip or shorter. And so aren't we actually perhaps ready for 100 gex? Isn't this music the most appropriate music for the moment? My thesis about gex and why they're so popular is a sort of similar perspective to what you think, Charlie. It's the things that they love and the things that they put in their music. Because what 100 gex music is to me is a rejection of a sort of algorithmic blandness that's come to affect, you know, lots of things, nearly everything we love in recent years. Laura and Dylan seem to represent a love of a mishmash aesthetic.

that has been synonymous with a more Gen Z or Zillennial ethos. There's been all these articles from outlets like, you know, the cut and the ringer over the past five years that have detailed the phenomenon of something called millennial blandness or millennial gray. The idea that the aesthetic ideal is something that is clean and minimalist, easy, simple to parse, where you can look at it or understand it immediately, doesn't really take much thought.

it looks cleaner and it looks nicer. In contrast, the things that younger people have gravitated to in recent years are things like clutter core and something called core core, both things recently detailed as things that are messy and all over the place and celebrated because they are such. CoreCore specifically is noted in Time magazine as featuring, quote, seemingly random clips edited together at various speeds, unquote. And to rope in my film education, right? Like this creates a sort of koolishav effect where you put all of these disparate clips next to each other and synthesize new meaning out of it.

Bringing it back to Gex, the way that they take all of these influences and smash them next to each other, it reflects a sort of messiness and the challenging nature of a Gen Z aesthetic, which is why they can connect to young listeners while, of course, being both in their late. 20s themselves. I'm afraid I probably represent more of the bland than the core core. I'm going to have to go do some deep reflection. Listen to a lot more primus. Get back to my roots. So true. Well, I had a lot of questions about the ethos of gecks at large and new metal and noise pop

and how they see their own work in the context of the new album. So while you go listen to Primish, Charlie, in the back half of the episode, I'm going to talk to none other than Laura Less and Dylan Brady of 100 gecks. Maria, you have a podcast now and you need to start acting like it. What's the first step as a podcaster? Well, you have to ask lots of questions. I'm Maria Sharpova and I'm hosting a new podcast called Pretty Tough. Every week, I'm sitting down with trailblazing women at the top of their game to discuss ambition, work ethic,

and the ups and downs that come on the path to achieving greatness. I have a few pretty tough questions for you. Okay. Ready? Ready. Do not sugarcoat something for me. No, no. No. We'll dive into their stories and get valuable insights from top executives, actors, entrepreneurs, and other individuals who have inspired me so much in my own journey. Pretty tough is your front row seat to the women who have demonstrated the power in being unapologetic in their pursuits. I hope you'll join us. New episodes drop Wednesdays on YouTube or in your favorite podcast app. So as I said before the break, to define the same

sound of 100 gecks is to put into words something so intangible. I decided the best way to understand their music is to talk to the artists themselves. Hello, I'm Dylan Brady. Hello, I'm Laura Lest, and we are 100, 100 geeks. I started by asking them a simple question. How would they describe their sound in their own words? And admittedly, the answer I got from them, was a little bit reductive of their own work. Average pop. Middle of the road pop. Totally normal.

Two totally chill and normal people making totally chill and normal music. We're chill. It's got a verse. It's got a chorus, you know? It's all you need. Easy peasy. Sometimes you've got two verses. If you're lucky.

So to Dylan and Laura, their music is pretty standard. But a lot of people have said that the music of one hundred. 100 Gex is baffling or challenging to listen to. So I ask them what their reaction usually is to those complaints. Oh, yeah. I think that's just a nice way of saying they don't like it. When somebody says something's challenging to listen to. My favorite songs, not challenging at all.

Super easy to listen to my favorite music. They're my favorites. I love them. I don't know. I mean, you need to listen to more Nightcore. You need to listen to more bad music. I'm listening to bad music all the time. That's challenging.

And the duo has frequently talked about their love of music that is supposedly, quote, unquote, bad. There's a quote from Dylan in their New York Times interview that says, people have been telling me that Scott is bad my whole life. Oh, yeah. People hate Scott. Is that something that factors into how you guys perceive your own music? I mean, I think it's good either. way, you know, like, I've been listening to it since I was like 14, so just kind of have to deal with that.

I don't understand Scott Haid. Yeah. Like, I don't get it. Like, why? The hatred. I can understand, like, not liking a band or like, oh, yeah, I think, I don't like the singer of this, but, like, just not liking the vibe wholesale is very odd to me. I feel like it's kind of like the nickel back thing where it's like people might not even

mean it, you know? It's like, at this point, it's like, become a meme in it of. itself that's like ska sucks and it's like get this pickle more likes than the nickelback facebook page yeah people love hating on shit yeah i feel like usually in in everything that you say you wholesale hate you can find one thing that you like people do the same thing to dub step too i can understand if people are like on average i don't like dubstep but like when people get like charged up about it i'm like they don't like to have fun i love having fun so as we talked about earlier this episode the new record has a lot of new metal, a lot of butt rock inspiration, I guess you could call it.

