100 gecs are the most spoken about pop anarchists on the planet right now.
The pair – producer-songwriters Laura Les and Dylan Brady – have built an endlessly salivating base of fellow rule-breakers, from their stans to the music community itself, enlisting folks as diverse as Dorian Electra, Fall Out Boy’s Patrick Stump and Kero Kero Bonito to re-imagine and broaden the horizons of their debut album 1000 gecs.
1000 gecs & The Tree of Clues came out a few weeks back and to chat through it, Nic Kelly is in bold, Laura Les & Dylan Brady in not-bold.
Hello beautiful humans. Thank you for putting the record out on my birthday. It was a wonderful, wonderful gift.
LL: We knew that it was going to be your birthday! So we changed the release date to fit your birthday.
I thought that was the case. We did bump it when we were kind of having a bit of a kick-on at my house after birthday dinner. Do you consider this Tree Of Clues record to be a party album at all?
LL: It’s perfect for any occasion. You should be streaming it all the time. When you wake up, you throw on Tree Of Clues. Maybe you take a shower and get ready for your day, eat breakfast, all while listening to Tree Of Clues. Then you have your productive part of the day, you can throw Tree Of Clues on. Maybe in the evening. You’re trying to unwind? You throw on Tree Of Clues. if you go out in the evening to party, it’s great. Or, you know, when you’re going to bed – it’s a great album to listen to while you’re going to bed – you can stream it on repeat while you sleep for eight hours. You really can listen to it all the time. It’s GREAT.
Do you consider this record to be a remix album or more reimagination album?
I’ve stumped you.
LL: We hired the world’s greatest imagineers to come together and do a Pixar on our album.
Who’s the biggest imagineer of the lot?
LL: Dylan Brady.
AG Cook said in an interview, when they asked him why he wanted to get involved in the album, that “he didn’t have a choice.” Can you talk me through your process of selecting and securing collaborators?
LL: Yeah, he was a specific case. He didn’t have a choice because we held him at gunpoint while he produced the remix. So he really didn’t have a choice. Everyone else… there were people that we liked, people that we were friends with and people that we found who had already done great remixes and just tried to make a great album.
Dylan, do you want to add anything?
DB: No. That covers it.
Can we talk about Stupid Horse. Who is the Stupid Horse?
LL: I don’t know, man. Maybe I’m the Stupid Horse! Maybe you’re the Stupid Horse? Maybe it’s capitalism. Maybe it’s a deep communist commentary? Who knows, man, it could mean so many things to so many people, maybe it means something else?
This is the beauty of art and music, isn’t it? It can be reconstrued in so many ways.
LL: People have construed it in every fuckin’ way we can imagine.
What’s the most absurd way that you can think of that people have considered so far?
LL: No absurd ones. Every one has been a very valid and appropriate one. I will say, one was that I wrote it about heroin, which… that was not correct. I don’t do heroin. That’s the only one that’s incorrect.
I want to talk about one more particular track and then talk more broadly but the Hand Crushed By A Mallet remix. How the fuck do you get Patrick Stump to work with you? It just didn’t seem like something that was gonna happen and then it did and it was fucking amazing.
DB: I just texted him and said “hey do you want to get on Hand Crushed By A Mallet remix” and he sent back the files.
Is there like, a discussion about what he’s gonna do with it, or does he just kind of do his thing and send it back and you go “fuck yeah that works.”
DB: That one.
LL: Dylan tried to dictate every action, every nuance to Patrick’s performance but Patrick is such a rebel, that he took that as an opportunity to change the norms that we have set. And I LOVE it!
He’s such an anarchist.
LL: “The Anarchist Patrick Stump.”
Let’s talk about the fact you two were meant to come to Australia and then a pandemic happened. Are you sad?
LL: Fuck yeah we’re sad that there’s a pandemic going on. That sucks so bad!!!! We’re definitely not hype that there’s a pandemic. The fact that we had to cancel the shows, I mean, you know, you gotta fuckin’ make concessions for the fact that you don’t want people to be risking their lives to go see our show, we’ll come back to Australia for sure.
I mean, you guys are one of the acts that I think people would risk their lives to come and see. I think you would be one of the few.
LL: No! We don’t want that! Don’t risk your life for us!
I know you make a lot of fucking music all the time. How have you been the last couple of months with the music creation process? Obviously you’ve had a fucking record to put out and promote and do all the usual shit with but have you been making music?
DB: Trying to… definitely trying to.
What’s the barrier? Are you guys physical collaborators? Do you like getting in rooms with people? Has that been one of the barriers?
DB: Feeling like a normal human being during this has been a barrier.
LL: Yeah. feeling incredibly sad about all sorts of shit. But, you know, we’ve still gotten a couple bangers written. It’ll definitely be better when we can hang out and be happy but other than that, yeah.
Music is a very physical and social experience and that’s been a particularly sad part about the last little while. But it’s been a moment to reflect and it’s been a moment to think about the world as a bigger kind of place and I know that we’ll get back to the point where we can hang out and lose our fucking brains to the 100 Gecs live experience very soon. What is the aim with the 100 Gecs live experience?
DB: Having a great time dancing around.
LL: We’re very utility on that. We just want everyone to have the most good time that they can.
DB: In a safe environment.