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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The son of Tony Hawk. That one always gets me, and it really shouldn't, because if there's anyone who'd be okay with the freedom of expression if it's in the best interest of the self, it's Tony Hawk. Despite his inherited wealth and good genes and resources elsewhere, Gupi's investment in the progressive and simmering Bubblegum Bass is a testament to its all-inclusive ways. By all accounts, he's a generic white guy - such as myself - who hasn't been given the cold shoulder from a movement that's largely LGBT-based. Is his inclusion warranted? None shows that, besides one temporal stroke of genius, the answer is no.
Of course, 'Thos Moser' is the song I'm referring to, a magnificent and nauseatingly-addictive take on Bubblegum Bass. Though Gupi, and Fraxiom who joins in by stealing the show with a legendary vocal performance oozing charisma and adolescent transgression, may only amount to a one-hit wonder, 'Thos Moser' proclaims itself as a necessary step in the evolution of the genre. Check its delirious music video on YouTube and, in the comments section, you'll see shoutouts from Dorian Electra, Dylan Brady (of 100 gecs, someone 'Thos Moser' takes major inspiration from), and the like, declaring this essential material. All for what's largely a joke. It's lightning in a bottle and the catchiest thing 2020 has offered us so far.
Unfortunately, 'Thos Moser' was nothing more than a red herring for None, but that's not all too surprising given an entire album composed of such material would be nigh-on impossible. Or certainly excruciating (see: 1000 gecs). Gupi instead resorts to a largely instrumental base akin to hyperactive IDM, siding in the realm of Euro-Trance or Wonky. The latter appears in the form of Iglooghost on 'Plymouth Simulation,' while the former bears similarities to aspects of Vessel's Queen Of Golden Dogs on tracks like 'Spencer Adventure 2.' There's an undeniable 8-bit, video game element as well, as I can picture many of these songs (like 'Paradise' and 'Faking It') gliding along at breakneck speed under Sonic The Hedgehog's latest escapade. Despite the tackiness and general invariability of these songs, Gupi's one point of promise is this: The best songs are those which, shyly, incorporate vocals. 'Thos Moser' withstanding, other efforts like 'Modest,' 'False Awakening,' and 'Delusion,' retain a knack of addiction necessary in Pop-centric Bubblegum Bass songs. The prosaic nature of the lyrics and sheepish decision to include them don't help matters. 'Thos Moser' is the ultimate form of expression, more of that please.
C-
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2020 | Experimental Hip-Hop | Listen
MONEY IS THE ROOT OF ALL FINE THINGS
The Don Of Diamond Dreams is a travesty. What happened to Shabazz Palaces, a duo that a mere half decade ago, played a prominent role in the eminence of Experimental Hip-Hop along the likes of Death Grips, clipping., and Danny Brown? Ishmael Butler and Tendai Maraire's age - sitting in stark contrast to the forever youth movement of Hip-Hop - poised them as trailblazing soothsayers, incorporating a lineage of left field Hip-Hop (from Butler's own Digable Planets to Divine Styler's Spiral Walls Containing Autumns Of Light) with the panache and style of modern day in a way that was thoroughly unique. Black Up still reigns supreme as essential listening material for Experimental Hip-Hop, with Lese Majesty trailing not far behind. But The Don Of Diamond Dreams is another story all-together, one of a band whose lost total sight of their audience and their morals, degrading themselves in an "all Hail Corporate" measure that serves no purpose in alternative music.
Though he doesn't appear here, I feel as though Ishmael Butler's son, one of an endless stream of unmemorable Trap emcees, Lil Tracy, played a vital role in Shabazz Palaces' new direction towards relevancy. On Diamond Dreams, the beats move at a snail's pace, swallowed by plumes of vape smoke, as ad-libs sneak their way into bar breaths, all while Butler venerates the glorification of consumerism. Without fail, every song centers itself on two, equally-insipid topics: Braggadocios hedonism ('Fast Learner,' 'Bad Bitch Walking') and arrogant displays of wealth ('Chocolate Souffle' and 'Money Yoga'). Frankly, it's gross. Compounded even more so by the fact that Butler crossed the 50-year threshold months ago. No longer a youth preoccupied by shiny objects, a supposedly-conscious emcee should shun such inconsequential material objects, rather than treasure their ephemeral state. The only song that doesn't abide is closer 'Reg Walks By The Looking Glass,' which instead trudges through seven minutes of absolute nothingness, speaking ironically of the breaking of a mirror; likely the one Shabazz Palaces once used to inspect themselves.
