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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Coconut | Indie Rock | 2010
Filled with fuzz, yet somehow not entirely focused on the psychedelic aspects naturally fitted to such a style. Like Unknown Mortal Orchestra but for Indie Rock. In fact, the structuring of Archie Bronson Outfit's 'Shark Tooth' - without the Lo-Fi aesthetic and grimy, garage affair - is rather run-of-the-mill, masqueraded by overdone eccentricities. The galloping rhythm is a little off-kilter, as is the wiry guitar discombobulation in the hook, but it still feels a little forced. Decent Lo-Fi Indie, but nothing special.
6 / 10
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Les Tueurs De La Lune De Miel | New Wave | 1982
It doesn't get much more hip than Belgian Zolo, now does it? What a bizarre future where I, a screen-addicted American, can stumble upon something made in a garage, halfway across the world, four decades ago. And with 'Histoire À Suivre' comes not just a language barrier, but a cultural one too. Honeymoon Killers' production is cheaper, more dingy and raw. Véronique Vincent's vocals, wispy with a cool chill, ironically feel the most comforting. It's a decent, albeit uneventful song with a melody easy enough to hum. I could do without the quirky Zolo gurgling in the background though.
4.5 / 10
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Single | Electro House | 2017
I'm not sure what kinky, curious fandom Hyper Potions belongs to, but it seems to center around classic 8-bit video games like Mario and Sonic. 'Friends' reflects that, namely the latter, with high-tempo speed, a chipper, carefree attitude, and saturation out the wazoo. It's hard to hate music like this, and why would you want to? 'Friends' is harmless, Future Bass fun. Punchy and deterministic, with layered melodies siphoned through spiky, laser synthesizers. It ticks all the boxes, though I'm sure an indulgence of Hyper Potions' niche aesthetic would get tiresome quickly.
7.5 / 10
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Lights From Paradise | Stoner Rock | 2010
There's appeal for this, I'm sure. Stoner Rock with a foot in modern, psychedelic Indie. I'm thinking bands like Tropical Fuck Storm, Thee Oh Sees, or King Gizzard. Especially when all three go agro. Which, just so happens to be my least favorite avenues for each of them. Not because they don't do it right, but because I rarely enjoy my music heavy. And Quest For Fire's 'In The Place Of A Storm' is heavy. In your face, militaristic, and weighty. Like an asteroid tearing up the atmosphere above, seconds before crashing into Earth, spelling doom for us all. It's got that Australian outback tinge, despite the band hailing from Toronto. Great cover though.
3.5 / 10
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The Midnight Organ Fight | Indie Rock | 2008
I was excited for this one, having heard of Frightened Rabbit and their affiliation with many contemporary Indie Rock bands of the 2000's. You can hear The National, Twilight Sad, Wolf Parade, Clap Your Hands Say Yeah in 'Heads Roll Off,' with Scott Hutchison's rickety paranoia and the band's churning insistence. The latter's correlates with antsy, anthemic Folk Pop that would soon emerge. On one end, Fleet Foxes. The other, Mumford & Sons. Frightened Rabbit are seemingly situated between all these moving parts, making 'Heads Roll Off' paltry in the identity department. However, its composition, especially in the climax, is excellent. I see promise here.
7 / 10
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Power In The Darkness | Pub Rock | 1978
Pub Rock gets a bad wrap, mainly due to its unavoidable gimmick. It's like Teen Pop, designed for teenyboppers at a sleepover. Except it's for rowdy drunks following the local sporting match. Both annoying groups, both just having fun. And for the latter, that's reflected quite well on 'Up Against The Wall.' It doesn't have legs, failing to warrant its already-modest length, but the brutish, crash energy instigated right off the bat leaves an infectious trail in its wake. Sure, it's a little on the nose, playing up drunken machoism, but there's still substance in Tom Robinson's lyrics, and that's good enough for me.
6 / 10
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Love Letters | Vocal Jazz | 1962
Can't go wrong here. Simpler times calls for simple love songs. Ones that are direct, uncomplicated, and seemingly predestined. Though we know, life couldn't have been great for Ketty Lester - a black woman - in 1950's Arkansas. That fact always bites away at lovely Vocal Jazz standards from this era, brought to light by the exceptional Nina Simone. There's an undercut of coercion, or of hope, in spite of some dire surroundings. Much like how 1920's Big Band has taken on a creepy, haunted aura despite never having that intention. On its own, 'Love Letters' is a pleasant standard with a tantalizing piano performance and some solid, albeit quite boilerplate, vocals.
5.5 / 10
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Slower Structures | Modern Classical | 2016
Meh. There's nothing particularly exciting about 'Raining This Morning.' Is there supposed to be? It's Modern Classical after all. Refined piano pieces, meant to replicate a genre eons passed, primitive in advancement yet rich in skill. In the modern era however, this doesn't excite me. Not when trained pianists are a dime a dozen. It's beautiful, don't get me wrong, but nothing separates Tamás Kátai's 'Raining This Morning' from a plethora of well-crafted compositions passed down through the decades. It has its purpose. Gaining tentative audiences isn't it.
3 / 10
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Emergence | Ambient Techno | 2016
Let's get the obvious out of the way: This is insanely well produced. Top notch Techno, with a cascading insulation of layers building independently of one another, intwined only through the friction of their microscopic shivers. The dual builds, separated by a startling, unexpected, audacious drop adds yet another fascinating aspect to Max Cooper's 'Order From Chaos.' Despite all this, including the maximalist take on ant-like compounds, working diligently in the millions, an enunciated climax is never reached. Something that's necessary when we're discussing Techno that builds. A point of ecstasy needs to be reached, and on 'Order From Chaos,' that moment of awe-inspiring confluence never arrives. Alas, Cooper's work here deserves acclamation.
7.5 / 10
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