Perfume Genius provides a Ugly Season (Album Review)


There’s something about Ugly Season’s cover art that makes it more than just a nice picture. Mark Hadreas ‘song is focused inside his body- its 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 Shapes album, , holding him back 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 embracing the joys and frustrates of the human and producing an album that took them all into consideration to create his greatest comfortable and grand album to this point. Today I’ve Got to Be Enough!, 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 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 rising song is nothing short of deep.

With just a bunch of all other bassists assisting Hadreas offer such music – Alan Wyffels donated peripherals, mellophone, bells and tone; Rob Moose composing string arrangements; and 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 Haderas ‘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 dark so far indescribably wonderful and full of superb information around every twist. Lineup Just a Room gives you strong lines, eerie robots that pillow their tone in skin-tearing ambient sounds, Hadreas’ smooth and soft chanting like the last speech of someone being sucked by the mouth of a seagull. Once he reaches the bottom, it seems like something is potential: Pop Song’s sparkle synthesizers tremble for luminous bugs as Hadreas’ crystal mellifluous verse turns, and it chants about gender and gay relationships in distorted forms, I love the words “Harvest the pit” “Sharpen the pulley” – and the previous Teeth’s recurring hammer rhythmic folds a smooth online inside his simple lyricism, offering all the areas to focus on his speech before showing how handful he likes to straighten you up. Often, he completely ignores lyricism, Like the belly weirdo Scherzo it differs from the album’s multiple halves 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’ smooth, delicate musicianship, and it makes a peaceful, Almost a surreal nook where the disappointment he performs throughout the album’s 10 songs seems to dissipate, at least for a present. Hadreas’ job when he started in his late twenties always has focused on pop, and yet as he began experimenting with more of skin and atmospherics in the late mid-2010s, but with Ugly Season he has to let go of it and it protection, his song is playing 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 amount of depth and boatloads of affection that has pumped into any of Hadreas’s past songs. Tho it’s lower enclosed than before, there’s no one denying how thrilling 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. It’s and it modifiability in part and it Hadreas uses to his edge throughout, Where the hot team elegance of Eye in the Wall, with its rolling homes, four-on-the-floor and groovy synthesizers and it conveys 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, in that location. Although he prefers the more innovative side of his job, Ugly Season hasn’t been released yet, his eye for detail and skill for special music composers have never been forgotten in 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, sex-positive and creative recitals, this is the kind of confusion and formlessness that makes the music making 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 in a manner few more songs are, not always creating an unique global for the song to present in, but giving you the chance to know its workings and distortions, unmoored reasoning.

Now in the second half of his creative journey, Mike Hadreas hasn’t forgotten any of these bright and bright glows, eleven beautiful songs creating a fantastic and completely new commentary with the now 40-year vintage songwriter. Mike Hadreas’ jobs 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 magicians, showcasing everything that’s remained hidden from the edges of his blur 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 life songs sure captivating, but has the song say narrative instead of his tone, rejecting his standard, clear songwriting for angle and creative narration and it gets you involved without telling you absolutely. Ugly Season leaves you more within wonder with Hadreas arts than ever, the once in a wave skill 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, hazy, and pressing “S”, Ugly Season demonstrates he can present on the upside of that much,).