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 Shape.”, noticing him hold alone, staring at the screen in his magnificent 2020 epic Set My Heart on Fire, it felt like a moment of a turning point, Hadreas embracing the joys and frustrates of the human and producing a music that took them all into consideration to create his greatest comfortable and grand music of all time. 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 instrument lower attached to the physical world or more to the kinds of infinite, soul holy composers of history lgbtq pioneers for Julius Eastman and Arthur Russell. The arising song is nothing short of deep.
With just a bunch of other bassists assisting Hadreas offer such music for living – Alan Wyffels donating peripherals, mellophone, bells and tone; Rob Moose composing string arrangements; a quirky Sam Gendel; Matt Chamberlain whistling; Blake Mills playing almost any instrument under the heat – the close composers of Ugly Season are amplified just by how tightly coiled and eerie they experience. Protect two of Haderas ‘2019 tracks, Pop songs and Eye in the Wall, finding their way onto the music, 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 on every twist. Line Up Just a Room gives you the options with strong, eerie robots that pillow his tone in skin-tearing ambient sounds, Hadreas chanting 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 anything is potential: Pop Song sparkles, synthesizers tremble for the light bugs as Hadreas’ crystal mellifluous verse turns its on and off, the chanting about gender and gay relationships in distorted parts, 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, offer all the areas to focus on his speech before showing how handful he likes to straighten you in. Often, He completely ignores lyricism, like on the belly weirdo Scherzo. And it differs in the album’s multiple halves from a nervous piano piece, and helps set the voice 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 creates a peaceful sound, nearly surreal nook where the disappointment he performs through the album’s 10 songs seems to dissipate, at least for a present time. Hadreas’s job, when he started in his late twenties, always focused on pop, and yet as he began experimenting with more of skin and atmospherics in the mid-2010s, but with Ugly Season he has to let go and seek protection, his song speaks for itself as he refuses to give you anything except his briefest feelings.
Although the impenetrableness of the song its definition could indicate, Ugly Season has the same depth and boatloads of affection pumped into all that any of Hadreas’s past songs have. Tho, it’s lower enclosed than before, here’s neither condemning nor rejecting what 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 has Hadreas used this edge throughout, where the hot team elegance of Eye in the Wall, with rolling homes four-on-the-floor and groovy synthesizers and 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 part of his jobs in “Ugly Season”, His eye for detail and skill for special music composers has never remained 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 he authored such music to attain Kate Wallich’s The Sun Still Burns Here, a mesmerizing, sex-positive and creative recital, this is the kind of confusion and formlessness to 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 a few more songs are more, not always creating an unique global for the song to present in, but giving you the chance to know its workings and distortion, unmoored reasoning.
Now in the second half of his creative journey, Mike Hadreas hasn’t forgotten any of these bright and glowing colors, such eleven beautiful songs creating a fantastic and completely new experience with the now 40-year vintage songwriter. Mike Hadreas’s career 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’s left sitting by 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 give out the same kindness and sentimental frequency and it creates his history songs sure captivating, but has the song say narrative instead of his tone, rejecting his standard clear songwriting and creative narration and it engages you without saying “you are absolute absolute”. The Ugly Season leaves you more in wonder with the Hadreas ‘art 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 planning and feelings as his lead. Now, he makes a noise that would be soothing, hazy, and press (press), Ugly Season demonstrates he can present on the upside of that much, very.
