Perfume Genius creates Ugly Season (Album Review)


There’s something about Ugly Seasons cover art that makes it more than just a nice picture. Mark Hadreas’s song was focused inside his body, focusing on emotion and physical movements, his war with Crohn’s illness and the wonderful fantasies of residing as a LGBtQ guy — and after his exit from fleshly fleshly desires and sadness on 2017’s No Shaped Dream, noticing him holding on solo, staring at the screen on his magnificent 2020 epic “Set My Heart on Fire immediately”, it felt like a moment of a turning point, Hadreas embraced the joys and frustrations of the human and produced an album that took them all into consideration to create his greatest comfortable and grand album to date. Sure today, as Ugly Season swipes a photo of him into a churning drawing of colors, pastels and chocolate, his sight nonetheless penetrating through it all, it seems something else suggests what he’s doing here, an album lower attached to the material universe or more to the kinds of infinite, soul holy composers of history lgbtq pioneers for Julius Eastman and Arthur Russell. The resulting song is nothing short of deep.

With just a bunch of other bassists assisting Hadreas to offer such music to the living – Alan Wyffels donating peripherals, mellophone, bells and tone; Rob Moose composing string arrangements; ‘the musical quirky Sam Gendel; Matt Chamberlain whistling; Blake Mills playing almost any tool under the heat – the close composers of Ugly Season are amplified just by how tightly coiled and eerie they experience. Protect two of Hadreas’ 2019 tracks, Pop Song and Eye on the Wall, finding their way onto the album, the entirety of Ugly Season has been constituted of black, dark Western genre and room items pushed through a 6×10 inch cave entrance, Black and Dour so far indescribably wonderful and full of superb information around every twist and turn. Lineup Just a Room gives you strong lines, eerie robots that pillows his tone in skin-tearing ambient sounds, Hadreas sounded smooth and softly like the last speech of someone being sucked by the mouth of a seagull. Once he achieves the bottom, it seems like and everything is potential: Pop Song’s sparkle synthesizers tremble to luminous bugs as Hadreas’ crystal mellifluous verse turns verse distorted and enacts a distorted tone about gender and gay relationships, I love the words! “Harvest the pit” “Sharpen the pulleys” and the previous Teeth’s recurring hammer rhythmic folds a smooth online inside his simple lyricism, offering all of the area to focus on his speech before showing you how handful he likes to straighten you in. Often you feel like a little lost, he completely ignores lyricism, like on the belly weirdo Scherzo, it is a nervous piano piece and it helps set the tone for Ugly Season’s extra extreme second side, or on the rachis concluding Cenote in which acoustic layerings inside Hadreas ‘smoothed, delicate musicianship and it makes a peaceful melody, nearly surreal nook where the disappointment he performs through the album’s 10 songs seems to dissipate, at least for a present. Hadreas ‘jobs when he started in his late twenties always focused itself around pop, and yet, as he began experimenting with more skin and atmospherics in the long mid-2010s, but with Ugly Season he has to let go of that protection, the song talks completely for itself as he refuses to give you anything except his briefest feelings.

Despite the impenetrableness of the song and its definition could indicate, Ugly Season has the same level of depth and boatloads of affection pumped into all that Hadreas’s past songs have. Tho it is lower than before, here’s to reject the thrill and tonally brilliant the seven-minute Herem is, clipped chord robots clashing with Hadreas ‘glistening lyrics and Wyffels’ soft horn and synth attempting to play, Only the second song on Ugly Season one of its greatest and deepest. Its the Modifiability in part and it Hadreas uses to his edge throughout, where the hot team elegance of Eye in the Wall, with its rolling houses four-on-the-floor and groovy synthesizers and it convey the night hours of a club found at the bottom of a bay, could fit perfectly there between the dub-infused title track and production room music fantasy. Photograph and feel great subdirectories okay. Okay. In that location. Although he prefers the more innovative part of his jobs in Ugly Season, His eye for detail and skill for special music composers has remained intact through the combination, Hellbent’s spine-chilling synthesizers and influenced guitarists seem to be eerily similar to the noise of his 2020 Nothing At All with its uproarious production, and now bent and bowed into an entirely new form. Nothing is always strong here, and contemplating so Here he authored such music to attain Kate Wallich’s “The Sun Still Burns Here”, a mesmerizing display, sex-positive and creative recital, this is the kind of confusion and formlessness in which the music makes sense. This is a song and it asks you to describe its most important parts, what sticks out to you and what things are highlighted at any given moment. It’s amazingly absorbing, and few more songs are more than good, not always creating an unique global for the song to present in, but giving you the chance to see it working and distorted, unmoored reasoning.

Now in the second half of his creative travels, Mike Hadreas hasn’t forgotten any of these bright and glowing spots, such eleven beautiful music creating a fantastic and completely new dialogue with the now 40-year vintage songwriter. Mike Hadreas’s work has always been on the fringes of music, but he eliminates himself completely after that space with “Ugly Season”, I’m going to turn from a gothic music storyteller into a nervous one, nervous magician, showcasing everything that was lurking behind the edges of his noise in fullscreen, offering a micrographs look at all the little information and it offered his previous work that kind of hero and appearance. He gives out the same kindness and sentimental frequency and it creates his music sure captivating, but had the song say narrative instead of his tone, rejects his standard clear songwriting for angle and creative narration and it gets you involved without telling you that you all absolute absolute. Ugly Season leaf you more within wonder with this art than ever, the once in a lifetime skill who examines himself and the global inside him with a meticulous focus and it doesn’t miss a single information, music as his plan and feelings as his lead. Now, he makes a noise that would be soothing, Hickory, and pressing the button , Ugly Season demonstrates he can present on the upside that much more, Very very nice kitty.