Review Summary: PC Music's Origins, Its Current Landscape, and Its Influential Future: The Renassiance (Or death) of Pop.
Reviewing albums like this one are always a huge challenge. For one, it is nearly a whole two hour and forty minutes in length. Secondly, and the biggest reason, is that this isn’t really an album, or really a compilation for that matter. This is like a resume/CV for an artist who started the whole hyper pop/PC music idea. This set of seven 20 to 25-minute mini albums takes you through the brain of what PC music started on, where it currently is, and where Cook and all his collaborators in PC music in-vision the sound going (or even not going). I will write a few sentences on each of the mini albums and then average all their scores into what I believe this whole experience is like. On the surface, though this is one of the most eclectic and explorative set of tracks I have ever heard come out of the PC music scene and it really makes me excited to see what it will continue to do to the current evolution of pop. If anyone has not thought about it, we are in a renaissance of pop music and Cook is one of the driving producers driving the rebirth.
a. A. G. Drums: [4.5/5]
Drum and Bass; Drill and Bass; IDM; Glitch
My personal favorite set of tracks on the whole album. From the opening track “A-Z” you will be shown the brilliance of how drum and bass and drill and bass can be done when you allow it to explore areas of glitch, wonky, and IDM. There is honestly nothing bad about these tracks other than “Drum Solo” which is a rather odd interlude. These tracks are an exploration of how explosive and energetic hyperpop can be when done right.
b. A. G. Guitar: [4.5/5]
Indie Rock & Pop; Alternative Rock & Pop; Art Pop; Indietronica
One of the most interesting/innovative set of tracks on the whole album. Many of these songs show a progression in the ideas of trying to fuse folk, rock, and indie with hyperpop, and all of them succeed with flying colors. From the Blur cover of “Bettlebum” to the very odd alternative country-inspired “Drink Blood”, there is something so innovative and addicting to these seven songs. The only weak-ish track is the closer “Superstar” since it falls flat as an odd singer/songwriter inspired ballad with Cook not seeming to have any feel for what he is doing.
c. A. G. Supersaw: [5/5]
Bubblegum Bass; Deconstructed Club; Post-Industrial
The most experimental, but most traditional set of tracks on the album. This might be the most abrasive and sophisticated set of songs, but it comes from the traditional idea/inception in the late 2010s. Specifically, the many loud and explosive deconstructed club tracks on here (especially the opener “Mad Max” and “DJ Every Night”) give you a sense of panic. Plus, there are many nods to the progressive electronic scene with songs like “Car Keys” and “Dust”. The perfect introduction to the sound and style of what PC music means.
d. A. G. Piano: [4.5/5]
Art Pop; Alternative RnB; Crossover
Piano is a very interesting direction for Cook to go into, with a lot of crossover and art pop influence. From the very punchy and bright “Oracle”, to the introspective and progressive/techno-influenced “Note Velocity”. A lot of experimentation was taken with this set of tracks and many of them pay off with monumental success. I would love to see this style explored more by his collaborators, rather than just him.
e. A. G. Nord: [5/5]
Ambient Pop; Bubblegum Bass; Synthpop
The strongest and most consistent set of tracks on the whole LP. At first, listen, these ambient pop ballads can be a bit of a turn off for what has previously been shown. However, the way the hyperpop formula of auto-tuned vocals and overdubbed synths integrate so nicely over these atmospheric and surreal tracks makes for one of the most mesmerizing and intricate listens on the whole LP. The only track that is a bit odd is the Charlie XCX cover of “Official” that Cook doesn’t add too many new ideas or layers to the song. Also, the cover of Taylor Swifts “The Best Day” is a rather interesting re-imagination of the song that no Swift fan will like but gives the track a much-needed breath of life.
f. A. G. Spoken Word: [3.5/5]
Ambient; Synthwave
Unfortunately, this is the weakest set of songs on the whole record. However, the opener “Could It Be”, “The End Has No End” (The Strokes cover), and “2021” are all breathtaking tracks with a lot of grit and experimentation. However, “No Yeah”, “Green Beauty”, and “Hold On” have this very underwhelming and underdeveloped feel to them. Especially on the way, everything comes together on these tracks. Overall, I think it’s a style/idea that he could have left on the cutting room floor since many of these styles don’t fully encompass what PC music is about.
g. A. G. Extreme Vocals: [5/5]
Bubblegum Bass; Art Pop; Electropop
Lastly, we end on what PC music’s current landscape sounds like. This is where the bulk of the covers show up with the intro track “Today” being a progressive electronic rendition of The Smashing Pumpkins. “Chandelier” is one of the most interesting songs on the whole album where Cook really goes for all those Sia inflections, however, we can all relate to this track in that none of us can really hit those notes and he doesn’t try to hide it. “Idyll” is an interesting cover of his own song and it honestly brings a breath of fresh air by adding glitchy overdubbed vocals. From there we get the biggest banger on the whole album, “Show Me What” which is straight out of the Charlie XCX catalog. “Somers Tapes” is a very cold track with such noisy production that it’s hard not to love it. Then we get the last two tracks and they continue to surprise me for being so classic yet refreshing.
In conclusion, this is one of the densest but interesting albums I have heard from an electronic artist this year. All the different ideas and influences come together so nicely and there honestly is very few dull moments in the track listening. For being a two and a half hour monster, it comes and goes so quickly because of how mesmerizing and exciting so many of the tracks are. You cannot go wrong with it. I look forward to his actual debut to drop at the end of September.
