What's a Listening Log? Well, the idea is quite simple. It's a weekly segment that consolidates all the mini-reviews Dozens Of Donuts has given on RateYourMusic over the past week, split between the Past and Present. A straightforward grading scale has been put in place, ranging from A+ to F-, with C acting as the baseline average. There is no set amount of reviews per week, just however many I get around to reviewing. And don't expect week-of reviews. I wait one month - with at least three listens under my belt - before I rate and review an album. Enjoy!
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1998 | Noise Pop | Listen
AN APPREHENSIVE SUMMER FOLLOWING A DOLEFUL SPRING
Another admirable Quickspace album following their self-titled debut. For Precarious Falling the band meshed their playful spirit - a la Stereolab's brand of Krautrock ('Death + Annie,' 'Coca Lola') - with a looming, emulsified presence - a la Built To Spill or Pavement strewn through Post-Rock ('Mouse,' 'Minors'). The result comes off in the vein of Yo La Tengo or Pram, and is rewarding albeit quite prolonged. Some may dislike the tedious instrumentals, especially 'Hadid' and 'Walk Me Home,' but it's those odd juxtaposition that give Precious Falling its character. The former even sounds like proto-Gorillaz circa their 2001 debut.
'Take Away' is the clear standout and a perfect addition to the 90's Indie Pop canon. The guitar and drifty vocals are to die for. '7 Like That,' 'Quickspace Happy Song #2,' and 'Coca Lola' are all irresistible in their quest for Pop wittiness, especially the middle effort which feels like an influencer to The Go! Team.
B
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2010 | Experimental | Listen
ASCENDING THE NINE CIRCLES OF HELL
With Seven Idiots, World's End Girlfriend did all he could to reinvent himself whilst staying faithful to his feverish following. The result is an ostentatious array of styles, tones, and moods that mock his previous, century-spanning Post-Rock. Tracks like 'Bohemian Purgatory, Pt. 2' and 'The Offering Inferno' trace that lineage comfortably, resting in that unsettled passage between Modern Classical and hyperactive Glitch. Fans of World's End Girlfriend's past work should find solace here.
However, rather than composing his entire 70+ minute opuses of just that exuberance, Seven Idiots cavorts across a litany of avant-garde genres to keep that length (78 minutes this go-around) magnetic. There's the static crunch of 'Les enfants du paradis' and 'Ulysses Gazer' which feel like a satisfying combination of Noise Pop and Shibuya-kei. 'Teen Age Ziggy' and 'Helter Skelter Cha-Cha-Cha,' with their playful quirkiness, liven up Zolo with Breakcore. Those are just some examples, although, truth be told, World's End Girlfriend just can't shake his pigeonhole as, from a distance, Seven Idiots doesn't feel patently different than his previous LP's. Plus, the excitement and energy wears off for the second half with just one track - 'Bohemian Purgatory, Pt. 2' - excelling past 'Galaxy Kid 666.' An exemption of curiosity can be made for the patient pairing of 'Der Spiegel im Spiegel im Spiegel' and 'The Offering Inferno' as well, although it doesn't particularly last.
C
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1992 | Twee Pop | Listen
LONGING FOR HIGH SCHOOL ROMANCE IN THE DOG DAYS OF SUMMER
Another Heavenly album, another textbook Twee Pop work. I don't think I've seen someone so infatuated with teenage jubilance and flirtation as Amelia Fletcher. That passion helps elevate Le jardin de Heavenly, although it's only by a smidge. At the end of the day, these eight songs (with two exceptions we'll get to later) don't offer anything substantially different than Heavenly Vs. Satan or many of the members' past as Tallulah Gosh. Simple strokes, high-octane percussion, and an ephemeral treatment of love as the end-all, be-all.
There are two exemptions, one more frustrating than the other. 'Sort Of Mine' is the best track here for its ability to offset Heavenly's typical structuring with dips and valleys, which all culminates in an excellent bridge midway through. Fletcher's coda calling under Power Pop guitars works so well. Then there's 'C Is The Heavenly Option,' a good song that had the opportunity for greatness. Calvin Johnson of Beat Happening bounces along with Fletcher using Le jardin's most unique take on teenage romance. Unfortunately, Johnson's terribly monotone vocals don't play well over Heavenly's upbeat romp, something that was masqueraded by Beat Happening's more down-to-earth production techniques. Still, good song with fun lyrical content.
