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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2006 | Indie Rock | Listen
SNAPPING THROUGH THE VIEWMASTER OF LIFE
To think, two decades into an already-storied career and Yo La Tengo haven't been burnt out yet. Ambition has no age, as we see full throttle on the 77-minute I Am Not Afraid Of You & I Will Beat Your Ass. Their eleventh LP is, dare I say with equal parts hesitation and glee, their best. And yes, that includes 1997's I Can Hear The Heart Beating As One, a record that currently sits at the tail end of my top 100 albums of all-time. While the provocative title itself fails to pontificate on the content within, the eclecticism of such a phrase being used by a humble Indie Rock band from New Jersey explains the enthusiasm and command Ira Kaplan, Georgia Hubley, and James McNew found themselves in. All, might I add, on the brink of the half-century mark in age when I Am Not Afraid Of You released in 2006. One would never expect such a feat after hearing the blithesome camaraderie of 'Mr. Tough' and 'Watch Out For Me Ronnie,' or the ludicrously-daring double-digit bookend tracks 'Pass The Hatchet, I Think I'm Goodkind' and 'The Story Of Yo La Tango' that take Krautrock and Noise Pop to the absolute limit.
What the title achieves in evoking is a sense of inspiration. Against the odds, and all expectations, Yo La Tengo found new life in the second trek of theirs. I Am Not Afraid Of You is a record that boils half a century of existence into 15 tracks, with no regard for pacing, mood shifts, or extraneous events; Much like life itself. One minute, Hubley's homesick weeping like a Contemporary Folk artist on 'I Feel Like Going Home,' the next Kaplan and McNew engage in a skittish Doo-Wop duet on 'Mr. Tough.' They return to classic Indie Rock territory on tracks like 'The Race Is On Again' and 'Sometimes I Don't Get You' - reminiscent of their previous LP Summer Sun - only to be interrupted by tantalizing, world-expanding Indietronica a la Broadcast on 'The Room Got Heavy' or destitute Slowcore devoid of contentment like Auburn Lull or Low on 'Daphnia.' It has to be one of the most eclectic, disorienting listens in all of Rock, as a fearless Yo La Tengo take towards complete artistic expression, restricted by no means.
Expectedly there's lulls, but thankfully they're few and far between. The heftiest streak comes towards the back half, with 'The Weakest Part,' 'Song For Mahila,' and 'Point & Shoot' fail to instill a lasting impact due to their tendency to tread worn ground. The former is a drier take on 'Beanbag Chair,' while the latter falls for the same reason to 'I Should Have Known Better.' Thankfully, 'The Story Of Yo La Tango' exists to recoup straggling listeners, with a demanding twelve-minute odyssey that beautifies as much as it shreds Noise into oblivion. A lovely close to a phenomenal album that pins Yo La Tengo as progressive artisans not willing to back down from conformity.
A-
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2013 | Noise Pop | Listen
LETTING THE KIDS PLAY WITH DAD'S INSTRUMENTS
Though God Speed, Mans! is a collaboration between Tonstartssbandht and Dirty Beaches, this review only applies to the contributions of the former. Why? Because Dirty Beaches' 'Temple Street' and 'Neon Gods & Funeral Strippers' fail to appear on Apple Music. Blame Apple, blame Dirty Beaches, I don't care. I came for Tonstartssbandht. The first thing fans will notice about God Speed, Mans! is what sits in the lead-off position; 'Alright,' existing as but a fracture of Andy Boay and Eola's legendary live performance cut that was later transformed, more comprehensively, into 'Opening' on Sorcerer. It's still great here, though I'd usher listeners towards Sorcerer instead. The pay-off is far more rewarding.
As for the rest of God Speed, Mans!, it's a bit conventional, which is not something you'd like to hear for experimentalists Tonstartssbandht. The collective whole of 'Alright,' 'Reva Pop,' 'Wet Ass Mornin,' and 'Ligda' feels like a boilerplate introduction for new fans, sporting no new ideas or excursions in sound. The clangorous Noise Pop emerges on 'Reva Pop,' Andy Boay's childish humor sifted through Freak Folk comes out on 'Wet Ass Mornin,' and Eola's idiosyncratic use of vocals prances about psychedelic Drone on 'Ligda.' All three can be seen to fuller extent on Now I Have Become, SO SO SO WE SEE, and Dang respectively. Pick your poison, you won't be disappointed in any direction you take.
