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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2019 | Experimental Rock | Listen
DECONSTRUCTING HUMANITIES EVIL DEEDS WITH PIZZAZZ
Holy moly of fuck. This is an album. A magnificent beast, and one that, had it not been for Daughters' You Won't Get What You Want last year, would've been considered the savior of Rock. On Schlagenheim - a word with literally no meaning - black midi brilliantly ascertain the collective taste of every swank beatnik by synthesizing a staggering blend of 70's, 80's, and 90's offbeat Rock. The influence is wide-ranging and worn across both sleeves, yet fused so effortlessly that it's a shock no one has undertaken this before. Likely due to the significant level of ambition involved.
There's Noise Rock in the form of Boredoms and Daughters, seen in the paralyzing abrasiveness ('953,' 'Bmbmbm'). Art Punk in Morgan Simpson's sensational multi-rhythmic drums akin to Talking Heads ('Speedway,' 'Years Ago'). Experimental Rock that leeches off uncommon time signatures like This Heat and Wire ('Bmbmbm,' 'Of Schlagenheim'). Krautrock that bleeds into Math Rock, bridging the gap between Can and Lightning Bolt ('Ducter,' 'Western'). And there's Post-Hardcore that venerates unconventional vocal techniques like Slint and Prolapse ('Reggae,' 'Near DT, MI'). Schlagenheim has all you could ever want.
As mentioned before, black midi's greatest success is their ability to intertwine all of these naturally. Many of Schlagenheim's best moments come through adaptability, like 'Near DT, MI' and 'Western.' One, the latter, takes a Progressive Rock turn by stretching an epic across eight minutes, rising and falling with Geordie Greep's panic stretches. Meanwhile 'Near DT, MI' accomplishes all that in two minutes, passing the mic to the unassuming Cameron Picton for a vigorous take on the Flint water crisis. While 'Bmbmbm' is my favorite, 'Near DT, MI' has to be the most impressive, for what's initially a riotous Post-Hardcore climax with Picton's screaming surges to another level of pandemonium with one of Math Rock's all-time greatest moments in the last 30 seconds. Credit to guitarist Matt Kwasniewski-Kelvin for that anarchy.
But yeah, I could keep going. Schlagenheim is incredible and best left to experience. Easily 2019's best album so far, and a testament to what Rock's still capable of in trusting, skilled, and determined hands. What a magnificent purpose.
A
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2019 | Punk Rock | Listen
BLEEDING HEART BOURGEOISIE CAN'T CONTAIN HIS RAGE
Well, it's not A Productive Cough that's for sure. Titus Andronicus' misstep into full-fledged Pub Rock didn't go over well last year, so a swift retcon to their Punk Rock roots, you'd think, would do the trick. But alas, it's abundantly clear that Patrick Stickles - the lone Titus Andronicus member from its inception - has nothing left in the tank. His turbid vocals screech about society's various injustices - as seen on '(I Blame) Society,' 'On The Street,' 'Tumult Around The World,' and more - without saying anything worthwhile. He's merely imitating overarching liberal ideologies without adding a solitary perspective.
Take 'On The Street' where Stickles yelps "too many police on the beat / beating people with impunity / for no reason anyone can see / there's too many police." What does this add to the already well-established knowledge of police brutality? Stickles later goes on to say "they're all after me," which I can assure you is not true. But that's beside the point. 'Tumult Around The World' is another instance of empty lyrics, as the crux of that song bellies on suffering in third world countries: "Everywhere there's someone dying / there's a woman giving birth / everywhere there's someone crying / tumult around the earth." What?
Musically, yes, An Obelisk improves from A Productive Cough but it's rather prosaic Punk Rock hardly warrants its existence. A few modest melodies on 'Just Like A Ringing Bell' - which is easily the record's best track - '(I Blame) Society,' and 'Troubleman Unlimited' can't erase the bore that is elsewhere. At least A Productive Cough's best moments - 'Number One' and 'Above The Bodega' - were fun. Nothing here is. It's safe, which is the last thing you want in a political Rock record.
D
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2019 | Abstract Hip-Hop | Listen
OVERCOMING ONES DEMONS USING A NIGHTS FEVER DREAM
Within two short years MIKE has become one of the most prolific rappers in the now somewhat vacant underground. Sadly, quality over quantity applies here as - looking back at the greatness that was May God Bless Your Hustle - it's clear MIKE found a style since then and has begrudgingly stuck to it. That's not necessarily a bad thing, as he's incredibly good at the perfunctory haze of emotional vulnerability, which is found all across the 20 snippets of Tears Of Joy. However, it was also found on the 13 snippets of War In My Pen, which is an undoubtedly better project.
What caused additional disappointment for me was the belief that MIKE had evolved as a rapper, given the greatness that was Tears Of Joy's two lead singles; 'it's like basketball' and 'PLANET.' Both excellent, both fiery and sanguine, they pledged a new, poised direction. That doesn't happen on Tears Of Joy, as he resorts to his comfort zone, leaving the two aforementioned tracks (along with another triumph in 'goin truuu') to be the three best efforts. 'PLANET' in particular is now my favorite MIKE track, with its gorgeous Glitch beat that feels like a distorted remix of a beloved J Dilla cut.
In fact a lot of the production pays homage to early 2000's underground, as tracks like 'Whole Wide World,' 'ParkS,' and 'fool in me' toy with the quirkiness of Madlib, 'goin' truuu,' 'suffocate,' and 'stargazer pt. 3' pervert the West Coast soul of Exile, as 'TAKE CROWNS' and 'Ain't no love' can be tacked onto the J Dilla batch. Solid production all-around but rarely does it take that next step into becoming full-fledged songs, something we know - from May God Bless Your Hustle ('GREEDY,' 'FOREVER FIND FLIGHT,' 'VICTORY LAB' anyone?) - that MIKE's capable of.
C
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