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!
______________________________________________________
1983 | New Wave | Listen
SOUNDTRACKING THE BREAKFAST CLUB'S HISTRIONICS
A marketed improvement over Movement right from the get-go. With its intoxicating riff wasting no time forcing itself upon the listener, 'Age Of Consent' was destined to be a classic, giving way to an era of the 80's that sought to hoist Post-Punk from its grim prospects. It does so splendidly, with Bernard Sumner coming into his own as a moody but assured lyricist dawning the cloak of New Romance on his ponderous back. Here, New Order come into their own, distancing themselves from the self-examination of Ian Curtis and Joy Division by welcoming the prospective lovers quarrel he so dispiritedly shunned. This romantic contentiousness carries into Power, Corruption, & Lies' second best track; 'Your Silent Face.' Despite the kitschy keyboard flush and rampant, the gorgeous synthesizer wash that sounds oddly festive and Sumner's imaginative lyrics help 'Your Silent Face' acclimate to a world of rosy, adolescent romantics.
However, Power, Corruption, & Lies isn't all sunshine and roses in the quality department. The highs, such as the two aforementioned songs, 'The Village,' and 'Leave Me Alone,' are equally outweighed by forgetful cuts that, at best, merely duplicate the awkwardness of Movement and, at worst, come off as clunky amateurism. The pairing of 'Ultraviolence' and 'Ecstasy' stagnant the second half with uneventful takes on Synthpop, losing New Order's knack for Post-Punk riffs and understated melody in the process. As for 'We All Stand,' well if it's goal was to sound like the less interesting companion to Talking Heads' 'Overload,' it worked.
Those quips aside, the highs of Power, Corruption, & Lies are too damn arresting to ignore. Even '5-8-6,' which spends a whopping two minutes trolling grotesque soundscapes, turns itself into the LP's best Alternative Dance effort, as a funky bass line and insistent rhythm unrelentingly pursues the listeners bodily convulsions. Still, the moments of greatness lie in New Order's ability to tread the flimsy tightrope between New Wave and Post-Punk, a disparate duo that, when executed with flair and polish, enter the echelon of timeless.
B
______________________________________________________
2016 | Avant-Garde Metal | Listen
INVOKING THE GHOSTS OF SLAVES WITH RESENTMENT
Like many I presume, morbid curiosity drew me towards Zeal & Ardor's Devil Is Fine. The genre tags alone. Avant-Garde Metal and Spirituals? A pairing so drastic one can't help but call bullshit on authenticity, much like Tyler, The Creator's early shock n' awe tactics that had evangelical Christians fearing for our youth. However, lead vocalist Manuel Gagneux seems less concerned with offending (even though the juxtaposition of Gospel music with occult, satanic imagery is, to some, the most egregious desecration) and more interested in enlightening the mental conditions of those enslaved. The approach is less than ideal, as the brief 24-minute LP rarely delves beyond the surface level of Spirituals or Metal, acting as a beginner course for either had they been separated.
For a truer representation of the despondent psyche of pre-Civil War era slaves see Matana Roberts' COIN COIN series, namely the first iteration; Gens de couleur libres. For a more clever integration of Spirituals within a non-germane genre see another 2016 effort: clipping's Splendor & Misery. Each do more to distance themselves from the potential of scrutiny, by treating the incorporation as integral and genuine, rather than compelled and absurd. One could criticize Devil Is Fine for sounding like a farce conceived by members of 4Chan, if that weren't the literal truth of Zeal & Ardor's origin. That being said, while objection is abound on the surface (thus achieving the crude reaction Gagneux strove for), there are moments of artistic stimulation within these prison walls. 'Devil Is Fine' is the standout track, the clear-cut first attempt by Gagneux when vehement synthesis was at an all-time high. Elsewhere, the combination of 'Children's Summon' and 'Sacrilegium II' effectively brings the grim debauchery of children's tales to the forefront, while the unsuspecting Dubstep of 'Sacrilegium I' begs the question: Is that the direction Zeal & Ardor should've gone instead?
It's an intriguing album worth a listen, partially let down by the treated triviality instituted by the creator. With a more serious composition (maybe that's what Stranger Fruit is, that listen is up next) Zeal & Ardor could've broke new territory of influence rather than provide a 101 dichotomy on two contrasting subgroups of music. Also the poor man's Nick Cave on 'What Is a Killer Like You Gonna Do Here' should never have been conceived.
C-
______________________________________________________
How far can one go when criticizing Room On Fire, namely the overt similarities to The Strokes' debut Is This It? After all, the instant Rock revisionist classic ushered in a resurgence one would be wise to pounce on. The Strokes did just that, treating change as a foreign concept and striking while the iron was still hot. That being said, Room On Fire lacks a distinct personality, content mimicking the impulse of its more popular older brother. Nothing here would sound out of place on their debut, to the point where one would question if these weren't B-side outtakes from the same sessions. That is, if they weren't so good.
Much like Is This It?, Room On Fire prides itself on consistency, which is why I was quite flabbergasted to hear the overwhelming predilection towards the first half. Apart from a more aggressive, Grunge-styled demeanor 'Reptilia' doesn't sit head and shoulders above the rest like many believe. Nor does any single track here, apart from '12:51,' which incorporates classic Strokes riffs with a playful touch of Synthpop for an innocent night on the town. Diving deep one will find an array of enjoyable hooks that resort to the primal instincts of music, rather than posturing an unnecessary addition of ambition. The Strokes' palate is about as straightforward as it comes, which would normally be a negative if they weren't so concise, spirited, and satisfying. To me, only 'What Ever Happened?,' 'Meet Me In The Bathroom,' and 'The Way It Is' can be considered below average, with the former and latter just barely passing that threshold. These are fantastically-simple Pop songs disguised with a stallion-like exterior.
B
______________________________________________________
Rock music doesn't typically place atmosphere and aesthetic above impact and raw talent. But in La Luz's case it most certainly does. With their debut It's Alive, the three-woman band dive into a rich sound prompted by the scorching heat of the west. Like a frayed tape from the 60's, with errant hues of sunburnt color and shimmering static forming an imprinted mirage, It's Alive evokes the bygone era of psychedelic Surf Rock with the precision of committed restoration. Almost to a fault, La Luz glide off the backs of past acts who reveled in the heat of the hippie era, content using Rock music as a backdrop to a summer of relaxation.
And to think La Luz's origin is the rain-drenched Seattle. Nothing here sounds perturbed by weather's woes, complacent tanning on the beach with the splashing waves and distant chatter of children acting as white noise. There are no highs, there are no lows. It's a consistent aesthetic that's both devoted and lusterless. The drive for something greater isn't there, nor should it be given paradise - in the eyes of La Luz and Los Angeles - has been achieved. If we're to single out favorites, 'Morning High' has to be mine with its rambunctious carnival shag, like a visit to a promenade filled with rides, games, and food, outstretched beyond the land's inevitable end. The guitars alone make 'Morning High' a blast to revel in. 'Call Me In The Day' and 'You Can Never Know' are other moments of unwound bliss, but one really can't go wrong with anything here. Memorable in the long run, It's Alive may not be. But for a specific pressing moment in time, the aesthetic of complacency will satisfy the most serene of daytime loungers.
C
______________________________________________________
No comments:
Post a Comment