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 | Ambient | Listen
DUSTY POLAROIDS COMPOSING A TOURIST'S CATALOGUE
Predictably so, Tim Hecker's fifth LP An Imaginary Country doesn't stray from his well-beaten Glitch-centric, Ambient path. He's perhaps the most stoic, stubborn musician of the 21st century, bullheadedly failing to evolve or take on new challenges, content engrossing himself (and his legion of fans) in a systematic world of lights, colors, and noise. Alteration comes in the minutiae of Hecker's work, and that can be seen on An Imaginary Country where, like his previous LP's, the album and song titles guide the tone you're intended to bear. Here, the hiss of static and humid wafts of air highlight nostalgia, particularly an exploration to untouched lands. It's different than the recent bouts of darkness and anxiety that filled his two most recent LP's, Mirages and Harmony In Ultraviolet.
Ironically, it seems, the more I discuss An Imaginary Country the more change there actually is. But don't conflate that on an exaggerated scale, this is still very much Tim Hecker we're talking about. Calming Noise billows and secedes, drawing similarities to Gas (Seen best on 'Sea Of Pulses' and 'Paragon Point'), while interspersed moments of half-completed ideas dot the interior landscape ('Pond Life,' 'Utropics'). These are Hecker's most unique pitches, which only make their curtailed duration frustrating and, disappointingly so, obvious given his lack of timidity towards change. All that being said, I don't despise An Imaginary Country for the sounds are pleasant and sentimental. In a way, they're like Brian Eno's Ambient series if those pressings were found in the dust of foreign lands decades after their inception. 'Borderlands' and 'Where Shadows Make Shadows' are also note-worthy, as is the pairing of '100 Year Ago' and '200 Years Ago,' making this one of Hecker's more consistent works.
C-
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2010 | Contemporary Folk | Listen
RETELLING A GREEK TRAGEDY WITH AMERICAN FOLKLORE
Like most who've seen Hadestown on Broadway, I'm coming into Anaïs Mitchell's original LP through a biased lens of extravagant theater. It helped, or hurt, that Hadestown was the first ever play I've seen, Broadway or otherwise. Truthfully the effect is mute, as alteration to the soundtrack are minimal and the stories concept remain forever integrated into the lyrics. Hadestown is a concept album through and through, almost to a fault. It's clear Mitchell's creation here was destined for the stage, seeing as to how embellished the track-by-track unraveling is. There's virtually no thematic concept here (apart from 'Why We Build The Wall') as all the burden falls on the narrative. Which is solid mind you, but far better executed when attached to visuals.
Long story short, it's tough for me to appreciate Hadestown on the merits by which it stands. One, because I saw the play first. Two, Mitchell's grand intent seems obvious. Despite clearly being a passion project, you can't help but get the feeling Mitchell doesn't want to be here; in LP form. Nonetheless, the vocalists that join her - most notably Justin Vernon on the verge of stardom (Kanye West's My Beautiful, Dark, Twisted Fantasy would come out seven months later) - do an excellent job emphasizes their respective roles. For one, Vernon far eclipses Reeve Carney's role of Orpheus, while Greg Brown sounds nearly identical to Patrick Page as Hades. Really, only Amber Gray (who plays Persephone in the Broadway version) surpasses the respective role here, played by Ani DiFranco.
Song-wise, seldom is there a standout. 'Way Down Hadestown' is the first go-getter, with its New Orleans-inspired romp. But the nuance of Folk is lost there, reignited thankfully by 'Flowers (Eurydice's Song)' and 'If It's True,' two lovely little beauts of Contemporary Folk. Unfortunately, the greatest travesty of all is the omission of 'Road To Hell,' and primarily 'Road To Hell (Reprise),' which was easily my favorite song off the Broadway soundtrack. Seriously, just tack that onto this version of Hadestown before 'I Raise My Cup To Him,' you won't regret it.
C
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2016 | Television Music | Listen
RICH AMERICAN FOLKLORE CULLING THE FALLEN LEAVES
First let's reiterate a sentiment shared by any who review The Blasting Company's Over The Garden Wall soundtrack: Go watch the TV series. It was a ten-episode, eleven-minute, one-off series produced by Cartoon Network that depicted - with serious and wholesome undertones - American folklore and their tendency to traumatize children into servility. Frankly, it's genius and one of the best illustrations of American, autumnal mythos known to man. Though it is November and the leaves are perpetually descending from their mantle atop branches, I'd still suggest viewing Over The Garden Wall. It's best set in the lead-up to Halloween though, given the vibrant, mellifluous use of whimsical characters both kind and wicked.
Now on to the soundtrack, which comes hand-in-hand with Over The Garden Wall. Hence why I suggest viewing the series instead of the soundtrack, as you'll get the best of both worlds there. As with the esoteric animation, brazen characters, and mystical setting, the soundtrack comes equip with atmosphere unlike anything in the genre. Classic American staples like Chamber Folk, Dixieland, Ragtime, and Baroque Pop plop in and out of existence, mixed naturally with ominous Ambient fanfare. Similarities are drawn to Cuphead's soundtrack, which drew great acclaim for the same reasons. Not a single of the 32 tracks eclipses two and a half minutes in length, which is both a blessing and a curse. Truthfully, as is the case with most instrumental passages removed from their origin, the Ambient moments dotting Over The Garden Wall don't offer much in the way of replayability. If anything, their placemats for the story to extend sonically.
The vocal tracks is where Over The Garden Wall thrives. There's too many standouts to name, with many coming in the first and last third. Unofficial theme song 'In The Unknown' is obvious, but the hooting and hollering of 'Pottsfield CM,' the mature Randy Newman in 'Patient Is The Night,' the fanciful frolic of 'Adelaide Parade,' and the hilarious unrequited love on 'Ms Langtree's Lament' are just some examples of Over The Garden Wall's prowess at making short and memorable melodies. Interesting enough, towards the back half some elaborative measures are taken that provide an unexpected aura to the LP, namely the anthemic, Pink Floyd-esque Rock of 'The Fight Is Over,' the mesmeric Synthwave of 'Tiny Star,' and the opera music on 'Come Wayward Souls.' These really heighten and energize the otherwise dawdling second half. Of the soundtrack mind you, Over The Garden Well itself remains magnificent throughout.
B+
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