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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While messy by nature, Nazar's debut Guerrilla comes equip with a topical concept, intense production, and inspirited vocal samples that help implant the U.K.-based producer amongst a flock of new up-and-comers intent on promoting the brutality of war and class divide through nodulous, yet riveting Post-Industrial House music. The simplified genre, a new one that merges African world music with Deconstructed Club's knack for prophetic future-proofing; Kuduro. There's promise of evolution and potential for impact with this new direction, but Nazar doesn't quite reach it. At least as of yet. More often than not, Guerrilla teeters too heavily into its concept; That of the first hand experience his family endured within the Angolan Civil War, leading to claustrophobic production that highlights that violence and vulnerability exceptionally well, but does so at the cost of general enjoyment. Should Nazar care, considering this is an artistic endeavor featuring a strong societal message? Likely not. But given the backbone of House, the stilted manner of oppressive bombast makes repeated engagement difficult.
Guerrilla's best aspect are the samples, which are woven into the onerous fabric like an insurgency pushing their way through the frontlines. The voices, sparse and pleading, are excellently implemented as seen on 'Retaliation,' 'Mother,' and 'End Of Guerrilla.' In this sense, Nazar helps offset the inhumanity with voices of the people, combating the ceaseless onslaught of war sounds with hope. The usage of samples, and overall intrusive nature of the production draws comparisons to Andy Stott's early Dub Techno, primarily his two 2011 EP's; Passed Me By and We Stay Together. Nazar also finds comparison to Chino Amobi and Zaliva-D, primarily with each artist's focus on establishing globalization within music, but secondarily Sound Collage, in respect to the former, and Post-Industrial, in respect to the latter (seen most pressingly on their 2019 LP Forsaken). M.I.A.'s incendiary political relentlessness deserves a shout-out as well.
With a systematic approach to each song, highlights are few and far between. Honestly, the aforementioned songs starring errant vocal samples stand out the most due to a lax House atmosphere, relaying more on atmospheric Sound Collage to elucidate Nazar's feat. As for the swarm of others, 'Bunker' is the go-getter, with contributions from Shannen SP that isn't too far removed from Shygirl's wicked view of the dance floor.
C+
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I will never repudiate an artist for evolving, even if it means leaving behind a favorite era of mine. That wasn't the case with Hop Along, mind you. In fact, quite the opposite, as their early lean into Midwest Emo became quite a grating pairing with the dejected forlornness meshing disjointedly with Frances Quinlan's sparkly, idiosyncratic vocals. Only recently, with 2018's excellent Bark Your Head Off, Dog did I feel they found their footing, with orchestral Indie Rock that matched Quinlan's retrospective on her upbringing with rich nostalgia rather than grim cynicism.
Likewise, Quinlan's first official solo project, continues her evolution into mature Singer/Songwriter with flourishing of Indie Pop, Indie Rock, and Indietronica. I've adored projects in each avenue of that trifecta, but the pairing Quinlan finds herself in leaves a lot to be desired. Without any bandmate accompaniment, Likewise struggles to find an identity that separates it from the flock of Indie darlings striving for their voice and words to bear greater importance, forgoing all sense of sonic intrigue in the process. Often times, as best seen on 'Went To LA' and 'Lean,' comparisons to Adrianne Lenker of Big Thief arise, especially those moments where conflicting memory dominates her outlook. But then there's jarring, and quite cheap sounding Indietronica ('Detroit Lake,' 'Now That I'm Back') that lightens the mood, further lessening the importance Likewise would - or should - strive for.
Nothing truly special on what's largely a forgettable solo record that'll be lost in the ether of more exciting, tantalizing music. While it does nothing to honor the original song, 'Carry The Zero' - a cover of Built To Spill's song of the same name - is both sly and graceful, an apt closer for the record, while 'Your Reply' is undoubtedly Likewise's most consummative affair, drawing distinct comparisons to Belle & Sebastian's jaunty Chamber Pop. A delight, and one that's far too fleeting.
D+
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2020 | Alternative Dance | Listen
ELLIPTICAL CLASS GENERATING POWER FOR A DYSTOPIA
The title is apt and the cover is glorious. But beyond that, Aiming For Enrike's Music For Working Out has finite merit. Each of the eight uptempo Alternative Dance cuts (excluding the tempered, Chemical Brothers-like rest period of 'Diving Within') relish in the power of movement. They're addicted to it, consumed by it. Like that episode of Black Mirror - Fifteen Million Merits - where citizens must provide the horsepower to power bicycles for electric consumption in return for their financial wellbeing. Music For Working Out is relenting, punching, and demanding. One could sweat merely by listening. In terms of committing to their aesthetic, Aiming For Enrike do a fine job. The problem lies in the versatility; Or lack thereof.
Every song follows the same mentality. Rigorous tempos in verse and chorus, demarcated by the swelling of sound, crunchy electric guitars courtesy of Math Rock (especially Battles), and steel drums acting as a motivational coach to keep trucking onwards. It's all so, so predictable. For what it's worth, Aiming For Enrike attempt to enrich the interiors with varying riffs - best seen on 'Christmas Eve' and 'Don't Hassle The Hoff' - but there's only so much that can be done when you're this indebted to a singular groove. 'Spice Girls' is likely my favorite, as it feels like Aiming For Enrike's last hooray, ripe with every trick they've mustered thus far (which isn't a lot) and a scaling sense of exigence that's best suited for closer. The rest of Music For Working Out is good for one thing and one thing only: Working out.
