The year is 21XX. The world has been overrun by robots. Tumblr is the base code installed into every single individual, and it is through this that the robots base all our their human traits; they feel emotions like love and depression, and they find momentary escapes with drugs. The main word that’s on every robot’s lips is “aesthetic”. The skies are awash with burning hot pinks and lush blues. Images of statues and marble busts flash behind robots’ eyelids, and the world stutters and jumbles like it never really upgraded past Windows 95. Within this world, a billboard with a purple-pink gradient and a neon comet pasted over it stands tall. Aside the comet is a caption:
D O Y O U K N O W W H E R E Y O U R C H I L D R E N A R E ?
Now that we got that out of the way, I’d like to say that I’ve appreciated Blank Banshee for several years since I stumbled into the virtual plaza of the vaporwave scene with the assistance of the meme-infested Soundcloud subculture that I was actively a part of around three years ago. I was interested by how Blank Banshee was rooted within vaporwave’s aesthetic but so sonically different that he was able to carve his own niche.
His debut album Blank Banshee 0 is, in the eyes of many, one of the most influential albums in the genre. It generally followed the rules of vaporwave but, like the misunderstood, parent-hating, and borderline-sociopathic millennials that love it so much, broke said rules to incorporate beats with trap influences and even live instrumentation with bass guitars. This artistic springboarding birthed the subgenre of “vaportrap” that encouraged other producers to stretch the mold they were working with, and Blank Banshee gets all the respect in the world from me for that.
BB’s follow-up album, Blank Banshee 1, took his sound in a much broodier and more experimental direction that I wasn’t exactly head-over-heels for, which made me all the more curious when I found out that he had put out a new album called MEGA. I didn’t whether it would hearken back to 0 or continue down the dark rabbit hole that 1 was slipping into, which made me both excited and nervous to see what the album offered.
While listening to the album, I took the following notes:
After listening to the album, I found myself considerably underwhelmed.
MEGA goes not in a darker direction, but a more intimate and humanized direction. The contrast between the evoked emotions and the electronics producing said emotions stirs something that Daft Punk unsuccessfully tried to do on Human After All–the idea of how “human” computer-controlled music can sound.
It’s an interesting concept exhibited with some level of flair, but the side of the album that it dominates happens to be the most lackluster, in my eyes. I found much more enjoyment in the tracks at the start of the album that just showed the world that BB was back and still at the top of his game; it’s when the album starts to experiment to such extents that it turns me off.
Another thing that struck me is how pitifully short all of MEGA‘s tracks are; each song is around 1-2 minutes with absolutely no exceptions, when he’s had seemingly no problem straying outside of that range like on 0, which has some songs that are closer to 3 minutes. This decision hindered BB’s abilities to develop the ideas of his tracks, and it seemed like it was not the sufficient time that I needed to be sold on it.
If you came expecting a trip into the virtual plaza, you’re not exactly going to get it here (and why are you listening to Blank Banshee anyway?), and if you enjoyed 0 or 1 and came expecting more or less the same thing, you’re better off listening to one of the producers that serve as the fruit from Blank Banshee’s loins.
Consensus: MEGA has a bold artistic and sonic direction that leads to a multitude of enjoyable moments, but the intense and needlessly rushed experimentation onset by this direction leads to an alienating experience that makes the album falter.
Favorite tracks: Basically all of tracks 1-6 and “XENOS”
Least favorite track: idk like “JUNO”…if I had to choose
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