![]() Some songs bridge directly into a stylized take on radio pop- Danny L Harle’s Carly Rae Jepsen-featuring “Super Natural,” for example, a disquietingly innocent hit that could easily have been underwritten by the Disney Channel. Felicita’s “a new family” seethes, horror-film whispers emerging from underneath the sort of crunchy torrent of sound favored by so-called post-club producers. Among the better offerings is easyFun’s “Monopoly,” whose bouncy hook is propelled by clean synths and infantile vocal manipulation. The productions cobble together and iron over a mix of styles appropriated from both the dance underground and Top 40, with results that are structurally varied, but with a uniform surface. Though the tracks clock in at varying degrees of hyperactivity ( GFOTY’s full-throttle “Poison” perhaps the worst of the bunch for the high-BPM-averse), each reaches for anthem status. 2 collects 10 tracks, most previously released, which follow the blueprint laid out by last year’s Vol. Is it feasible for a microgenre that’s all candy-coating, all self-consciously hyper-“contemporary” veneer, to expect to sustain itself long-term? And, while this perhaps overestimates the sincerity of PC Music’s mission, is it possible that such mainstream-seizing objectives are built around a faulty understanding of how culture flows? 2 compilation, I felt less subsumed and more worn out. ![]() By one description, 2016 is the year that PC Music “grabbed the mainstream by the throat and made it take notice.” But listening to the PC Music, Vol. Gradually seeping into the mainstream is par for the course for electronic music subcultures, but Cook and company are a bit more insistent in the totality of their goals.
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