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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Perhaps it was wise for Beulah to call it quits following Yoko, an aptly-titled disbanding album given their spirited influence of The Beatles. This isn't due to a lack of quality, as Yoko maintains their polished Indie Pop that scales the walls of enjoyability, but rather a perceived prospective of diminishing return. Since their gleaming beacon When Your Heartstrings Break, each album has been worst than the last. If that LP was excellent, The Coast Is Never Clear great, then Yoko is simply good. There's little in the way of extending one's career when said artistry just isn't variegated enough, as Yoko follows the systematic pattern Beulah set forth, with billowing orchestral arrangements and a sense of hope impervious to any potential setback.
Yoko makes slight digressions into Chamber Pop, reminiscent of Mercury Rev around this time (think: 2001's All Is Dream), and Alt-Country with slight resemblance to Wilco's humid aura and humble origin. The former can best be seen on 'A Man Like Me' and 'My Side Of The City,' while the latter finds common ground on 'Hovering' and 'Me & Jesus Don't Talk Anymore.' While there's plenty to enjoy on Yoko, all these avenues - including Beulah's own, which is forever present and soon becoming a style unto itself - culminates on personal favorite 'Fooled With The Wrong Guy.' The twangy guitar, sobering lyrics, and expected euphoric build all assimilate, creating the consummate Beulah piece. Granted, their variation is minimal on Yoko, so many of the songs adhere to the same ideologies. But it works, so who cares. Only 'Wipe Those Prints & Run' deviates, merely in terms of ambition as it clocks in as Beulah's longest song, a dirge with bouts of those unforgettable, swelling Beulah horns. It's quite an apt closer, not only to Yoko, but the band as a uniform being.
B-
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There is one thing I agree with the consensus on; Angles is worse than every preceding Strokes album, continuing the regrettable streak of diminishing returns they've produced. Where my agreement ends is the basis of quality. If Is This It was a pinnacle of the 2000's revivalist movement, a bonafide classic that reinvigorated party Rock, then, considering the unwavering consistency of The Strokes' decline, Angles lands itself in the "good" category. A Rock group with fewer eyes fixated on it would've incurred a greater reception, I'm almost positive.
Once again, as should be no surprise to anyone, Angles is held aloft by some seriously impressive singles. 'Under Cover Of Darkness' is legitimately one of The Strokes' best songs, and to see it this far into their discography is testament to their dexterity and commitment to passionate Rock. I wouldn't have batted an eyelash if this appeared on Is This It, all the necessary ingredients are here. Elsewhere, 'Machu Picchu' and 'Taken For A Fool' flex their muscles, with more uptempo energy that borders on a masculine form of New Wave, with invigorated hooks to boot. 'Two Kinds Of Happiness' and 'Life Is Simple In The Moonlight' round out the successful endeavors, equating to half of Angles. I'll take that, especially in comparison to the slightly bloated First Impressions Of Earth.
It wouldn't be a Strokes album without detracting moments though, and here they come in the form of 'Call Me Back,' 'Metabolism,' and I'll concede, for many, 'You're So Right.' The latter I don't mind as much, though I won't question anyone whose list places this on the bottom, with its edgy hyperactivity and ego-ridden guitar work. 'Call Me Back,' on the other hand, has no right being on an album of this heightened energy and curtailed length, with its meaningless posturing and awkward, borderline Singer/Songwriter performance by Julian Casablancas. Lastly, 'Metabolism' reiterates the rebellious tendencies of 'You're So Right,' lacking the offensive vocals that at least make the latter's attempt stand out more.
Yes, Angles is their worst to date. The evidence is there. But with tracks like 'Taken For A Fool,' 'Life Is Simple In The Moonlight,' and especially 'Under Cover Of Darkness' present, The Strokes' fourth LP is also not one to be missed. Until the inevitable day when a Greatest Hits compilation emerges and one won't have to revisit any Strokes record (sans Is This It) to enjoy the hits.
