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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As to be expected given their mid-era renaissance soon arriving, The Beatles' quality has improved steadily since their conservative origin. Finally, Help! is the first album I'd consider halfway decent as the four-piece quartet settles into their roles while expanding outwards, wearily, into untrod territory. Those adventures account for The Beatles' most unsightly compositions - namely 'I Need You' and 'Ticket To Ride,' two below-amateur debacles - that feature a sort of tongue-in-cheek charm with an artisans touch. They're bad, but their existence is promising.
As for the rest of Help!, well obvious standouts occur in the title track, 'You've Got To Hide Your Love Away,' 'I've Just Seen A Face,' and 'Yesterday.' While I'm not overly-floored by the latter, there's no denying its stature amidst simplicity. The acclaim it receives is warranted. However, as per usual, a slew of superfluous filler interrupts any momentum Help! receives thanks to regressive lingo ('Another Girl,' 'It's Not Love') and generic, utterly prosaic Pop Rock ('You Like Me Too Much,' 'Dizzy Miss Lizzy'). The latter, a totally unnecessary closer that rips off 'Rock N Roll Music' for no reason in particular. While I'm thinking of the subject, can I point out the hilarity of stubborn traditionalists who worship The Beatles - and their meager, trivialized content - while condemning the entire genre of Hip-Hop for doing the exact same thing. With minor fluctuation, The Beatles' discography up to this point has been about one thing, and one thing only: Girls and acquiring their love. Hypocrisy at its finest.
Anyways, I digress. We still haven't seen a quality Beatles record, though based on the deciding factors making listening more enjoyable, and their knack for influential Pop being more pronounced ('Help!,' 'Yesterday'), that moment might be around the corner. Help! is the transitionary record to get there.
C
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1977 | Progressive Rock | Listen
DEFILING CLASSIST CUSTOMS WITH BARBARIC INSURRECTION
What Animals lacks in concise measures with notable standouts, it makes up for with its incisive and blunt concept on social status and class politics. Up until now, the latter dons the honor of Pink Floyd's best concept, besting Dark Side Of The Moon by unveiling the curtain of artistry in favor of direct confrontation. There are no ifs, ands, or buts surrounding Animals and the respective classes 'Dogs,' 'Pigs,' and 'Sheep' reflect. Ironically, while also being a slight critique on the mid-70's rise in Punk music, Animals finds itself assimilating with the rebellious, anarchic movement by brandishing a wicked flair concerning those suppress others. Rather than brief, emotionally-ridden bombast, Pink Floyd use their knack for opulence and clout to equate to the imperial rule of capitalism.
As stated, it's their best concept bar none and one that, given the unremitting topics discussed, will always be relevant and indispensable. However, musically it tends to lag behind for lack of ambition. A bold statement given the three, ten plus-minute songs I'm aware, but one that examines more so the lack of evolution within their Progressive Rock formula than the actual scope and quantity of music. Animals is grandiose and imposing, constantly attempting to one-up itself in terms of inciting a reaction. Similarities are drawn to King Crimson or Led Zeppelin are there's high-fidelity, but weak isolated nuance. The opening and closing 'Pigs On The Wing' is a melodic Contemporary Folk ballad that recalls Pink Floyd's short-lived Atom Heart Mother era, but it also works here by providing some semblance of modesty and reservation to counteract the brutality and blitzkrieg of 'Dogs,' 'Pigs,' and 'Sheep.'
Notice how I keep combining the three epics, rather than discussing them separately. That's largely the issue of Animals, their respective similarities diminish individual acknowledgement and praise. Unlike previous efforts like Dark Side Of The Moon and Wish You Were Here where instantaneous, notable moments arose from the field, Animals bears no such benefit. Despite discussing different aspects of class division - which, again, is excellent throughout - 'Dogs,' 'Pigs,' and 'Sheep' follow analogous codas, structures, tones, and patterns that amount to their distinction being limited. Long story short, Animals is best appreciated as a singular piece that you'd only ingest in 42-minute increments.
B-
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Ama Divers' Shadow Seeking Sun is the definition of an unearthed gem. An album that looms in the ethereal of real and unreal, composed of nature's undying essence. The sun rises, the sun sets. The cycle continues no matter where one stands on this earth. In a stroke of genius, Divers accentuates that ubiquity by inserting exact coordinates, presumably, to the locations each respective song represents, along with a loose time of day centered around the sun cresting or egressing. When examining the coordinates one discovers that Shadow Seeking Sun is a sojourning album, one that charts a course across America, starting in Durham, North Carolina (Divers' hometown) before making stops in Houston, Las Vegas, and San Diego.
