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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One of my greatest criticisms of Electronic music is just how male-dominated it is. When it comes to Dance music such as Resonant Body, the role of women rarely exceeds that of faceless vocal lead, often times being uncredited in the process. That's why Kelly Lee Owens' 2017 self-titled debut left such an impact, for her soft femininity in regards to the sound quality quickly became a precious commodity. Hopes were high with Octo Octa's Resonant Body for the same reasons. Could Maya Bouldry-Morrison achieve with Deep House what Kelly Lee Owens did with Tech House? The answer, regrettably, is no.
The reason doesn't travel so far from the source. One listen through and, despite its message of owning your body and embracing change within, Resonant Body rarely deviates from the well-trod traditions and trends of Deep House. Highly repetitive, rhythmic, and emphatic in structure, every one of Resonant Body's eight tracks (excluding the Ambient deviation of 'My Body Is Powerful,' a shoehorned cliche in its own right) fail to distinguish themselves amongst the assertive machoism the genre bestowed upon the nightclub scene when it began in the mid-80's. Using Breakbeat to the get the body moving will never not work, thus certain tracks like 'Spin Girl, Let’s Activate!' and 'Ecstatic Beat' coerce movement through sheer irresistibility. Still, this is par for the course with the genre and the constant insistence upon such drive causes mediocrity to swell. Nothing on Resonant Body, apart from its final two-minute chant in 'Power To The People,' stands out from the crowd. A unifying record for the masses, but one that firmly limits the expression of an individual.
D
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With almost zero promotion, marketing scheme, or ploy for attention, Sault has garnered the interest of a storming underground with pure, physical artistry. Their music doesn't reflect their enigmatic stature, choosing instead to revel in modern trends with an added dose of Funk panache, like a flame entrusted to a group of matchsticks. The kind we see adorning the cover of 5. Influence from a myriad of artists emerge on the LP, accomplishing the rare feat of being both varied and aesthetically coherent. On opener 'Up All Night' we find Melt Yourself Down and KOKOKO! sparring with a fantastic, understated groove. 'Masterpiece' and 'Something's In The Air' present the two sides of Anderson .Paak's summertime bonanza. Even the R&B queen herself Erykah Badu can be heard on 'Think About It' and 'B.A.B.E.,' along with her one of many direct descendents; The Internet.
While largely a Neo-Soul-driven affair meant to assimilate the masses through loose, mostly unexceptional political firepower, curious diversions occur within the celebratory sound that spice up Sault enough for them to standout. Think Gorillaz and their ability to harmonize unique, cultural characteristics. We hear Little Dragon's easy breezy garnish on 'Why Why Why Why Why,' Algiers' hardened Gospel on 'Let Me Go,' Groove Armada's mellow Big Beat on 'Pink Sands,' even Yves Tumor's blunt vexation from 'Noid' on 'Foot On Necks.' 5 really is a cerebral, diversified album that'll never leave a listener dissatisfied, whether it's in terms of the rich sonic palate, structural levity, or vocal prowess.
B
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2019 | Gospel | Listen
SINGING PRAISE FROM THE ROOFTOPS, HEATHENS BEWARE
Jesus Is Born almost made me hate Gospel. But then again, so would anything indulging in this vast abundance. Sunday Service Choir's first LP with Kanye West as spiritual and conductive leader doesn't falter for the latter's ignorant, unhallowed, hypocritical ways of Christian enlightenment (see: Jesus Is King), but rather the sheer, unabashed excessiveness that drains power within instead of galvanizing it. Jesus Is Born has no right being 19 songs, nor does it have any right being 84 minutes. Gospel, when not incorporated with other genres (something Kanye's been known to do, with great success), is inherently one-dimensional. And here, Sunday Service Choir commit to that philosophy, breaking the mold only briefly for a three-track run of reenvisioned Life Of Pablo cuts that represent the best Jesus Is Born has to offer. Though one can't ignore the irony of adopting 'Fade,' equip with a notoriously-lascivious music video, to worshipping God on 'Follow Me - Faith.' These interpretations succeed not entirely by Kanye's own doing, but rather the boastful braggadocio that emerges from choir singers meant to conform. 'Father Stretch' is great in this regard.
