How long has hyperpop been around? A lot longer than one might suspect. Nero’s Day at Disneyland has been active for over two decades, while the last album proper from Lauren Bousfield’s project even predates our site. Listening to 2005’s Grievances and Dead Malls today, one can draw lines to naught decade artists Kashiwa Daisuke and World’s End Girlfriend, while press releases tout the influence Bousfield may have had on artists such as Fire-Toolz. Amazingly, this music still feels ahead of its time, populated with mad tempo changes, hyper-glitch, computer / video game bleeps, textural complexity, orchestral flourishes and a full use of the stereo field. The triptych completed with Colonists and From Rotting Fantasylands is an astounding burst of forward-thinking creativity.
Since then, Bousfeld has released a number of singles, EPs and scores, while recording as half of In-House Pharmacy and DOOR-EATER. Returning to the Nero’s Day at Disneyland moniker, the artist deserves not only credit for the influence of her discography, but appreciation for the fact that her new music is just as powerful. It takes only the initial single – “ØBabylon” – to reclaim the throne. Bousfeld’s scoring experience is apparent in the cinematic nature of the song, which incorporates, processes and distends part of a Mormon hymn, a possible commentary on the nature of religion. After a slow, chunky, choral beginning, the piece explodes in a flurry of cut-up samples and frantic percussion, confidently challenging any competitors to step up their game. The breakdown slows the tempo, then adds wispy vocals and a drone-like whoosh before re-entering the maelstrom.
The EP is so strong that any one of the five tracks could be a single. “Perfect Branded Experiences” gallops out of the gate on waves of electric guitar and hip-hop drums, offering a glossy commentary on advertising, before adding bells, like a call-back to an ancient era. After this, the piece becomes a bouncy stormer, which might shock Gen-Z followers of the (very good) Underscores. And does “Ghost Debt” start with the words “Look at me?” Everybody wants to be looked at today; this may always have been the case, but the desire has only accelerated in the past two decades. The shift from hyper-pop to opera and back is a brilliant decision.
The piano of “2008 Financial Crash Theme Song” is a palette cleanser, although the sequence lasts only eight seconds before falling into a whirlpool of swirling electronics. The rapidity of change is an apt reflection of the emotions of that time, which roiled the markets and threatened to bankrupt entire countries. A massive ending, surge upon glorious surge, brings the track far from its humble beginnings. The title track mixes everything together in one large shiny bowl: intricate electronics and modern composition, bombast and waltz. The EP is over too quickly, but contains more ideas than most LPs; just remember, kids, Bousfield did it first. (Richard Allen)
