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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A minor improvement over The Birthday Party's self-titled debut, although not evolved enough to enjoy. Prayers On Fire features the same problems most No Wave albums incur. They're meant to be enjoyable, but are horribly inept at doing so as obtuse huffiness clouds judgement. The production is, by and large, clunky and discordant, taking on an amateur style that rewards tuneless structuring. This is best seen on 'Dead Song' and 'Dull Day.'
There are times when The Birthday Party hits though, and that typically lands when measures are more upbeat and the group aren't afraid to provide a melodic backbone to offset Nick Cave's constant lunacy. The first three tracks - 'Zoo-Music Girl,' 'Cry,' and 'Capers' - all excel at this. Especially the former as its rambunctious, near-World Music style bridges a gap between A Certain Ratio and Swans' first incarnation. Cave, as per usual, plays the disturbed and candid brute very well.
C
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Foresight is on my side, having already heard Nemesis Online and A Perfect Mystery, otherwise I wouldn't give The Legendary Pink Dots a second thought after the woeful Curse. A barrage of underdeveloped Minimal Wave that adores Halloween's kitschiest thrills. Curse feels like a haunted house for sheltered children, lacking any formidable presence despite action intending to do so.
Zero moments worth your time, although if your morbid curiosity peaks high enough, 'Love Puppets' and 'Waving At The Aeroplanes' would be your go-to destinations. A cheap air of amateurism offset, scantily, by slight self-aware humor..
F+
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1970 | Progressive Rock | Listen
EATING OATS WHILE SURVEYING THE PASTORAL HERBAGE
Atom Heart Mother was the breath of fresh air I needed from Pink Floyd. Ironic considering a fetid cow adorns its cover. But hey, my first two jobs were on farmland where you can learn to appreciate the pure viridity of nature, and boy oh boy does Atom Heart Mother do an excellent job washing listeners with dry heat and countryside aromas. 'Atom Heart Mother' - the 23-minute behemoth - comes first however, and doesn't really fit with the vibe of the ensuing four tracks. It is Pink Floyd's best lengthy track to date though, with engaging movements and lofty set pieces that draw comparisons to King Crimson. Also works as a bridge from Pink Floyd's past transgressions as cosmos-seekers to earthly-abiders.
The real meat of Atom Heart Mother comes in passages two, three, and four. All excellent Folk cuts with humble origins, with some - like 'Fat Old Sun' - turning into impish, not-so innocuous creations. 'If' is my personal favorite, despite being a cleverly-disguised Singer/Songwriter ballad with Roger Waters handling leading duties. The subtle electric guitar offsets the whiff of boredom. What's most impressive of the 'If,' 'Summer '68,' 'Fat Old Sun' trilogy is the fact that each one is handled by a different songwriter; Waters, Richard Wright, and David Gilmore respectively.
Unfortunately, Pink Floyd's pretentiousness - found all over the far-more regrettable Ummagumma - reveals itself on 'Alan's Psychedelic Breakfast.' Thankfully there are periods of musical bliss, along with the entire Field Recording aspect certainly applying to the album's sonic, grassland themes. It's not as bad as 'Several Species Of Small Furry Animals Gathered Together In A Cave & Grooving With A Pict' or The Grand Vizier's Garden Party,' so that's a bonus. The quality still does not warrant the length however.
B
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For starters, dEUS' first album Worst Case Scenario is fun. However, it lacks a necessary identity while lost amongst the throng of Alternative Rock acts in the mid-90's. Apart from predicting the incoming post-Grunge, Emo surge with occasional whiny, but equally lovable vocals ('W.C.S.,' 'Secret Hell'), dEUS merely adapts to their surroundings. There's a lot of volatility here, some pent-up aggression that'll go over well with those trapped in middle class ennui. Tracks like 'Suds & Soda' and 'Mute' are some of these visceral Rock cuts, with the former being better and more creative.
In my opinion, Worst Case Scenario is at its best when dEUS take a more melodic viewpoint, resulting in some solidly satisfying cuts in 'Via' and 'Hotellounge (Be The Death Of Me).' Here I'm reminded, just barely, of Car Seat Headrest. Just without the constant self-depreciation. A decent LP for 90's Rock enthusiasts, but nothing more than that.