C-
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Bleh. Utterly generic mid-90's Indie Rock with whiny vocals akin to the upcoming Emo and Pop Punk scene. Everyone Must Touch The Stove doesn't take any chances, and all its best moments (the coda on 'Thigh For A Leg,' the first half of 'Newsprint,' and all of 'Pillar') are merely adaptions of typical 90's Rock tropes. 'Pillar' is the only song deserving of its length, with great use of builds and progression with a satisfying conclusion. Reminds me of The World Is A Beautiful Place. The most interesting thing here however is 'Quiet Staid Debt,' and more precisely its twinkling guitar riff which the Yeah Yeah Yeahs apparently ripped off on the excellent 'Maps.'
D
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After hearing Cold War, going anywhere in The Antlers' discography and seeing Slowcore would make one giggle at the inanity. Yes, Hospice and the like are Slowcore. But they're nothing like this. In fact, nothing in the genre is as empty, despondent, and distant as Cold War, a three-song EP that contains stark, minimal instrumentation. It's beautiful, but not exactly provocative, with no real standouts although I do prefer 'East River Berlin Wall' just a hair above the other two. Similarities can be drawn to Grouper's most forlorn pieces.
C-
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Similar to 2007's Cold War in that it's the most barren Slowcore one could imagine. The pacing is grueling, almost like Sisyphus in his ceaseless quest to ascend the mountain. But, again, quite beautiful. Of course, 'Sylvia (An Introduction)' teaser is the cream of the crop here, with its variation on the Slowcore formula by implementing some of The Antlers' past Lo-Fi Indie endeavors. Also shows the humble beginnings of one of their best tracks. A dazzling Magnetic Fields cover in 'Nothing Matters When We're Dancing' and a rather boring Yo La Tengo cover in 'Tears Are In Your Eyes' rounds out New York Hospitals.
C
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No other discography can enchant as much as it can bore like Tim Hecker's. It's the only reason I'm here, now six albums deep desperately trying to figure out what it's all about. Radio Amor won't be that awakening call, but it's the closest I've come to understanding the appeal of minimalist Ambient. The minor inclusion of Radio Broadcast Recordings - trendy at the time thanks to Godspeed You! Black Emperor's ominous brand of Post-Rock - helps ground Radio Amor into something thematically cooperative. There's a backbone, an atmosphere that pits humanity against the imperceptible elements that guide our everyday lives.
The limited material Hecker works with - choosing to omit any natural instrumentation in favor of empyreal, synthetic Glitch - helps elicit this foreign response. Tracks like '(They Call Me) Jimmy,' '7000 Miles,' and 'Azure Azure' are entirely anomalous to our cultural understanding at the time that it provokes a sort of alien invasion. Really cool distinction, as the atmosphere's easily Radio Amor's best aspect. Still, too much Drone and too little contrast for me to adore.
C
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2003 | Psychedelic Rock | Listen
AVERTING ONE'S MENTAL INSTABILITY WITH DROLL DEBAUCHERY
It wouldn't be a Ween album without a preposterous gap in quality. Perhaps that's why it's partly a success, for much like The Mollusk, Quebec isn't afraid to take chances even at the cost of Ween's integrity. They never cared too much about that anyways, if songs like 'So Many People In The Neighborhood' and 'Hey There Fancy Pants' are anything to go by.
On Quebec, Ween's greatest achievement is their ability to finally accept their humor for what it is; A coping mechanism for depression. 'Zoloft' and 'Happy Colored Marbles' are the best at achieving this, with their confrontational take on melancholia through absurdism. The former exceptionally handled with its exultant production contrast, while the latter tackles the emotional instability with such explicitness.
There are numerous songs on Quebec that can be appreciated without that lens however, including the helter-skelter 'It's Gonna Be A Long Night,' the textbook Alternative Rock 'Transdermal Celebration,' the Country soothing 'Country Town,' and the symphonic release of 'If You Could Save Yourself.' However there are unavoidable bores strewn about. I'm fine with the experimental entities like 'Hey There Fancy Pants' and 'The Fucked Jam.' It's more the tracks that offer nothing substantial while moving at a monotonous pace, which is where Ween is at their worst. 'Captain,' 'Alcan Road,' 'The Argus,' and yes, even a bit of 'Tried & True' are examples of this. Nothing surprising though, Quebec is exactly what one should expect from Ween..
B-
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