C-
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2020 | Industrial Hip-Hop | Listen
GLASS HEELS AND PLASTIC ATTIRE AT DRAG NIGHT
Eight years on from Zebra Katz' first mark in the burgeoning Hip House scene - with the ominous and prophetic 'Ima Read' - and his debut album has finally reached the masses. LESS IS MOOR finds the rapper/producer advancing his craft, with nuanced flows and gnarled instrumentation, while losing the simplicity and intrinsic knack for addiction his previous Ballroom efforts flirted with. If it weren't for 'Ima Read' almost a decade ago, one could criticize Zebra Katz for biting the expressive, LGBT New York stylings of fellow Hip-Hop boundary pushers Le1f and Cakes Da Killa, as that queer and aggressive inflection can be found all across LESS IS MOOR. What separates Zebra Katz' work is the sheer audacity captured within the production, imitating silicone farts ('LOUSY'), plastic stretching ('BLUSH'), and the general bombast of a gay club thrown in disarray amidst sheer noise ('INTRO 2 LESS,' 'EXIT 2 VOID'), essentially providing a Hip-Hop parallel to Matmos' sheen, futuristic commentary on Plastic Anniversary.
In theory, and in much of the execution, LESS IS MOOR works. It bridges the gap between the early decade's embryonic black Ballroom, with unparalleled swagger and intrusive flamboyancy, and Experimental Hip-Hop's current mold towards the abrasive and unorthodox, with JPEGMAFIA's Veteran or Injury Reserve's self-titled coming to mind. Where it doesn't work is the overt, unappealing sexuality that would make Father cower in shame. Thankfully, it's few and far between, situated most prominently in the backend with tracks like 'NECKLACE,' 'UPP,' and 'LICK IT N SPLIT' placing a greater emphasis on primal bootlicking and brazen intercourse. It needn't be said that the queer aspect has no connotation with my disagreement over such abrasion, as it's always the impelled shock n' awe tactics that leave a sour taste in my mouth. Tracks like these insist on coercing a reaction, rather than upholding a certain level of quality. Though 'LICK IT N SPLIT' gets a pass because of Shygirl and the flight back-and-forth Deconstructed Club electrifying the background.
What's largely a minor quip aside, LESS IS MOOR's other facets work wonders. Zebra Katz' energy is anything but at a premium, bouncing through vicarious flows, exemplified best on 'ISH,' 'IN IN IN,' and personal favorite 'MOOR.' There's even some tasty diversions, like the Jungle Drum N' Bass of 'Zad Drumz' or the cutting edge Minimal Wave of 'MONITOR.' All these moments allow for LESS IS MOOR's enjoyability to arise through unexpected avenues, since the LP doesn't welcome the former accessibility one used to expect from Hip House. Only 'SLEEPN' and 'BEEN KNOWN' I could see achieving success outside of the black LGBT community and inner Hip-Hop circles, with the latter only achieving that designation due to a generic atmospheric beat and hard-nosed lyrics (that could hear on a Schoolboy Q record). Overall, Zebra Katz' artistic titillation - like a perverted art gallery meant to confuse and arouse you - heralds LESS IS MOOR as a success, if only temporally.
B-
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Meghan Remy's seventh LP under the U.S. Girls guise incorporates her recent transformation into aged star living vicariously through the wrong generation, all while revisiting the childhood era that birthed her interests in Pop's glamorous past. The tactless cover actually exposes the crux of Heavy Light, as an illuminating beam of, well, heavy light blankets Remy and, presumably, her younger self. The reflective, albeit unnecessary interludes and Remy's own reinterpretation of her past works, along with tracks like 'Born To Lose' and 'Woodstock '99,' paint Heavy Light as an album filled with personal nostalgia. In that sense, the concentrated portrayal of "mamma I made it" succeeds, especially given the acclaim 2018's In A Poem Unlimited received. Unfortunately for Remy, Heavy Light is a dud that shuns U.S. Girls' experimental past, forgoing any creative thought in place of dry, placid 80's-inspired Pop Soul. Mind you, it's done well and Remy's voice is best suited for the occasion, but reaching expectations it does not.
After a listen or two through Heavy Light and you get the sense U.S. Girls felt the same way, front-loading the LP with the only two songs - '4 American Dollars' and 'Overtime' - that could've conceivably superseded her grand Disco cuts like 'Window Shades' and 'New Age Thriller' from Half Free or 'M.A.H.' and 'Incidental Boogie' from In A Poem Unlimited. The opener sets a vivified tone, with an array of Blue-Eyed Soul background singers and an extended bridge that's to die for. 'Overtime' doesn't hit those highs, but it's admirable inclusion that keeps the momentum moving. However, from there on out we're treated to numerous, slow-moving dirges like 'IOU,' 'Born To Lose,' and 'Denise, Don't Wait' that drip with chintzy panache and treat Remy as the star of her show, lacking any sort of the unexpected flair we grew accustomed to. Speaking of her past exposés of artistry, can we talk about 'State House' and 'Red Ford Radio?' The former, originally released on 2011's U.S. Girls On Kraak, the latter 2010's Go Grey, effectively remodeled and remixed here without the integral, DIY Lo-Fi Indie aspect bore in. Rather than bringing Remy closer to her past, remastering those two cuts distanced U.S. Girls from the amateur experimentalism of her past, rid of context and aesthetic.
Like many of her contemporaries - Julia Holter, Jenny Hval, tUnE-yArDs, etc - U.S. Girls has slowly but surely removed the mask of left field, avant-garde artisanship by pushing her voice forward and desaturating the curiosities that often stimulated the background. Unlike those others, U.S. Girls has no qualms returning to a past era - giving her a singular, uncontested style yes - but is Pop Soul what 2020 needs? No wonder the soaring, expansive, and ambitious 'Quiver Of The Bomb' is my favorite. It includes the two sides - conventional Pop and daring experimentalism - that Remy has thrived in. Without it, her identity wanes.
C
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