Considering Divers' brand of desolate Ambient Pop, it's hard to correlate mood to these bustling metropolis'. But perhaps, and more than likely, Shadow Seeking Sun is an introspective album, and one that pits the chaotic nature of society against a grief-stricken individual stuck amidst it all. Take the closer, where the constant scurry and rustle of Las Vegas is transformed, through process of reduction, to the antithesis of interaction. It's a powerful Ambient close devoid of Divers' vocals, allowing for the striking image of enclosed isolation to prevail.
Elsewhere, Divers calls upon contemporaries like Julianna Barwick and Grouper - along with influencers Seefeel and Windy & Carl - to formulate her languid, anemic state. The heavy incorporation of Drone helps to further distance Divers' vocals from the interest of outsiders, as if it's just her and nature despite - as the coordinates provide - society existing all around. Compliments only to Slowcore albums of the sort, Shadow Seeking Sun is an album to fall peacefully asleep to. Yes, the loveless destitution may lull you into a state of despair, but the gorgeous, wistful production - which peaks on track five, San Diego's sunset rendezvous - will please the ears beyond belief. Highly suggest Windy & Carl's Drawing Of Sound for fans of Shadow Seeking Sun.
B
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There's always a level of understated fascination with artists who come and go without a trace. Takeshi Kurosawa, known here as Sora on his lone LP re.sort, is one such artist. Apart from abiding to the growing trend of minimalistic Glitch in the early 2000's - with artists like Manitoba, Fennesz, Dntel, and Four Tet being influencers here - re.sort stands isolated, much like the island life it decorates itself in sonically and on the cover. Think of Sora's amiable, impish Glitch as the middle point between Japan's own Shibuya-kei movement and Ryoji Ikeda's Microsound. A gap, I'm aware, is enormous, but also indicative of re.sort's style, simultaneously light-hearted and jovial ('A Caminho Do Mar,' 'Etude:Diagonal') as it is nimble and methodical ('Revans,' 'Line').
A sure criticism of re.sort lies in its lack of ambition, tarrying too far with the island aesthetic to the point of pure contentment. Moments rarely pay off the way they could, seen especially on 'Satellite Towers'' lack of substantial build and 'Etude:Diagonal's' regress with the incorporation of horns through Nu-Jazz rather than explosion. That's just a personal nitpick though, Sora's aesthetic requires one to lounge carelessly while being pricked and prodded like some acupuncture massage. re.sort never stumbles on pleasantries, making it a near-perfect Sunday morning accompaniment. It also works as the solitary voice and vision of a man satisfied with his musical career.
C+
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Color me surprised at discovering that The Creatures were an offshoot of Siouxsie & The Banshees, a critically-acclaimed Gothic Rock band I discounted after being left dissatisfied following numerous Juju listens. Boomerang bears zero resemblance to The Banshees, apart from Siouxsie helming both outfits with her kitschy, clandestine vocals. Rather than attempting to acclimate her inherent weirdness to downcast Post-Punk territory strictly because the early 80's called for it, The Creatures unleash Siouxsie's hokey characteristics and beastly ignobility over liberating Exotica thus imparting a succinct and thoroughly-entertaining tandem.
Peaks and valleys are to be expected when dealing with such outrageous premises such as these, which that leads to a great deal of the fun on Boomerang. You're never quite sure where The Creatures intent lies, as tracks like 'You!' and 'Fury Eyes' teeter with Asian-influenced soundscapes akin to Kate Bush, while others like 'Pity' and 'Morriña' take a more subdued approach with sultry Ambient Pop akin to Arthur Russell. Boomerang is still 80's centric, though less so than The Banshees as on certain occasions - namely 'Killing Time' and 'Venus Sands' - a future of 90's Experimental Rock or Trip-Hop can be heard. Many of these listed represent my favorite works Boomerang has on offer, which is quite the selection given the variation in tonality. Throw 'Standing There' and 'Manchild,' two songs that critique toxic masculine over uptempo Exotica bordering on Swing Revival, in for good measure and the collective whole of Boomerang doesn't disappoint.
B+
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