C
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2013 | Alternative Dance | Listen
A NICE GUY PATRONIZING THE FEMALES IN HIS LIFE
While TV Girl had their production down pat on their self-titled debut, Lonely Women - for better or worse - is where Joel Williams found his lyrical home. From here on out it's snide romance with a scornful, yet flirtatious sense of humor. Gone are the days of 'On Land' and 'I Don't Care,' where TV Girl concerned themselves with other avenues of lyrical expression. All five songs on Lonely Women discuss, well, lonely women. Some play a more personal role in Williams' life, like 'My Girlfriend' where he criticizes his girlfriend's depressive tendencies before poking fun at a level of attraction dwindling ("and when she's just getting up, and the sun hits her right, she doesn't even look half bad"), or 'Melanie,' about a supposedly vehement friend whose confidence is usurped by personality pitfalls.
The content, as has always been the case with TV Girl since 'I Don't Care,' is questionable. It's unabashed and bold, I'll give Williams that. But on Lonely Women it becomes a tad too restrictive. In the production department, things are as grand, swell, and chipper as always. 'She Smokes In Bed,' the EP's best cut, hits like a truck similar to 'On Land.' Along with 'Laura,' these two tracks set the precedent of what was to come with French Exit. Playful maximalism, using an array of sounds that swell to adolescent euphoria. The only song that's an outright dud on Lonely Women is 'Easier To Cry,' which is far too cheesy and drenched in the cons of Alternative Dance. A decent, ultimately unmemorable EP that would soon be outshone, handedly, by TV Girl's impressive debut.
C
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The legend of The Beatles begins here. At least in my eyes, for the group's unparalleled sphere of influence finally journeyed beyond the confined walls of Pop Rock. Sure, Rubber Soul had dashes of psychedelic tendencies - the art form that would soon infest any and every genre it came in contact with - but on Revolver the Brits broke free. Let's start with the end; 'Tomorrow Never Knows.' Known upon first instant, with the release date of 1966 in hand, as one of the most revolutionary songs in existence. It towers over everything else on Revolver, and everything else in The Beatles' discography up to this point, breaking down barriers with a level of assertion the group had yet to show. 'Tomorrow Never Knows' comes out of nowhere, stunning not only by its immense contradiction to The Beatles' past, but also the quality and everlasting stature it imposes on the entire Psychedelic music landscape. It sounds ripped from the Big Beat and Baggy era of the 1990's, nearly thirty years in the future, while having its hand in every uptempo Neo-Psychedelia romp up to the present day. Easily my favorite Beatles track to date, an achievement in talent, tenacity, and primordial sound design.
As for the rest of Revolver, it's a bit of a mixed bag like any Beatles record, though for the first time the predominant quality skews towards greatness. Interestingly enough, gauging public perception, my opinion as to Revolver's best does not correlate beyond 'Tomorrow Never Knows.' In fact, without debate, the next most impressive piece of music in my eyes here is 'Yellow Submarine.' You heard right. Why? Creativity is almost always the answer, and it applies here as well. Rather than conform to The Beatles' formulaic structure, 'Yellow Submarine' deflates into almost offensive simplicity. It's a children's tune at heart, skewered by innovative Sound Collage and surrealistic imagery. Each totally singular by The Beatles' standards (until 'Tomorrow Never Knows,' that is). Elsewhere, 'Love You To's' uncharted South Asian psychedelics - the most extreme they've dabbled in thus far - pierces a level of ribald sensuality that would rile The Beatles' youthful depiction of sexual relations. The evolution is admirable.
There's plenty of other lovely moments on Revolver that don't escape the expectations of 1966, like 'She Said She Said,' 'For No One,' and 'Got To Get You Into My Life.' Granted, these efforts pass the test for datedness, but only because of their sheer influence and not necessarily the songs themselves. The catchiness helps, too, of course. However, one might be privy to my lack of mentioning Revolver's revered opening trilogy; 'Taxman,' 'Eleanor Rigby,' and 'I'm Only Sleeping.' That's not due to forgetfulness, merely a belief that each - especially the highly-touted 'Eleanor Rigby' - are overrated. They're all fine album cuts, and don't sink as far as Revolver's worst 'Doctor Robert,' but to consider their place alongside the aforementioned high spots would be mistaken. 'Taxman' is a generic Pop Rock effort, exposing The Beatles' lack of depth in lyrical fortitude, as the political aspect falters due to naive sarcasm. 'Eleanor Rigby' has a lovely chorus, no doubt, but the song progresses to no satisfying depths. Different than their previous works? Yes. But not all too awe-inspiring like 'Tomorrow Never Knows.'
That being said, Revolver's weak points would be highlights on Beatles albums just two years ago; Like A Hard Day's Night and Beatles For Sale. This is an achievement, a fresh direction that would inspire a generation. To see where they go from here, knowing Sgt. Pepper's Lonely Hearts Club Band is up next, has me reeling with excitement.
B+
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