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Dylan Bradyâs experimental pop troupe finds idiosyncratic takes on late-aughts pop, but gets bogged down by great gecspectations and its leaderâs own overwhelming influence.
Featured Tracks:
âCake Happyâ â Cake PopVia SoundCloud
Cake pops entered our collective consciousness around 2009, when 3OH!3 was ushering crunkcore onto the Billboard charts, the Annoying Orange was YouTubeâs biggest meme celebrity, and Taio Cruzâs âDynamiteâ was the song of the summer. These relics double as tasting notes for
Cake Pop 2, the second release from experimental pop troupe Cake Pop, a project of 100 gecsâ Dylan Brady. Mid-to-late-aughts references are baked in (no pun) to the extended gecs universe, as are genre mashups, mood swings, inside jokes, simple pleasures, crushing angst, and the audacious production that makes it all make sense.
“‘Not like I’m counting the days’, she mused through the phonograph, ‘but it’s been twenty-five.’ I caught my breath, ran out of the library, and rushed down the spiral staircase to the solemnly decorated vestibule where I keep the telephone. I cannot recall if it was isolation, invention, or the somnambulant whimsy that holidays are made of, but soon we had struck upon an inversion most wicked, yet somehow both merry and true.
“Ty [Caroline] for making this with me, the finale to last night’s Pop Carol. Also ty to everyone who attended & took part, was a genuinely heart warming eve.”