![]() ![]() ![]() ![]() (At this point in the video, Les and Brady slowly lunge-walk in a circle beside a cluster of parked eighteen-wheelers, as if partaking in some obscure neolithic ritual.) Listening to this whirlwind of a song, which clocks in at just under two minutes, I didn’t exactly know what feeling clean like a money machine meant, but I thought I could intuitively grasp it-how sludgy disgruntlement can, in an Opposite Day kind of way, yield something tight and bright and catchy. “You think you’re so fucking cool? Huh? You think you’re so fucking tough? You talk a lotta big game for someone with such a small truck!”Īfter some more furiously inventive shit-talking (“Your arms look so fucking cute, they look like lil’ cigarettes / I bet I could smoke you, I could roast you / And then you’d love it and you’d text me ‘I love you’ / And then I’d fucking ghost you!”), the track proceeds into a driving power riff that gives way to the chorus, with its repeating, high-pitched intonation (“Feel so clean like a money machine”), before, finally, exhausting itself in a longish stretch of garbled, downed-out distortion. “Hey, you little piss baby,” Les begins, her voice contorted into a squealing, falsetto Auto-Tune. Standing next to a GMC Sierra, they headbang their matching platinum-dyed mops to a tinny, accelerated beat. ![]() In the video, Laura Les and Dylan Brady, the pair who make up the band, swagger around a parking lot. The song was “money machine,” from the experimental electronic duo 100 gecs, who had released the track in mid-2019, as the début single off their first full-length studio album. What was surprising, though, was the immediacy with which I became gripped by what I was listening to and looking at. My ignorance wasn’t totally surprising: as a mom in my mid-forties, I’m hardly positioned anywhere near the cutting edge of contemporary music. About three years ago, I came across a YouTube video of a band I hadn’t heard of before. ![]()
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