C
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1998 | Alternative Rock | Listen
DISCOVERING THE GRIM BEAUTY OF RELATIONAL PURGATORY
A gorgeous album, easily Smashing Pumpkins' prettiest. And that's likely why it was looked down upon by their fans in the 90's. Adore's a long cry from Gish or Siamese Dream, as there's virtually no Grunge or aggressive Rock to be found. Adore bears more similarity to Mellon Collie, of course, both in scope and sound. The most noted difference lies in the variation. While Mellon Collie reached excelled through a smörgåsbord of relevant 90's styles, smashing them up against one another without a care in the world to cohesion, Adore forgives Smashing Pumpkins' hardened side and elaborates on the softness they came to exalt.
Choosing between the two is really listener preference. Do you prefer expanded soundscapes unpredictably pieced together, or a single, thematically-refined sound that flows naturally? Each have their purpose, and therefore Adore is deserving of the 73 minutes it takes up. Besides, there are moments separate from the beauty Billy Corgan splurges on ('To Shiela,' 'Once Upon A Time,' 'For Martha') that provides a much-needed positive distraction from the sometimes-overwhelming Gothic tendencies. Those tend to be my favorites, namely 'Ava Adore,' 'Perfect' - which goes without saying was Smashing Pumpkins' attempt to rekindle '1979,' an admirable attempt - 'The Tale Of Dusty & Pistol Pete,' and my personal favorite 'Appels + Oranjes.' That is straight 90's House Trance filtered through Dream Pop, and it's awesome.
Unlike Mellon Collie, which I still prefer thanks to that aforementioned versatility and strikingly-rich highs, Adore doesn't have any serious lows. It's consistent as all hell, with one setback in the unnecessary 'To Forgive' ripoff 'Tear.' Many will appreciate that, as do I. But it does make things slightly less entertaining. Still my second favorite Pumpkins record.
B
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2014 | Indie Rock | Listen
AN ESTRANGED COUPLE CLINGS TO HOPE DESPITE DOMESTIC ABUSE
The Twilight Sad's fourth album, and yet another that desperately aims to capture the spirit of their debut; Fourteen Autumns & Fifteen Winters. It's glaring how one-dimensional the group is, treading down the exact same weary, portentous path time and time again. There's not much to say musically about Nobody Wants To Be Here that hasn't already been said about The Twilight Sad. Grave Indie Rock with little ambition or creativity filtered through James Graham's acute Scottish accent, decrying the actions of sinful familial decay. Been there, done that.
No particular standouts, as few can with how narrow-minded the structuring is throughout. I will say the first half is far superior to the second, as 'Last January' and 'It Never Was The Same' at least decide to include some mediocre melody. Nothing worth discovering in the second, with absolute bores in 'In Nowheres' and 'Pills I Swallow.' Despite Graham's lyrical content not wavering, I still do appreciate its mature look at relationships, something that's typically treated with teenage fanaticism. Still The National-lite though..
D
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1963 | Merseybeat | Listen
IMITATING PAST SUCCESS WITHOUT OFFERING SOMETHING NEW
What a bore. Looking back, it's clear how much The Beatles' early success was based off sleazy marketing practices that cared not for quality but rather quantity. With The Beatles followed up Please Please Me within eight months, and that rush job shows. There's no heart in these compositions, no originality, no ambiguity. Parlophone knew what made The Beatles fandom tick and ticked off all those boxes with these 14 tracks. As with Please Please Me and 'Twist & Shout,' the only singular single comes last with 'Money (That's What I Want).' Lennon's scratchy, energized vocals and the band's animated, semi-rebellious production helps set it apart.
Honestly, there's nothing else to ride home about here. 'It Won't Be Long,' 'All My Loving,' and 'You Really Got A Hold On Me' have their moments but, from afar, they're quite unspectacular pieces. 'Little Child,' 'Please Mister Postman,' and 'Roll Over Beethoven' are fun but ultimately dreadfully derivative. Also, the splitting between instruments (left channel) and vocals (right channel) are downright painful to listen to.
D-
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