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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Panchiko's story has been discussed by music eccentrics ever since their discovery in 2016, so I won't repeat it here. It's becoming the stuff of legends, from the sound to the bedroom aesthetic to the imagery, as one can see and hear on D>E>A>T>H>M>E>T>A>L and Kicking Cars. After suddenly achieving this cult following, the long-defunct band has decided to scrounge up their unreleased material for diehard fans. That comes in the form of Ferric Oxide, which provides insight into Panchiko's vast array of influences, though questions of necessity inevitably arise.
Ferric Oxide is systematically split into three sections. The first four songs are the only fully-composed works, acting as an EP successor to their two aforementioned releases. Though the quality is passable, there's no surprises here. Radiohead influence meddles tracks like 'All They Wanted' and 'No. 8,' while the one optimistic track, 'Stuck,' sees comparisons to The Clientele's upstart brand of urban Dream Pop. It's undoubtedly the best Rock track here, with loving vocals, endearing adolescent lyrics, and knotty psychedelics. Then comes Ferric Oxide's worst run, solely due to its unfinished nature. They're clearly demos, so criticism can't be callous, but the stripped back, acoustic-driven placeholders really didn't need to see the light of day. Again, material only for enthusiasts.
Come Ferric Oxide's second half though, an interesting diversion into fiddling Electronic occurs. It begins with the adorable loop set of 'That One Time A Girl Sang & Saved The Galaxy,' with its anime sampling and early Four Tet placidity. 'Cricket Club' goes off the wall with frenzied Indietronica, akin to early Go! Team (which Panchiko predate), while 'Beat One' forces a complete 180 into tuneless Industrial. The latter, an inaccessible dirge, honestly reminds me of the bizarre 1981 Vanity Records compilation Music, for those that know that record. Perhaps as a treat to enduring fans, Ferric Oxide's shining edifice can be found at the end in the form of 'Rocking With Keith.' At six minutes, Panchiko's heart for exploration and unspooling emotion can be found in this instrumental piece. The weeping piano loop, chaotic drums, and assortment of disassembling instruments make for a sentimental masterpiece. It's the sound of a legion of unheard musicians, crying out for their talents to be heard. It sits right alongside 'D>E>A>T>H>M>E>T>A>L' and 'Sodium Chloride' as my favorite Panchiko song.
C-
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2020 | Tech House | Listen
TUCKING IN AN EXHAUSTED RAVER BY A NIGHTLIGHT
It only took a single debut for Kelly Lee Owens to implant herself in the consciousness of all Electronic connoisseurs. Why? It's unfortunate to admit, but she's female. And in a male-dominated genre, any new perspective is welcomed. Kelly Lee Owens had a gentle touch to its Tech House, a tender embrace of cool atmospherics and hypnotic rhythms. Though her voice did emerge at times, it played no role greater than that of instrument, laying all the femininity bare in the production. Inner Song does much of the same, though a handful of songs drag it down tremendously. Decidedly inconsistent, standing in stark contrast of Kelly Lee Owens' unmitigated streak, Inner Song struggles to maintain momentum at a moment when, like the trance vibes she nourishes, staunch propulsion is needed.
Out of the ten songs on Inner Song, three are excellent. With its multi-dimensional structuring, 'On' presents every facet of Owens' idiosyncrasy, shifting seamlessly between dreamy, angel tones and nose to the grindstone Tech House. It's her transitory song, capable of satisfying past fans while using accessible vocals and tickling synthesizers to draw in new ones. The elongated outro is a treat, paced brilliantly and patient in its ability to express itself. A gap occurs before we see Inner Song's next best, and that arises in the form of a seven-minute Spoken Word art house exhibit turned natural liturgy 'Corner Of My Sky.' Featuring John Cale, Inner Song's distinct outlier balances intrigue with indulgence, like a scale bobbing around its center with two inverse items. It's not for everyone, but definitely for me. The narcotic groove is too irresistible to contend with. Lastly, there's 'Night,' which feels most similar to Kelly Lee Owens and its intoxicating sublimity. Precise nuance and a crunchy pay-off (right out of the Jon Hopkins playbook) define 'Night's' style, while Owens' vocal build-up defines the phrase "so simple it's genius."
However, by and large, the praise stops there. Sure, 'Melt!' is decent, 'Wake-Up' is too. But the pure instrumentals of 'Jeanette' and 'Flow' are thwarted by unnecessary elongation with minimal variation to warrant it. Sonically, the quality is there, but the artistic susceptibility isn't, causing each to falter due to lack of interest. Then there's Inner Song's real succubi, which draw concern about Owens' future prospects: 'Re-Wild' and 'L.I.N.E..' The overt presence of sensual energy on 'Re-Wild,' bolstered primarily by Owens' languorous singing, are ripped straight from your prototypical Alternative R&B cut, while 'L.I.N.E.' follows a more traditional Ambient Pop route, but is reduced to nothingness via some prosaic lyrics. It doesn't suit her well. The production is linear and not freeform, and 'Re-Wild's' hook is lazy, irritating, and drawn-out to ludicrous ends. These tracks prevent Inner Song from reaching the heights of her debut, though the presence of 'On,' 'Corner Of My Sky,' and 'Night' proclaim that Owens still has the knack for greatness.
C+
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