So I wanted to know what they were listening to and pulling from when they made 10,000 gecks. Chocolate starfish. A quick aside, Laura, of course, is talking about Limbiscuit's 2000 record chocolate starfish in the hot dog water, which is one of the biggest records of the new metal genre. Gorillas. Primis. Primis. Future

What future songs were you pulling from? Well, a few, but just you know, for the real pop heads in the crowd, I realized that Future actually on Spotify has this song called I've Been Drinking. It's like his, basically his version of Drunken Love. And tipsy by Jayquan. Summer Love by Justin Timberlake.

Added up by Violent Fems. Talk about a pop banger. Yeah. Dyln's listening to Quintet music. Cruners. We've been planning on a vocal duop song for a while. We just never get around to it. Clearly, these influences are all over the place.

Their debut record, A Thousand Gex, was very similarly all over the place. I asked them if these influences were different or if they were of a similar ethos. I think it's similar ethos maybe, but I think we were just like listening to different shit. We weren't like curating the palette or anything. Yeah, we were just like, it's just what we were listening to. Just like after a while, after a thousand gex just got kind of sick of listening to a lot of the same shit and wanted some new, new energy. So I was just listening to different shit.

Of course, that difference is what takes 10,000 geeks up a notch from the DIY digital production of the duo's debut. So looking at the record itself, the album starts off with Dumbest Girl Alive, and it starts off with what I assume to be the THX sound. Official sound from the horse's mouth. Officially cleared. You want to talk about some fucking industry machinery? Talk about getting the THX sound cleared. And sent to you, the uncompressed file. That sound is the trademark of the quality assurance system. T-H-X. You've heard it in movie theaters before the movie starts. You've heard it on DVDs.

It's a sampled glissando that is popularly known as the Deep Note. It's the real original one, not a remake, not an edited, not pitched. We wanted the one. What was your connection? Like, why did you want that sound specifically? We were trying to figure out how to start that song and we had something, but then we tried this and it's like, if we do this, It's like a tone setter vibe. Yeah, we knew that that would be the first song of the album. Like, we were like, okay, something is going to be the very first sound that somebody hears on the album. Yeah.

We were like, that's obviously how you start it. I've loved that sound for so long. It's huge and it's... Such a beautiful piece. It's beautiful and it's terrifying. But also was made with one cello sample and a guy with a computer in seven days. Whoa. Yeah.

I didn't know that. They were like, we... We need a sound for this new audio system we got. He's like, I got you. Deep note. Want to talk about PC music? One cello sample. One cello sample and a computer, baby.

We love sampling. We love sampling. Did you guys sample anything else on the record, other than THX? Yes. We sampled scary movie. Oh yeah, I'm supposed to run, right? Okay. I'm right.

We sampled insane in the membrane. We sampled the slang tang rhythm. We sampled other things that I can't say because we didn't disclose them to the label. Sampling is so fun and beautiful. What did you use Insane in the Membrate on? Most Wanted Person has Insane in the Membrane, scary movie, and the slangtang ring rhythm.

We also sampled a frog, but we didn't have to clear it. Was it just a ray in the frog? Yeah, we found it in a bog. on the floor where'd it come from? Mm-hmm. We were in a bog searching for samples. We had the big fluffy microphone and the headphones on. Mm-hmm.

We were definitely the most dressed there. All the frogs were naked, so it was a little bit uncomfortable. A little bog session. Aside from the sampling, the record seems to be dabbling a lot in analog playing. I was wondering how Dylan and Laura program their guitar parts, figure out what's going on the track, and if they actually sat down and played those guitar riffs. Yeah, yeah, all the guitar is played. I don't know, Dylan, how do you write a guitar riff?

Get your six string out, put it on your lap, find something that feels good. I think it's awesome how much you ended up playing guitar on the album, because I just remember, like, way back when you being like, so how do you play guitar? That's true. And now you're playing it like all over the album. Most of the guitar on the album is Dylan, which is awesome. I'm a late bloomer in the guitar world. Yeah, actually, I guess that's essential context for that to make sense, why that's cool. I started late in the game.

But we did get Josh Fries on the drums. Josh Fries, of course, is a legendary session drummer who is a member of the Vandals and Devo. And in his session work, he's collaborated with everyone from 9-inch nails and Weezer to Ween and Miley Cyrus. He can honestly represent the varied references that Geck's embody in their work. Josh is an insane talent, a machine. Extremely good at what he does. In the first half of the episode, we talked about the Geck song, Doritos and Fritos.

It's one of the more eclectic songs on the record. So I asked them how they approach writing that when it's a sort of hodgepodge of all these ideas. and lyrics. One of the internet things that we did, the internet shows or whatever, we were like making songs for it or something. And then I was renting this place and Dylan was over. And then he was like, oh, I have this riff that I want to show you or whatever.