There is nothing worth salvation on Diamond Dreams. It is the furthest fall one can imagine from the greatness of Black Up, one of my all-time favorite records. The lyrics are abysmal, the production lethargic, the features nearing incompetence. Purple Tape Nate makes his presence thoroughly felt on 'Fast Learner,' with a wealth of horrendous one-liners ("Hotline blinging like I’m Drake," "Big body yeah, I turned her to a gymnast / Did her so good, called me a feminist"), while Darrius does nothing more than repeat, ad nauseam, "all I think about is money" on 'Money Yoga.' Only 'Ad Ventures' and 'Wet' approach mediocrity, with the latter bearing similarity to Shabazz Palaces' team-up with clipping. on 'Aquacode Databreaks' (off The Deep), a song that's infinitely better than something that could be described as Diamond Dreams' best.
F+
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If there's one thing undeniable on SAWAYAMA, it's that Rina Sawayama not only has aspirations of stardom, but embodies the talent and aura needed for such a breakthrough to exist. Everything but 'Chosen Family' begs to be played in front of a crowd well into the thousands, with booming hooks, shredding guitar solos, and memorable codas a legion of followers would salivate to join in on. SAWAYAMA is a ridiculously fun, sometimes brain-dead (not a criticism when it comes to party anthems) Pop album containing hit after hit after hit. Inspiration is abundant though, which holds Sawayama back, at least for now, in terms of an iconic idiosyncrasy. For right now, her Asian heritage and Western crossover appeal is her calling card. That unique perspective could position her for resounding popularity, given the rise of J-Pop abroad and its slow, but assertive festering at home. But it's not something to rely on, and thankfully Sawayama doesn't make that - apart from 'Akasaka Sad' and 'Tokyo Love Hotel' - a facet of her character.
Back to her influences though, because they're ample both in terms of past artists and contemporary ones. Numerous songs, like 'Dynasty,' 'STFU!,' and 'Snakeskin,' follow the high-octane, genre-smashing of BABYMETAL (or, going further back, Evanescence), melding textbook Electropop with outrageous Nu-Metal. Like Poppy and I Disagree, the palpable energy and rush of unexpected twists and turns helps vivify Pop without relying on the progressive Bubblegum Bass angle. 'STFU!' is the best instance of this, containing some hilarious lyrics and seamless transitions. Unlike I Disagree, SAWAYAMA isn't entirely focused on this style though, as Sawayama incorporates some typical Dance-Pop pleasures akin to Lady Gaga ('XS,' 'Who's Gonna Save U Now?') and Carly Rae Jepsen ('Love Me 4 Me,' 'Tokyo Love Hotel'), allowing for accessibility to fluctuate between artistic bouts of volatility. 'Paradisin' is the consummate example of this, parading itself around a Barbie aesthetic that works wonders.
Even aspects of Lorde appear too, best seen on one of SAWAYAMA's standouts 'Bad Friend.' What this track exposes, and others maintain, is lyrical content not typically found in Pop. 'Bad Friend' is an introspective look at Sawayama's failure as a friend, while others like 'Dynasty' focus on a troubled familial upbringing that 'Snakeskin' thematically concludes by shedding her past burdens. Now, that could all be for naught with her future albums, considering debuts hold more emotional weight, but it's a pleasantry for now. By and large, that's exactly what SAWAYAMA is; a pleasant, infinitely-fun Pop album with tethered strings to the past and future. A budding star she is for sure.
