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 | Sound Collage | Listen
THE DIARY OF A TORMENTED SCHIZOPHRENIC
Slauson Malone is one-part of New York's burgeoning, avant-garde collective Standing On The Corner, and on A Quiet Farwell, 2016–2018 it shows. Here, parameters in structure dissolve further than they ever did on Standing On The Corner or Red Burns, as this project plays out like a day-to-day account of one's mental instability. I mean seriously, look at the track titles. It puts Sufjan Stevens' Illinois to shame. Problem being, with how aggravatingly scattershot it is, we never get a lyrical picture of that unbalance apart from the overall facade, as the vast feature list melts into the inanity without standing out.
This is Sound Collage done poorly. The initial usage of Soul samples drenched in phlegmatic ooze is quite pleasing to the ear, in similar respects to how The Caretaker treats 1920's Big Band. However, it's quickly revealed to be Malone's primary crutch, one that he relies on to muster emotion regularly. On top of that, numerous samples both old and new crack the surface of A Quiet Farwell perpetually, leaving no trace of identity on any song they invade. They're like an invasive species preying on something once recognizable. Only 'THE MESSAGE 2,' with its droning psychedelics, has any form of uniqueness.
Callbacks to Malone's past works aplenty (there's not only samples and recurring elements from Standing On The Corner, but also his collaboration with Medhane; Poorboy) can't save A Quiet Farwell from dredging into monotony. It's a pleasant single listen that'll temporarily heighten your artistic awareness, but with no identifiable standouts it's destined to be forgotten.
D+
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There's no denying that since it's release in 2016, Bon Iver's 22, A Million has left not only an indelible impact on me, but Art Pop as a whole. To date, despite those mocking Justin Vernon for going full-Kanye, nothing in Indie music approaches the majestic incorporeality 22, A Million manifest. It's a special album filled with wondrous sounds, elastic emotion, and transcendental samples not soon to be forgotten.
i, i is not that. Though not for lack of effort. Here, Vernon carries on the utterly original sounds of 22, A Million without the touchy dissonance that spurred its creation in the first place. Couple that with Bon Iver's unneeded service to their old fans, dampening the impact of moments with a greater reliance on traditional Indie Folk. It's not prevalent, just consistently evident, seen especially in Vernon's placid vocals that never synchronize with the anomalous Glitch that made tracks like '22 (OVER S∞∞N)' and '10 D E A T H B R E A S T ⚄ ⚄' unmissable.
None of this is to say i, i is outright bad. It just leans further into mediocrity, with dull efforts like 'We' and 'Hey, Ma' mixing with tempered experiments gone wrong ('U (Man Like)' and 'Jelmore,' the latter a sorry sequel of sorts to '____45_____'). However, there are moments of grandeur that could scrap the bottom of Bon Iver's best hits playlist, those being 'Faith,' 'Salem,' and in some circles closer 'RAMi,' which feels like a spiritual successor to 22, A Million's closer '00000 Million.' Both of the former examples excel for the same reason: Their ability to build momentum and tension in the quaintest of places. Both explode in technical color that's rich, textured, and ugly in all the right ways. 'Salem' edges out the competition for the build-up is nearly as satisfying as the final celebratory chorus.
C
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