C+
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1967 | Psychedelic Pop | Listen
LOST IN A MEDITATIVE TRANCE ATOP THE HIMALAYAS
The Beatles may have cheated with this one, but that's a moot point given the quality is all their own. Initially a six-track EP, with kooky selections of psychedelic extravagance from their television show of the same name, Magical Mystery Tour is undoubtedly bolstered by the addition of five insanely strong singles, released in 1967 without a project to call home. 'Strawberry Fields Forever' and 'Penny Lane' have received all the praise, and rightfully so, given their illustrious stance as The Beatles' best one-two punch. If we're counting music's expansive alternative scene, each of these endeavors into Psychedelic Pop could be construed as The Beatles' most influential works. Given their position as the most influential band of all-time, that's quite the statement. No amount of commentary could elucidate what's already been said countless times for 'Strawberry Fields Forever' and 'Penny Lane,' so I'll simply reiterate the obvious: They're excellent.
As for the rest of the "LP," the bag is somewhat mixed and not as artistically provocative as I was led to believe. Many ideas are mere iterations on the boilerplate set forth by Sgt. Pepper's Lonely Hearts Club Band, especially the introductory title track which sets the tone with a boisterous cacophony of kaleidoscopic gaiety. Freewheeling joviality such as this won't wear thin on me anytime soon, therefore tracks like 'Magical Mystery Tour' and 'All You Need Is Love' - which has serious consideration being my favorite track here - deserve adoration and applause for their unabashed take on peace and civility. The rest of side A struggles to maintain any momentum though, as 'The Fool On The Hill' and 'Your Mother Should Know' are quite bland Pop Rock, as McCartney leverages his lyrical self-importance above musical ingenuity. The same can't be said for 'Blue Jay Way' though, which, along with 'Love You Too' off Revolver, is likely The Beatles' most purely psychedelic music to date. The trippy, anxious vocals and reverse-shifted percussion help 'Blue Jay Way' stand out. Though, in all honesty, that's due more so on the basis of its gimmick than actual quality.
As for 'I Am The Walrus,' it isn't as good as many propose. No doubt a fun, engaging track, 'I Am The Walrus' is letdown by John Lennon's tacky lyrics that embrace nonsensicality. Influential for the counterculture movement of the 60's though, just lacking in poignancy that other psychedelic endeavors like 'Tomorrow Never Knows' and 'A Day In The Life' didn't struggle with. Overall, Magical Mystery Tour is another laudable Beatles project, though its divided nature limits cohesion beyond the simple psychedelic aesthetic. Four outstanding songs ('Magical Mystery Tour,' 'Strawberry Fields Forever,' 'Penny Lane,' and 'All You Need Is Love') spell its praise. The other tracks are the sugar and spices meant to heighten the taste.
B
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Gidge makes soft, lush, ultimately inoffensive Microhouse that would appeal to anyone with a trained ear. His debut, Autumn Bells, revealed a promising producer already well-equipped to join the ranks of his contemporary idols; Jon Hopkins, Emancipator, and Pantha du Prince. Throw dashes of Clark, Andy Stott, Boards Of Canada, Hammock, and Autechre into the mix as well, and Gidge's lack of identity is only matched by his sense of mature IDM. Regrettable or not, LNLNN is more of the same. Soothing passages of densely-packed beats, masqueraded by an aura of the unnerving night. A forest, no unnatural light in sight, seems apt for LNLNN, as tracks like 'White Curtains' and 'Midra' fluctuate amidst nocturnal stillness. Their parading fight or flight tendencies allow for out-of-body experiences to manifest, as the internal crunch of Gidge's percussion and synthesizers invade the halcyon serenity of various female vocal samples that emerge from the mist.
If those descriptions weren't evident enough, LNLNN is an atmospheric album. First and foremost. This, naturally, restricts Gidge's ability to express and elaborate upon potential desires, as this niche aesthetic - something Emancipator's entire career has been marred by - curtails any deviating plot for it forsakes the very essence of the album. The two-part 'Elegy' aside, which act as contemplative interludes, there's five prominent songs, all within the six to eight-minute range, following Gidge's systematic pattern of allurement. It works, as no song here stumbles below mediocrity, but on the contrary, nothing achieves greatness. 'Hope' comes close, with a more than promising first half that begs for an explosive finale a la a Jon Hopkins epic. But alas, a three-minute cool down for nothing substantial or domineering teeters off a rather tame album instead of making an impact. Such is the case of Gidge, such is the case of LNLNN. Beauty abound, as one can find anywhere on Mother Earth, but nothing that nears its natural wonders.
C
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