B
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2020 | Ghetto House | Listen
A BOOMING, HEADACHE-INDUCING BASEMENT BASH
Well there's no denying MUTANT JOE has a curious sound. An amalgamation of Ghettotech and Hip House, the encapsulation is one that leans heavily into a nocturnal, nefarious party lifestyle, merging Rave culture with that of braggadocios Hip-Hop. Detroit Techno can also be heard, especially on tracks like 'Hokus Pokus' and 'Like A Blunt,' with their crunchy percussion and aquatic synthesizers. Despite the clear purpose of Operation Chaos I can't help but feel the contributing Rap vocals to be utterly useless, as their lyrical content is derivative of just about any cliche you'd find in the genre. It brushes on the point of parody. And given the outsider element of MUTANT JOE, I wouldn't be surprised if that were the case. It just rarely contributes much beyond some base level machismo with slight pompous intimidation tactics.
'Knick Knack,' almost unanimously, has received all the acclaim here. And while I'm inclined to agree - it is my favorite song on Operation Chaos, after all - it doesn't astound in ways you'd expect. All the praise goes to the production, which is shifty with a skittish Reggae sample, undulating synthesizer, and some hardcore Acid House drums that would be sure to draw attention if you had the windows down with your speakers blasted. But Yvncc's inclusion vocally is just remiss, with sloppy Memphis Rap verses that hardly fit the tone 'Knick Knack's' production presents. A second half switch helps the song stand out even further from its three companions, twisting an already dark premise into something truly vile. The potential was high on Operation Chaos; the dawn of a new era of House perhaps. But with cheap, cliche-ridden verses and production that owes gratitude to the 90's more than the future, MUTANT JOE's latest doesn't really make a lasting imprint.
C
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2020 | Space Age Pop | Listen
PROVIDING PIZZAZZ TO A SEASON ALREADY ADORED
Space Age Pop has always fascinated me, and its lingering relevance in the modern era (Bruno Pernadas' Those Who Throw Objects At The Crocodiles and Vanishing Twin's Age Of Immunology being two great, recent examples) shouldn't be discredited despite the genre's initial influx during the 1950's and 60's. Think of it as a typical revival, dusting off the cobwebs of something that had intrinsic musical value, in this case bountiful strings and zany synthesizers adding a warmth and gooey texture to Pop's already-carefree ways. The Orielles' Disco Volador prides itself on that ideology, going so far into excess that one might come out a dazed version of themselves. It's all sunshine and flowers, heat and the crackle of a grill. All it's missing for an ultimate summertime aesthetic is the constant buzz of cicadas. I kid.
Regrettably, Disco Volador doesn't achieve the greatness a vivacious album such as this would warrant. It's far from Pernadas' epic, which I'll recommend every chance I get. The reason is simple: Variation. It seems as though The Orielles burnt out their creativity by track one, 'Come Down On Jupiter,' with a myriad of movements, passages, and tonal shifts that allow it to succeed in the realm of Dream Pop, Jangle Pop, or straight-up Disco. What's most striking is the seamless balance struck between these Pop-flavored genres, as even Esme finds her puissance change based on the backing tempo introduced. From then on, with a slight uptick on 'Bobbi's Second World' thanks to some stylish background vocals, Disco Volador reduces itself to a hysteria of similarly-composed ideas, sounds, and combinations. It's an orgasm of color, vomited into an insoluble mixture. Highs are only reached in glorious splendor on reaching hooks like 'Rapid I' and 'Whilst The Flowers Look,' while the majority of the LP prances around safe confines as Esme finds her Dream Pop comfort zone with picturesque, but unchangeable vocals as seen on 'Memoirs Of Miso,' 'The Square Eyed Pack, and the like.
In spite of some valid criticism, Disco Volador is, by its very nature, a fun-filled album that would enliven a backyard barbecue, a trip down the pier, a picnic in the meadows, you name it. If it happens solely due to the warmth of summer, The Orielles are content providing background fodder that, while textured enough for introspection, doesn't necessarily warrant your devout attention.
C+
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