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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2014 | Space Age Pop | Listen
WEALTHY RETIREES PRANCING ABOUT THEIR BEACH HOME
While he'd go on to eviscerate this lovely, Tropicália lounge sound on 2016's immaculate Those Who Throw Objects At The Crocodiles Will Be Asked To Retrieve Them, Bruno Pernadas' origin begins here. Quaint and modest are relative terms because, in spite of How Can We Be Joyful in a World Full of Knowledge's sprawling 54 minutes containing a cosmopolitan level of influence, it pales in comparison to what Crocodiles was able to accomplish. Much of that has to do with confidence, as despite having a cerebral vision of elevated Space Age Pop, Pernadas still finds himself reticent towards the ambition he finds himself under. This can best be seen on opener 'Ahhhhh' and 'Huzoor,' where Pernadas' presence pales in comparison to the lavish, sunburnt production sweltering around him.
Which, for all intents and purposes, is stunning coming from a debut project. Guitars feeling familiarity to MPB enliven tracks like 'Première' and 'Guitarras,' while Pernadas' knack for including retro-futuristic Neo-Psychedelia highlights the two-part 'How Would It Be.' Interspersed throughout the record are gossipy vocal samples capturing the chatter of a mid-summer afternoon spent on the beach which, coupled with the saturated fanfare and carefree attitude, draw similarities to The Avalanches' Since I Left You whilst simultaneously being a precursor to their 2016 follow-up Wildflower. The sample-driven psychedelics make a prominent appearance on closer 'L.A.,' which use light, uptempo percussion and hazy acoustics similarly to Lemon Jelly. These two influences invoke an Electronica charm which further diversifies How Can We Be Joyful's sprawling scope.
B-
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2001 | Chamber Pop | Listen
THE VILLAGE GREEN PRESERVATION SOCIETY CIRCA 2001
There's something unsullied and chaste about Jonathan David, more so than any other Belle & Sebastian project. Maybe it's the white robes talking, but these three tracks come with an air of commune around them. They're bright, brimming, and breathless, concerned with nothing but the fleeting idea of love and harmony. By that measure, they're not exactly Belle & Sebastian's most daring material and could easily fall into the crevices of their treasured discography. Especially that of their EP's, which, at the very least, come equip with one grandiose spectacle. On Jonathan David the closest is 'The Loneliness Of A Middle Distance Runner,' which really only gleams greatness come Stuart Murdoch's serendipitous chorus that finds harmony amongst a litany of instrumentation.
C
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1964 | Merseybeat | Listen
RESPECTING THE VIRTUES OF LOVE WITH 60'S REBEL FLAIR
I'll cosign what's universally agreed upon: Beatles For Sale is one of the weakest Beatles albums. What I still attest to is that nothing before it, not even A Hard Day's Night, is better. What sets Beatles For Sale out from the bunch is its lack of notable tracks, as there's no 'Hard Day's Night,' 'Money,' or 'Twist & Shout' to separate from the flock of filler. Which makes it relatively consistent, apart from the usual dip in quality on side B (nothing from 'Words Of Love' to 'What You're Doing' is necessary). There's solid hooks in 'No Reply,' 'Rock N Roll Music,' and 'Eight Days A Week,' while well-rounded variety appears in 'I'm A Loser' and the LP's best track 'I'll Follow The Sun.'
There's times when some Beach Boys influence is felt, namely on the aforementioned 'I'll Follow The Sun' with its sun-scorched summer sound, 'Words Of Love' which dives headfirst into Vocal Surf, and 'Mr. Moonlight' through their nautical and flavorful use of percussion. Unlike The Beatles' previous LP's, I can respect Beatles For Sale for actually branching out sonically. They're still efforting their vintage Rock N' Roll with an ol' Western flavor on tracks like 'Baby's In Black' and 'Everybody's Trying To Be My Baby.' Those are still missteps, but at least now they're less in abundance. Lyrically, as always, they're still insipidly prosaic and obsessed over romantic trivialities. Nothing to be gleamed there, I'm impatiently waiting for that to change.
C-
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