After a lengthy hiatus, Grab Bag returns to Dozens Of Donuts. Here, we'll find and react to completely random songs from the depths of music's annals. There's no prerequisites, no regulations self-imposed. Anything can make this list if the site I'm using to discover these songs, RateYourMusic's random release generator, spits them out. This is a great way to discover new music with no attachment to something in your catalogue. Or, a dark reminder that truly horrid music exists in droves.
The positioning is based on the order in which I discovered them. The rating system similar to what DoD already enforces, in that 5 / 10 is average, not bad.
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Do Not Tailgate | Post-Hardcore | 1995
Bleh. Generic as it comes. And are those vocals supposed to be mixed like that? If so, why? Kristofer Åström's vocals are completely drowned out in the mix, so much so that he comes off as frail and anemic, despite his desperate attempts to override the aggressive Post-Hardcore production. Speaking of which, I'll give Fireside some props for predating the early 2000's Emo renaissance, of which 'Interlace' feels more apt at being apart of. Even the futile lyrics help paint that picture ("I'd like to know you better, so I could give you more of me"). Still, totally unremarkable.
2.5 / 10
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Jazz | Jazz Fusion | 1976
Hungarian Jazz, because why not? Though the 13 minutes of 'Motetták' weren't entirely pleasant - what with its unusual silent interruptions and tendency to resort to flaky, prosaic Jazz Fusion - moments uplifted Bergendy's excursion into moderate relevance. Namely, the stopgap midway through where everything but two parlaying horns - one rhythmic, one unruly - compete for attention. And the final shift into Tribal Ambient come track's end, though to be fair this might be entirely due to how absurd and unpredictable its entrance was. Interestingly enough, direct comparisons can be felt here to Geinoh Yamashirogumi, creators of the Akira soundtrack and influences in Ambient in their own right. Only difference? 'Motetták' came out over a decade prior. Respect for that.
6 / 10
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Before The War | Psychedelic Pop | 1968
Um, it's fine if not utterly unremarkable. After hearing 'Sparrow Tune,' it's no surprise why Bo Grumpus didn't ferment into a popular Psychedelic Pop band. Captured right at the apex of the hippie moment, Bo Grumpus' style reflects such lackadaisical fanfare, with rolling hill percussion, harmonized vocals, and kooky wind flutes. Even the lyrical content, commenting on the passing birds as one thinks of a lost love, is entirely derivative and cliche. Which, in turn, can be said about all of 'Sparrow Tune.'
3 / 10
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Good Morning Spider | Indie Rock | 1998
Given Sparklehorse's notoriety amongst 90's Indie Rock, I had high hopes going into 'Sick Of Goodbyes.' And while I'm not won over, the possibility is there for me to be. There's Wayne Coyne-like vocals and Spiritualized-esque grace within the Wall of Sound. Can't go wrong there. Where 'Sick Of Goodbyes' falters is in the lack of lyrical development, and the lyrics in general. A bit on the nose, no? This is Indie Rock with Pop Rock musings. And though those genres sound close, merging the two has a tendency to sour each half.
6.5 / 10
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Last Of The Runaways | AOR | 1989
It wouldn't be a Grab Bag if not for a mediocre AOR song. Seriously, the genre really must've been rampant in the 80's given how often I come across these leather-clad romantics. Needless to say, they all sound the same. How's one supposed to even pick these bands out of a police line-up? Just another sect of artists who conflate identity with commercialism. But I digress, only because 'I'll See You In My Dreams' barely warrants discussion. Shredding guitars, anthemic vocals, sappy lyrics, a Queen-inspired hook with all the creativity sapped. Nothing here for me.
1.5 / 10
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Vanguard | Math Rock | 2008
Damnit, this had me for about fifteen seconds. That is, until the vocals came in. Really, better suited nowhere, but at least in the cheesy, watered down Industrial Rock found in throwaway video game soundtracks. There's such a demanding presence of them here as well, with the Math Rock contorting to the lead vocalist's whim. A shame, considering how wild and intense the Math Rock actually is. Especially towards the end, before and after the false finish. It nears early Daughters or even - and this is just because I just listened to it - some of the craziest moments off Cavalcade (black midi's sophomore record). The production alone bumps 'Unidentified Flying Subjects' up a handful of grades.
5 / 10
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Ringo | Pop Rock | 1973
Undoubtedly the most popular artist this month. I mean, it's Ringo! And though 'Yellow Submarine' and 'With A Little Help From My Friends' have been mocked by Beatles fanatics and haters alike, I adore the simple, chanting songs led by him. He even stars in 'Good Night,' which, if not for 'Tomorrow Never Knows,' would easily be my favorite Beatles song. There's a joyous innocent there, an understated charm that occurs when situated against great singers and songwriters. And on 'Photograph,' he carries that elegance with the grace of upbeat 80's Pop Rock. You can't go wrong with a sing-a-long chorus and backing vocals, roused by some pre-Sophisti Pop saxophone work (hi Destroyer). Someone I doubt I could've picked a better song to introduce me to Ringo Starr's solo work. What a jaunt.
8.5 / 10
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Ritmo Dell'industria n°2 | Library Music | 1969
This is majestic! 1969?! With piano progression like that? Purposely restricting vocals, resorting to quaint chipmunk chirps, embellishing a tropical aura throughout, Alessandro Alessandroni hits his Library Music out of the park. This borders on Space Age Pop. Just listen to Bruno Pernadas' 'Step Out Of The Light' and tell me how clairvoyant Alessandroni's tropicalia was. It's simple, yet detailed and rich in texture. Jovial as a trip to the beach. A library? Yeah right. 'Dialogando' was as unpredictable as they come. Or maybe I should be listening to more Library Music.
7.5 / 10
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Litany | Death Metal | 2000
Let's be honest, there was zero chance I'd like this. Zero. So much so that a tiny truth needs to be revealed. In regards to my Grab Bag series, I've stumbled upon Death Metal plenty of times, silently skipping it on each and every occasion. Why? Because apart from modern Country, nothing conflicts with my tastes more. Especially when you see Vader's pseudo tough guy appearance, which all you can do is laugh at in response. It's so forced. As for the music itself, while 'Xeper' doesn't align with anything I enjoy (Post-Hardcore is the closest, but even that I rarely enjoy), the technical aspects and structural decomposition are certainly impressive. The movement falls into Speed Metal territory, of which it's hard not to tap your foot along to. As for the vocals, I'm never a fan of the gravely "demonic possession" sound, mainly because it's fictionalized and not rooted in tactile emotions (the difference between a Horror movie and experiencing something terrifying in real life), but I will concede that Piotr Wiwczarek's versatility keeps 'Xeper' from losing steam. You can even catch him rapping under a verse at one point. Pretty interesting.
4 / 10
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