And played like the main bass and guitar like parts for Doritos and Fritos with pretty much the drumbeat as it is now. That's definitely an album song. Like, we have to do that. It was hard thinking of what to do on the hook there. I was doing an all-nighter, and I was like, goddam, got to think of something like for a hook. So laid down a bass part that I thought could be complimentary to the main part, and did like a million different ideas to try to find something that fit good.

Incredible baseline on that chorus. Thank you. That was before, I think the guitar riff was before the baseline, but I don't know. I was just trying to do some fucking Van Halen-shaped shit. You have the evil version of Doritos with a different bass line. That sounds like nothing. It sounds like pure chaos. Yeah, there's like a version where it's just a total atonal version of that song.

But I like how the one turned out. I think it's just like four tracks, right? It's four tracks. Four tracks of harmonics, yeah. Just if you listen to one single track, it's just like, do. It works together in beautiful harmony. Kind of inspired by the Chattahoochee drums a bit too, Alan Jackson beat. Talk about a pop classic.

Yeah. Great beat. As we've talked about all episodes, Doritos and Fritos is a very eclectic song. However, other songs on the album are much more palatable, looking at a track like 757. I wanted to know if they were approaching these types of songs differently. I think we're just trying to write a different kind of tune. We said, okay, we did say early on that we wanted something that you could play in your backyard while you're grilling. Yeah.

So that medium inspired a couple songs. Like no bummer vibes. Yeah, no bummer vibes. And some things that you could hang out and listen to. Yeah. trying to make the more brew crackable music as possible. Brew crackable music. That's a great term.

Brew crackable music, baby. So by that extension, like, there's a lot of ska on the album is ska brew cracking music? Oh, it's made to crack brews to, thousand percent. Critical listening only. It's going to be an out there metaphor. But I feel like your music reminds me a lot of those anti-piracy ads that are like, you know, like you wouldn't steal a car. that sort of thing. Our music is just a one big long pro piracy ad.

Except for our music, you should buy it. Stream it on your Xbox. That like over the top excess, there's like a deep seriousness to it. And I think for some that can come across as like an ironic appreciation for these like things that you're pulling from. And you know, like maybe for your music itself, how do you respond to people that are like, like your music is just like kind of like ironic committing to a bit type stuff do you feel a certain type of way about that? I feel like we've been addressing that like yeah since the first album came out like we're

not going to fucking convince anyone at this point that we're, yeah, we actually like the music that we're making it seems. I feel like I understand that sentiment. Like sure. We understand that people do think that dubstep is funny. Like we get that. We're not being sincere like. without the knowledge that people could take it as a joke.

You know what I mean? Like, we get it. We understand, but it's like, we're not going to make music that we think is bad. Like, there's things that are, like, slightly tongue in cheek, I guess. But we just like it. Like, okay, like new metal. Like, yeah, there's things that are funny about new metal, for sure. Yeah.

But, like, people whose whole thing is new metal think the exact same thing. Yeah. There's no way that Fred Durst doesn't understand the tongue in cheekness. of it. You know what I mean? Mm-hmm. Yeah. Whatever people think of him,

he probably fucking understands. Did you listen to the last Limpiscuit record? It's called Still Sucks. Like, he clearly is like in on the fan. Yeah, exactly. He's like, he's like, I'm your fucking dad. Check out your dad with the swag on the flow.

Mama going back when I walk in the door. Y'all ain't never seen a gorilla in. Yeah, like exactly. Four song is called Turn It Up, bitch. Don't tell me Fred Dirt doesn't know what the fuck he's doing. You know what I mean? He understands the vibe, but he's not being ironic. He likes, I mean, I can't imagine that anyone in Limbiscuit doesn't like the music that they're making.

It's kind of a thing where it's like you either get it or you don't, you know. You either... Totally. You can think it's ironic or whatever, but like... Yeah, I don't think we're going to change those people's mind. It's tongue in cheek at worst. Thank you guys for talking to me. I appreciate it.

Thanks for having us. Yeah, that was really fun. Over the years, I've come to realize that 100 Gex have left a profound impact on me and the way I perceive music. Their new album, 10,000 Gex is out now, and we want to know what you're hearing at it since release. There's a lot going on, want to know your thoughts. So hit us up on Twitter and Instagram at Switched On Pop, and you could find this on our website at Switchedonpop.com. Switched on Pop is produced by myself, Rihanna Cruz, edited by Art Chung, engineered by Brandon McFarland, illustrations by Iris Gottlieb, community management by Abby Barr. Our executive producers are Hannah Rosen and Nishot Kerwa.

We're a member of the Vox Media Podcast Network and the production of Vulture. We'll be back next Tuesday, and until then, thanks for listening. Attention, Spotify. Has arrived on the new Good Girl Jasmine Absolute of Caroline Herrera, A fragrance intense with character Gourman and addictive. Imagine a jasmine emvolventy, caramelized and tonka-tosted. A combination that seduce from the first instant and doesn't make a wea. Good Girl Jasmine Absolute, hypnotic, irresistible.

Discover it a-oye and let you embovure her essence.