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 | Jangle Pop | Listen
EVERLASTING LOVE FROM WITHIN THE CLOSET
Truthfully, despite my love and adoration of Strange Free World, I wasn't expecting The Death Of Cool to resonate as strongly. Kitchens Of Distinction's brand of euphonious Rock that effortlessly merges Shoegaze's trademarked wall of sound with the lively mischievousness of Jangle Pop doesn't exactly allow for diversification. And honestly, Death Of Cool is rather archetypal in this regard, reusing many patterns, tones, and structures to achieve that end-of-the-world melancholy we've grown accustomed to with Kitchens Of Distinction. Take 'Mad As Snow' and the exacerbated climax that constantly pushes the limit, much like predecessor 'Polaroids,' a track that stunned for the same reason because of sheer unexpectedness. With 'Mad As Snow' it's anticipated, by 'Blue Pedal' it's become antiquated. Another example is closer 'Can't Trust The Waves,' which can be seen as a weaker subsidiary of 'Under The Sky, Inside The Sea,' Strange Free World's sweeping and chimerical finale.
However, that's really the only setback of Death Of Cool. On numerous tracks, like 'On Tooting Broadway Station,' 'When In Heaven,' and 'Smiling,' Kitchens Of Distinction prove their capability for the stunner. None exhilarate more than '4 Men,' with its intricate Jangle Pop bouncing vicariously around a ravenous chorus Patrick Fitzgerald hollers his homosexual amour from the rooftops. Considering the year, and the generally hard-nosed Rock scene, his pledge to promoting LGBT detachment is really something to applaud. Other reasons to bestow praise include 'On Tooting Broadway Station's' impeccable build that's both natural and persistent. Fitzgerald's presence, and growing impatience towards his wistfulness, is contagious and striking, essentially imploring the listener to pay attention. As for tracks like 'Breathing Fear' and 'Smiling,' Kitchens Of Distinction do a commendable job bridging the gap between the 80's version of Jangle Pop - a la The Smiths and 10,000 Maniacs - and the 90's with bands like Polaris and The Boo Radleys. On the whole, Death Of Cool cements Kitchens Of Distinction's position as Shoegaze's most steady act, capable of linking euphoric release and grounded exposition to a singular sound all can appreciate.
B
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1977 | Afro-Funk | Listen
SIZZLING MEAT AND COLD DRINK AT THE BACKYARD COOKOUT
The definition of a hidden gem can be found here, on Francis The Great's sole release Ravissante Baby. While the concept of Afro-Funk wasn't of any surprise in 1977 - as the production found here hinges greatly on the work of Fela Kuti, Manu Dibango, and Gyedu-Blay Ambolley - the cheeky inclusion of a seven-year old leading vocal duties really separates Ravissante Baby from the legion of Highlife influencers. It's both clever and simple, as the unbinding pandemonium one experiences with the best of Highlife can all be drawn back to a childhood filled with boundless optimism and energy.
Of the two tracks on Ravissante Baby, it's the eponymous title track that carries the burden of praise. Right from the get-go, and through its admittedly stretched twelve minutes, 'Ravissante Baby' dances, sprints, and sambas over numerous, tightly-wound guitar riffs, ancillary percussion that grows in flavor and substance, and a mother and son duet best left for a party in the sweltering, Cameroon heat. I'm deeply reminded of Maitre Gazonga's 1983 release 'Les Jaloux Saboteurs,' a track that enforces the same base level of repetitious addiction that would soon define Electronic's Trance scene. Evolvement helps to keep both tracks engaging and not tedious, something that unfortunately doesn't apply to the B-Side; 'Look Up In The Sky.' With a slower pace leaning further on the side of Synth Funk (think Tower Of Power or The Meters), Francis The Great seems to have come down from 'Ravissante Baby's' sugar rush, a sad sight that, while still enjoyable and funky, doesn't hit with the same delirious bombast. The mellow groove doesn't match that childlike whimsy, and suffers from it. Ravissante Baby is still worth a listen off the title track alone.
B
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2011 | Chillwave | Listen
INFATUATION THROUGH THE STATIC OF ANALOG TELEVISION
TV Girl's second EP carries on the sound of TV Girl by reinforcing the notion that sonic euphoria can quell all doubts, even the gloom of a missed connection. Unlike their debut, Benny & The Jetts finds lead singer Joel Williams spewing the romantic reverie that would come to define TV Girl's lyrical prose, simultaneously exposing the one weak spot in Williams' pedestrian content that treats chivalry as a concept for television and film, but certainly not reality. It pairs well with TV Girl's bombastic, elated production, but struggles when lasting impact is called into question. Still, whilst living in the present, one can do much worse than revel in TV Girl's wistful world. Tracks like 'Benny & The Jetts' and 'Lizzy Come Back To Life' jolt with a vivacious trample, recalling the impossible-to-hate work of The Go! Team or The Avalanches. No bad songs can be found on Benny & The Jetts, though their ephemeral stature makes this boundless emotion, as one would experience in life, fleeting.
C+
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