Gesamtkunstwerk
Dead Obies
Gesamtkunstwerk is Dead Obies’s second album, released in March 2016 as the follow-up to their breakthrough Montréal $ud and positioned as a “post-rap” project that aims to be a true “total work of art.” Partly recorded live over three sold‑out shows at Montreal’s Phi Centre and partly refined in the studio, the 15‑track, 81‑minute record blurs the line between concert and album, treating the audience as a kind of seventh member and extending the project into videos and a documentary that explore the band’s language politics and performance concept. Where Montréal $ud was dense, rough, and introspective, Gesamtkunstwerk deliberately moves toward something more accessible and communal, pairing confident, bilingual flows (French, English, and “franglais”) with big hooks and more conventional verse‑chorus structures.
Musically, the album mixes aggressive, deep “post‑rap” beats with laid‑back rhythms, ethereal synths, and organic, groovy bass lines, resulting in tracks that feel both experimental and pop‑leaning. Critics highlight its “frondeurs et profonds” rhythms, sharp alliteration, and stylistic freedom, noting how the group hides some of the prog‑rap tendencies of Montréal $ud beneath catchy, often pop‑polished choruses that give the record a seductive sheen. Conceptually, the “Gesamtkunstwerk” idea is less about a grand narrative inside the lyrics and more about the overall process and spectacle—the fusion of live performance, studio craft, visuals, and the shared space between artist and crowd—making the album feel like a modular, multi‑platform piece rather than a conventional studio release.
Gesamtkunstwerk
Dead Obies
Gesamtkunstwerk is Dead Obies’s second album, released in March 2016 as the follow-up to their breakthrough Montréal $ud and positioned as a “post-rap” project that aims to be a true “total work of art.” Partly recorded live over three sold‑out shows at Montreal’s Phi Centre and partly refined in the studio, the 15‑track, 81‑minute record blurs the line between concert and album, treating the audience as a kind of seventh member and extending the project into videos and a documentary that explore the band’s language politics and performance concept. Where Montréal $ud was dense, rough, and introspective, Gesamtkunstwerk deliberately moves toward something more accessible and communal, pairing confident, bilingual flows (French, English, and “franglais”) with big hooks and more conventional verse‑chorus structures.
Musically, the album mixes aggressive, deep “post‑rap” beats with laid‑back rhythms, ethereal synths, and organic, groovy bass lines, resulting in tracks that feel both experimental and pop‑leaning. Critics highlight its “frondeurs et profonds” rhythms, sharp alliteration, and stylistic freedom, noting how the group hides some of the prog‑rap tendencies of Montréal $ud beneath catchy, often pop‑polished choruses that give the record a seductive sheen. Conceptually, the “Gesamtkunstwerk” idea is less about a grand narrative inside the lyrics and more about the overall process and spectacle—the fusion of live performance, studio craft, visuals, and the shared space between artist and crowd—making the album feel like a modular, multi‑platform piece rather than a conventional studio release.