However, returning to the problem at hand. Jesus Is Born is just too long, with numerous songs exceeding a respectable duration. Opener 'Count Your Blessings,' for instance, is an excruciating five and a half minutes with minimal variation and bounded evolution. In fact, many songs, including 'Excellent,' 'Satan, We're Gonna Tear Your Kingdom Down,' and 'Total Praise,' reiterate a 30-second idea ad nauseam. This, not surprising given Gospel's tendency to rollick in obeisance with particularly egregious pastors. The setback comes in Jesus Is Born's overbearing stature, as if the decline of religion across the world has prompted a nervous, exorbitant paranoia to reclaim what's lost. Not in Gospel's glorious tendency to exalt when applicable. Here it's used as a crutch to hide tedium.
There are meritable moments where deviation prevails though, and they're not only the Kanye West remixes. The harmonious passion and living, breathing percussion on 'More Than Anything' and 'Souls Anchored' help each song be felt deep down. The unusual, minimalistic drums really guide this feeling of communion. Plus they're a blessing to vibe along with. Lastly, the loose and chipper 'Paradise' provides a necessary moment of levity to a back half marred by somber elegies. As seen, Jesus Is Born isn't without notable pieces. A ten-track LP would've suited matters far more handedly. Instead, exhaustion in exaltation becomes a very real concept to endure.
C-
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2019 | Experimental Rock | Listen
DISGRUNTLED FIREBRANDS WITH AN OUTLET TO EXPRESS
For starters, that cover doesn't represent the album whatsoever. The calm watered, sepia-tone filtered photograph of a relatively distant past decries monotony and momentary leisure. Age Hasn't Spoiled You? Not so much. Here, Greys genre-hop through flaming hoops bearing kaleidoscopic colors. In one instance, they bark with a Noise Rock bite akin to Show Me The Body ('These Things Happen') and Preoccupations ('Kill Appeal'), in another linger anxiously in Neo-Psychedelia akin to Deerhunter ('Western Guilt') or Exploded View ('Shelley Duvall In 3 Women'). In attempting to merge these genres for something original, Greys inadvertently fell into the quag of modern Experimental Rock outfits highlighting labyrinthine angst, most similar to Girl Band ('Aphantasia,' 'Arc Light') and Suuns ('Constant Pose,' 'Tangerine').
It doesn't help that Shehzaad Jiwadi's vocals are as generic and blasé as humanly possible. Race is a touchy subject and I'm exposing myself to certain disdain by saying this - which I don't disagree with, mind you - but Jiwadi's vocals sound exceptionally white. Or, more descriptive, vanilla. Given his mixed-ethnicity background it's a tad disappointing, given the lack of a cultural melting pot in the Experimental Rock scene right now. But I digress.
Though Age Hasn't Spoiled You won't stand out from the crowd, that doesn't mean it's not without merit. The cumbrous Drone of 'Tangerine' and 'Static Beach' withstanding, which are artistically-rich but provide minimal replay value, there's hardly an erroneous moment on Greys fourth LP. The four-track run from 'Arc Light' to 'Kill Appeal' is visceral and antithetic to society norms, capturing the mood of a dingy back-alley where law does not abide. I'm reminded of Fight Club in this sense. 'Aphantasia' is Age Hasn't Spoiled You's token epic cut, nearing the eight-minute mark with numerous shifts in tone, the most interesting of which is the midway point where a moody underbelly arises drawing eerie similarity to Massive Attack's 'Angel.' Lastly, 'Shelley Duvall In 3 Women' features a fascinatingly-grim percussion procession that, while not original, will never wear thin on me. It's vile. Such is the entirety of this album, both good and bad.
B-
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