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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2009 | Post-Rock | Listen
DRIED LEAVES CRACKING UNDER THE GLACIATING SNOW
Do Make Say Think have always struck a cord with me for their ability to bring joviality to Post-Rock. To me, art elicits the strongest reaction when paradoxes occur. One-dimensionality rarely works as outside context for the listener is minimal. Humans are complex and withering them down to one, constant mood isn't very lifelike. Do Make Say Think never had this problem and, on their three excellent LP's previous to this (& Yet & Yet, Winter Hymn, You're A History In Rust) they managed that web of mercuriality admirably.
On Other Truths, the colorful extremities never arise. Stagnation - relative to the band's career not Post-Rock cliches - is prevalent, causing their sixth LP to stride ahead limply rather than excitedly as we've come to known. At times, say on 'Make' or 'Think,' the band adheres to boilerplate Post-Rock methods, rising and falling in predictable, pabulum pattens. Much akin to the genre's worst, like Explosions In The Sky or Red Sparowes. This, certainly not helped by Do Make Say Think's successful past and the 2009 release date, a time long since removed from such trivialities. Really, 'Do' is the only song I unquestionably enjoy here. The rest just seeps into monotony with occasional injections of vibrancy.
C-
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1964 | Merseybeat | Listen
INSANITY IS DOING THE SAME THING OVER AND OVER
Once again, The Beatles hunt for radio play and the delirium of love-struck fanaticism. Much like their previous LP's, A Hard Day's Night does nothing new with the Merseybeat formula they've contrived. It's not so much the limited, unwavering instrumentation - as that's to be expected in early 60's Rock N' Roll - but rather the insipid lyrical content that reiterates tropes so inundated that one would be forgiven for thinking humans knew nothing else but love, greed, and jealousy. Those are the only topics on A Hard Day's Night's display, and hilariously - despite how simplistic those ideals are - The Beatles still trip over themselves into hypocrisy. I'm talking of course about 'Can't Buy Me Love,' a song released not one year after 'Money (That's What I Want)'. The former's lyrics: "I don't care too much for money / Money can't buy me love." The latter's: "Now give me money / That's what I want." It's hard to take McCartney and Lennon seriously as songwriters - at least in this early stage of The Beatles career - when they're clearly catering to the masses.
That being said, A Hard Day's Night does improve from past efforts in its production quality and meager variety. 'A Hard Day's Night' is the expected one-off single with greater focus honed in on it, like 'Money' on With The Beatles or 'Twist & Shout' on Please Please Me. Elsewhere, 'And I Love Her' exposes a surprisingly melodic shift that hints at Psychedelic Pop, while 'Things We Said Today' ricochets around subtle Western McCartney tackles extremely well. There's moments, but they're too few and far between to really amount to anything special. And that goes without mentioning the duds, like 'I'll Cry Instead,' 'When I Get Home,' and 'You Can't Do That.'
C-
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1984 | Minimal Synth | Listen
COLD WAR TOMFOOLERY AMIDST A COLD HALLOWEEN
If there's one thing admirable about The Legendary Pink Dots' rusty origins, it's that improvements are consistent and palpable. The Tower builds on the calamity that was Curse by invoking a war-torn aesthetic on top of the usual cheeky scares that made their early 80's material sound so dated. It at least comports with the Cold War tension that was on the rise. However, moments (especially in The Tower's dejected middling stages) undoubtedly invoke the style Legendary Pink Dots would eventually rid themselves of, as seen on 'Vigil-Anti,' 'A Lust For Powder,' and 'Poppy Day.'
The five-part 'Tower' series is essentially what saves the LP from further disappointment, with intense Electronica the band never previously displayed. Not to mention, the concepts behind it and effective similarity of sound helps the various 'Tower's' stand out more so. 'Tower 1' and 'Tower 3' are noticeable high points, despite the cheesy production qualities and harsh melodies.
D
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1998 | Twee Pop | Listen
A GLASGOW SPRING POLLINATED BY ROMANCE
With This Is Just A Modern Rock Song Belle & Sebastian don't do much other than to reaffirm their unparalleled consistency during their 90's peak. These are outtakes we're talking about here, songs deemed by the band not good enough for, in this case, The Boy With The Arab Strap. Other Chamber Pop artists of the time would clamor for the ideas that sprung 'This Is Just A Modern Rock Song' or 'Slow Graffiti,' which are most certainly the two peaks on here. The former, for obvious reasons that correlate with its burgeoning size and fanciful, European romance. The latter, for that irresistible percussion, piano melody that I could adore for eternity. It reminds me of tUnE-yArDs' 'You Yes You,' another song that borrows a similar structure.
Elsewhere, the inclusion of other vocalists on 'This Is Just A Modern Rock Song' and 'The Gate' help give this forgettable EP (though it shouldn't be!) an identity amidst greatness. Better than Dog On Wheels, just below 3.. 6.. 9.. Seconds Of Light.
B
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