My article tracks the queer relations to genre and vocality embodied by contemporary hyperpop duo, 100 gecs. I argue that 100 gecs initiates a nomadic approach to genre through absurdism and parody. Furthermore, I describe how 100 gecs’ use of vocal modulation resists gender’s construction of the masculine and feminine voice. I conclude with a meditation on “gec” feminism that attempts to follow the ethic of hyperpop for articulating a wacky, yet subversive genre of (un-)academic writing. My investigation of 100 gecs’ album, 1000 gecs and The Tree of Clues, is a cross-disciplinary exercise in queer theory, gender studies, musicology, art history, and philosophy; it primarily contributes to queer theory discourses on genre, gender, art, and the body.