Review Summary: Stupid Fun Escapism
“Hypa Hypa” couldn’t have been released at a better time. By June 2020, most the world was locked down, necessities were in short supply, uncertainty and division was dominating the news, and a large majority of the population was living in fear of an unknown disease. Amid all these anxiety-inducing events, Electric Callboy (Eskimo Callboy at the time) dropped a mind-fuck of a video featuring dirty mullets, eighties attire, barely choreographed dance moves, large amounts of chaos, and over-the-top humor. The song itself immediately caught the attention of the confined masses with its memorable chorus and shocking transitions from cheesy electro-pop to metalcore. Would “Hypa Hypa” had been as successful if it had been released under better circumstances? That question is open to discussion, but there’s no doubt “Hypa Hypa” provided humor and escapism at a time when people needed both. Fortunately,
TEKKNO provides more of the same.
The album’s first single, “We Got the Moves”, is even catchier and more energetic than its predecessor, featuring an electro-beat straight from classic Front 242, rhythmic metalcore, and a huge cheesy chorus. It also breaks up the formula with back-to-back breakdowns; a rave-themed breakdown as well a more traditional one. Of all the great elements on “We Got the Moves”, it’s new vocalist Nico Sallach’s voice that really lifts the song to the next level. Honestly, Nico couldn’t have come at a better time. It might just be my opinion, but Electric Callboy’s quality had been quickly diminishing since
Crystals, and they needed something to inspire them again. It seems losing their old vocalist and adding Nico was the inspiration they needed. If there was still any doubt about the band’s motivation, the album's second single “Pump It” put it to rest.
With the release of “Pump It”, an obvious formula started to emerge. It seemed every song was going to feature jarring transitions, modern electronica and 80s pop, bouncy metalcore, alternative rock, a large dose of frat boy humor, and huge overblown choruses. Beyond the music itself, the running theme of sensationalism and an over-the-top disconnect from reality really makes
TEKKNO so appealing. Nowhere is the culmination of all these elements more apparent than the minute and thirty-nine second “Hurrikan” which is half German schlager and half deathcore; with an accompanying video that is even better than the actual song. On the topic of brevity, another element that works in
TEKKNO’s favor is the brief duration of the songs and album itself. On the micro level, each song establishes its schtick, beats you with a break down for a change of pace, and ends before any of it can become tedious. On the macro level, the album itself benefits from the same short runtime; culminating before the Electric Callboy formula starts to become stale.
TEKKNO couldn’t have come out a better time. There is, of course, the state of the world and the escapism
TEKKNO provides, but there’s also the significance it holds to the band itself. Each album since
Crystals had been increasingly bland and uninspired, while at the same time neutering the heavier elements of their past;
TEKKNO fixes all of that. If you’ve heard even a few of the singles, you know exactly what to expect – huge breakdowns, brilliant pop choruses, modern and old-school electro, metalcore riffs, and a large dose of escapist fun. I don’t know if you could consider
TEKKNO a comeback release, but with as low of an opinion as I had about their last few albums, I would consider it one – a successful one if their streaming numbers and concert attendance is any indication.
