Caller ID: Track Roundup — 11/6/20

Welcome to Caller ID, Ringtone Mag's biweekly track review column that emphasizes songs by smaller artists!

Caller ID album covers

NEVER MET! - 100 gecs r3mix (feat. Glitch Gum)” — Cmten, 100 gecs, Glitch Gum

Cmten and Glitch Gum’s infectious hit “NEVER MET!” is back in its ultimate form: the 100 gecs r3mix. The 100 gecs duo reanimated the mouthy goodbye letter that rocked TikTok just in time for Halloween, but the track’s new life has not died in the past week. A sped-up beat and two new verses from Laura Les and Dylan Brady solidify this remix as the track’s most entertaining adaptation yet.

Despite several edits and a remarkably shorter runtime, not much has changed within the original verses — and that’s a good thing. It would be a loss for listeners if this wild new instrumental existed without that Pictochat mention or Cmten’s “800db cloud” reference within the iconic “I feel like Laura Les” line. On an initial listen, it seemed like a stupid wish that Laura Les should kick in a few seconds later and respond to the call of her name. But hyperpop’s tight-knit, hard-working, and sort-of-ridiculous community of artists said, “No, we will collaborate.” “Ha ha ha, same, I feel like Laura Les all the time,” Les, the hyperpop icon herself, sings. Les then issues a quick verse, but not without content. She manages to fit in several quotable lines and a possible reference to yet another 100 gecs hit, “bloodstains,” without wasting a beat. Dylan Brady follows with a quick refrain in some angsty pitched vocals, serving as a perfect send off for a track already ripe with feelings of frustration.

This 100 gecs remix is fast-paced, fun, and self-aware. After listening to this remix, “NEVER MET!” will never be the same.

— Grace Niemiec

Evil Plans” — David Shawty, 16yrold

David Shawty is back with a new single, “Evil Plans.” The song has a darker vibe to it compared to his latest releases, possibly because of Halloween, given the song was released on Oct. 30. The song starts with a very distorted and processed synth line that is repeated throughout the runtime of almost 3 minutes. The synth line is extremely similar to the classic “Pressure” synth line. At times, the beat can be very disorienting, with claps, risers and crashes frantically repeating, a staple of 16yrold’s production. In the song, there are several recurring elements in David's songs, such as a catchy chorus and his staple stutter effect. David’s latest releases have all been accompanied by music videos, and this is no exception. Produced by 16yrold, it is not the first time David and 16yrold have worked together; back in April, two singles were released from the collab: “GOODMORNING” and “GREEN.”

The song is the latest of several singles that David Shawty has released in 2020. He has yet to release an album this year. David’s year has been met with a glimpse of unprecedented fame after his hit with Yungster Jack, “Pressure,” amassed over 5 million plays across platforms. David has had previous hits, such as “honda,” which was released back in 2016 and has over three million plays collectively on Soundcloud and Spotify. David’s year has been probably his biggest so far — we can only hope for an album in the last two months of the year. Time’s running out but he’s got evil plans.

— João Veloso

Ascension” — daine

Halloween needed more fanfare in the hyperpop sphere; luckily, daine was up to that task. “Ascension” sees the fledgling artist take to new spectral planes by summoning ghastly guitar tunings through a portal to another realm. Distorted, crashing bass fragments line the track as the verses phase in following the tried and true chorus-driven opening. As if materializing before you, the guitar carries itself into daine’s detached and slithering vocals as one line rolls into the next.

Daine’s plucky guitar riffs never disappoint and are what allows her to stake her claim so readily in the scene. Lyrics taken out of daine’s spellbook tell of an aching, recently heartbroken soul feeling anemic as if all energy to trudge onwards is being drained from within. They want to hype themselves up, but it’s hard to keep those feelings rolling beyond the initial thought. For a single, there is such wickedly wondrous imagery circling this song and I’m here for it.

Charli XCX just recently placed “Ascension” as the first song on her the motherfucking future: the nocturne edit playlist. Not only does daine earn her place for the extra spotlight here, but hopefully it will conjure up even more enthusiasm for her work as she continues pumping out vibrantly endearing, soulful ballads.

— Dylan Robinson

twitterloser” — AViT

19-year-old AViT’s “twitterloser” is a heartbreak song reminiscent of early 2010s pop. After wondering why AViT’s music reminded me a lot of 2010 pop (in particular Owl City), I found AViT says he is heavily inspired by the 2000s music he grew up listening to.

“twitterloser” opens with chime-like, video game soundtrack reminiscent synths and a vocal track that constantly changes in pitch. These factors allow you to become fully enthralled by AViT’s storytelling. The song is how I imagine floating through space would be. The chime-like synth sounds like stars falling — partnered with the echoey vocals, they fill a void, allowing you to immerse yourself in AViT’s world.

The lyrics are full of bittersweet, memorable lines such as “I hate you, I despise you / You’re just a memory to me.” These lyrics accompanied by the high-pitched, distorted vocals, encapsulate the feeling of trying to escape the memory of someone.

The opening of the second verse, however, shows AViT’s ability to write vulnerable, honest and immersive lyrics while still being stylized. “Yeah I spent all my nights / Stayed up, writing these fucking lines / Wasting my energy and time / (God damn, I really need a life).” Alongside the lyrics that hit too close to home, AViT uses a juxtaposing bright synths, reflecting the conflict of emotions he describes through the music itself. Needless to say, this may have been my first encounter with AViT but it won’t be the last.

— Minna Abdel-Gawad

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