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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1992 | Experimental Hip-Hop | Listen
A TIME-TRAVELING GURU RELAYING AN INDECIPHERABLE CODE
Divine Styler's inexplicable Spiral Walls Containing Autumns Of Light has been recommended to me for nigh on eight years now, ever since the expanse of Experimental Hip-Hop grew form. After experiencing the 68 mind-altering minutes, I can see why. Pressed on a major label - a feat that'll never be seen again, not only for the eccentric production and enigmatic lyrics, but also the constant proclamation of Islam as the one true religious power - Divine Styler's swelling cult classic has inadvertently had its hand in nearly every variation of Hip-Hop since its 1992 release.
The most immediate comparison is that of Shabazz Palaces, best seen on 'Am I An Epigram For Life?' and 'Touch,' which is not a surprise given Ishmael Butler's history in Digable Planets. But elsewhere, the Gorillaz and Del The Funkee Homosapian can be heard in the sporadic, world-branching Spoken Word sections ('Love, Lies, & Lifetime's Cries' and 'Heaven Don't Want Me & Hell's Afraid I'll Take Over'). Spiral Walls' gritty, Sci-Fi style bears repeating during not only El-P's Definitive Jux era, but also with other left field acts like Dälek and Moor Mother. There's even slowed down, elusive Hip-Hop ('Euphoric Rangers,' 'Walk Of Exodus') that emphasizes Drone and Post-Rock as secondary genres, seen only later on with cLOUDDEAD. Oh, and yes Death Grips can be heard on 'Mystic Sheep Drink Electric Tea.'
It goes without saying but I will anyways: Spiral Walls Containing Autumns Of Light is far ahead of its time. The production, while dark, maintains a sort of unpredictable whimsy that isn't afraid to incorporate non-Hip-Hop influences with those that are familiar to the genre, thus affording it relative accessibility in the modern era. 'In A World Of U' and 'The Next' directly link themselves to a lineage in Funk - primarily Parliament and Herbie Hancock respectively - while others seek towards challenging status quos either by prophetic Spoken Word ('Heaven Don't Want Me,' 'Aura') or delicate rapper-turned-Singer/Songwriter ('Width In My Depth') that wouldn't be seen for another three decades. Needless to say, Divine Styler's cryptic unraveling is a wholly unique album that's promptly becoming a beacon of avant-garde Hip-Hop. A necessary listen of the past to properly understand the now.
Edit: I was so caught up in detailing the lineage of influences spawned from Spiral Walls that I failed to even mention the two best songs; 'Livery' and 'Grey Matter.' This is due to the fact that they're arguably the most accessible pieces, grounded in early 90's Boom Bap and Jazz Rap with Divine Styler's textbook unnatural flair. There's a level of understanding here which, mixed with his interest in foreign ideas, creates for totally unique takes on traditionalist Hip-Hop.
B+
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2012 | Psychedelic Folk | Listen
DEEP IN MAINE'S WILDWOOD, A NEW AMERICANA EXISTS
I'm coming up on the two-year anniversary of discovering Big Blood and my adoration, fascination, and overall addiction hasn't waned whatsoever. I still attest, as I'll do till the day I die, that the married duo of Colleen Kinsella and Caleb Mulkerin represent the most underrated and under-appreciated artistic act of the 21st century. Whatever you've been listening to - stop- and dive into the wondrous, rich, and cabalistic world of Big Blood. Micah Blue Smaldone & Big Blood, a five-track collaboration between the two aforementioned artists, isn't a bad place to start. Ironic, given it's the sole Big Blood project - out of the 25+ supplementing their prolific discography - that I hadn't yet experienced. And, predictably so, I regret doing so sooner.
Reason for stating MBS&BB is a solid place to start hinges on two deciding factors; Micah Blue Smaldone's Contemporary Folk that eases listeners into a setting reliant on Western folklore and a merger of southern bayou Folk and northern rustic Folk, and the three Big Blood songs being emblematic of their sprawling career. Surprisingly so, Smaldone holds his own against the couple with 'The Mule' and the quaint, but equally as powerful 'Tell It To The Sun.' It's Big Blood stripped of all psychedelic gleaming, leaving an honest-to-goodness Singer/Songwriter ballad that reminds me of Akron / Family. Behind 'The Queen & Her Court,' it's MBS&BB's best and reason enough to look beyond just Big Blood here.
Speaking of the eight-minute epic, it's another vivid Colleen Kinsella masterwork. Her vocals are just unmatched. Folk personified. What holds 'The Queen & Her Court' back, just slightly, is the similarities it draws towards other Big Blood set pieces, namely 'Oh Country,' 'Water,' and 'Coming Home Pt. III.' Do not use this to discredit Kinsella as being one-dimensional (which you could do, to some extent, with Mulkerin-led songs), as her versatility is likely Big Blood's greatest asset. Complimenting 'The Queen' is 'Sister,' which is also representative of Big Blood's second half. 'Echohead,' 'So Old Again,' and 'Sovereignty You Bitch' being the most obvious comparisons. Lastly, the two-minute rural hymn of 'Kentucky Babe' has its footing in numerous Big Blood interludes, seen best (three years later) on 'Wild Mountain Thyme.'
Point being, MBS&BB is an excellent starter project for Big Blood dabblers. It's short, equip with Contemporary Folk, and features three Big Blood tracks that all offer a fundamental aspect of their idiosyncratic spirit, while leaving the best for those who leave salivating for more.
B
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1993 | Space Age Pop | Listen
DREAMING OF THE EQUATOR AMIDST A FROZEN TUNDRA
Komeda came on my radar as part of my Space Age Pop binge, drawing comparisons to Stereolab, Yo La Tengo, and The Sugarcubes only drew me closer. However, Pop på Svenska suffers a similar fate as many foreign-language albums; Cultural disconnect, with talent not equip enough (like Stereolab) to trump it. Genres like Space Age Pop, Lounge, and Psychedelic Pop I typically affiliate with warm, temperate climates, causing Komeda to feel a tad disingenuous in their quest for bliss. More than likely, this is my harsh northern bias showing, swept up in the unforgiving cold, snow, and wind of New England, unable to see the light and joy Komeda flaunt in spite of those conditions.
Many of the songs, be it 'Sen Sommar,' 'Vals På Skare,' or 'Snurrig Bossanova,' leave no imprint on Pop på Svenska due to their contentment with a relaxed state. It's almost too pleasant, with no uncertainty to bear in mind. That isn't the case with some of Pop på Svenska's best, namely 'Vackra Kristaller' and 'Borgo.' On the former, a faultless riff dances so hypnotically that one can't resist falling into the Lounge. The easy-to-follow rhythmic section successfully breaks down borders, much like the recent MPB masterpiece Ana Frango Elétrico's Little Electric Chicken Heart. On the latter, 'Borgo,' eight minutes of uptempo Krautrock fanfare dart and glide through unforeseen sections. It's the only track of its kind on Pop på Svenska, containing a level of ambition not found elsewhere.
D+
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