February 15, 2012

Stuck On Replay

Super Mash Bros. is this duo, now trio, of hipsters that likes to mash up current-ish pop music with nostalgic classics. Their debut, Fuck Bitches. Get Euros. was a fantastic album, with nearly all the tracks being instantly catchy. (see here). Their sophmoric effort, All About the Scrillions was much more hit or miss. And now, they have released a third album, Mile(y) High Club. After a frankly awful live show (mostly due to the audience), have they redeemed themselves?

Oh god yes.

I'm going to highlight some particularly great parts, but the entire album is solid. There have been a few tracks that were forgettable on a first listen, but they just require time to sink in.

The album starts off with Tour de Franzia. An absolutely perfect opening, instantly catchy. Drake over the background start the dance party, and midway through... BARBARA STREISAND. It has anyone singing along by the end.

¡Holy Guacamole! was the teaser song for the album. A peculiar choice. It was not my favorite at first, but the opening does grow on you. They vastly improve Kreayshawn's Gucci Gucci. (Opinions are divided on the meows. Personally, I approve.)

Don't Bro Me If You Don't Know Me is fairly forgettable. There exists a Rugrats theme at the end, but I'm not a huge fan. To me, it ranks about the same as The Abrahammer's attempt on Turn It Too. However it leads well into

Islands May Close But Little Hawaii is Forever. The London Bridge mashups are particularly noteworthy. It will have you shouting "OH SHIT!" & I have to give the song props for reminding me that I love I'm Real.

Siri Cruise is the track that took me longest to adore. The slow tempo of the entire song turned me off, but I have learned to appreciate the creepiness of "Wait til you see my dick" over Phil Collins. The breakdown into "You're a jerk" wakes you up just in time for a great Hey Soul Sister + Say Aah mash.

Young Gelt Cash Gelt Billionaires is noteworthy for making The Real Slim Shady even more dance-able. Specifically the second background. However, the album suffers a lull from here, all through Forty Days & Fourloko Nights (Lady Gaga, I can't even stand you through mashups.)

“yo Dawg, I Heard You Like Music So I Put Songs In This Song So You Can Listen To Music While You Listen To Music.” -xzibit. Thx Xzibit. But, I mostly have listened to this song for the very very last line from Bulletproof. It leads into the best intro of any song on this album,

Blame It On The Adderall. I would have never thought to mash Bulletproof with Sexual Seduction, but dammit it works. And works well. JHomantic disagrees, but I find the first part of Bass Down Low absolutely catchy. Especially when the beat drops about 90 seconds in, I simply must dance. The song teases you with Sexyback + Technologic. While Sexyback as the background is good, Technologic works better as the background. Sexyback is made dirty and gritty in the best possible way. Just as dance-able, but in a nasty way.

Paranormal Frativity is fine, but forgettable. It's fine for getting to

Rush Hour is All Hours (405). I never imagined Might Like You Better in mashup form, since the vocals change tempo, pitch, etc. so much. But it works. & Then Face Down, Ass Up comes in over Warp 1.9 leads you into the most danceable part of the entire album. And that's saying something. Once the synth comes in, you're waggling all your body bits.

Top Fun (Highway to the Rager Zone) is purely We R Who We R. It's fine, but methinks Crosshatch did better with the song in Turn It Up! It's fine though, and it's worth it to get to my personal favorite,

M.A.T.Z.O. I'm not entirely sure what songs are at the beginning, but they're fine and dance-able. But, Taylor Swift + Black Eyed Peas. Damn. You made me really love that song, didn't you? I actually cannot imagine You Belong With Me in any other form, including the original. This version is far, far better.

Like A Bau5 is probably the most interesting song on the album. It begins relatively slow. The Britney background is great for singing along, and thus gets you hooked for the rest of the experiments. Shots + Pon de Floor almost doesn't work. It may fall into the realm of discomfort to some people, but it's still dance-able and fine. Then comes the Skrillex. You can tell they chose the rap very very carefully. This is an incredibly difficult song to mashup, and it's worth repeat listens just to see if you like it. I'm still unsure if I do. That's irrelevant though, because they do justice to 1901. It stands up to Girls Talk's Triple Double. Kryptonite was a good choice, and the "I'm on it, I'm on it, I'm on it..." bit is one of the best parts of the album. The song ends with a great Woo Boost + What You Know About That mash. However, I think it goes on for a bit too long. About 15 seconds could have been cut off from the end. And the end does not blend into the next track, sadly.

On That Lean (Pocket) has another great Super Mash with Soulja Boy. It may not be as epic as D.G.A.F.L.Y.F., but it gets you in the mood. When you sing it, you really feel like you got swagga. The track ends with a commendable Black & Yellow mash. Everyone seems to love it, but I'm not the biggest fan. Though, I do enjoy the "black and yellow" over the piano.

Mile(y) High Club ends with two epic endings. Replay is a nice mellow end to a very dance-heavy album. Lyrically appropriate, too. However, the real gem is the hidden track. Bohemian Rhapsody + Look At Me Now. Never expected. This is the true epic ending. It is reminiscent in tone to the Girl Talk's Imagine + Dirt Off Your Shoulder end on All Day.

All in all, this is a spectacular comeback from a lame sophomore effort. Super Mash Bros has really fine-tuned their skills. Similar to The Abrahammer, when they fail to impress, it seems to be because they were too experimental; it's uncomfortale almost. This is opposed to Girl Talk, who is boring when he fails to impress. Keep it up bros, you're really getting the craft of the mashup down.

You can listen to the entire album & download it on Super Mash Bros.'s facebook page here. DOOOO ITT

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