There’s something about Ugly Season’s cover art that makes it more than just a nice picture. Mark Hadreas’s songs are 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 desires and sadness on 2017’s “No Shape”, noticing him hold 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 frustrates of the human, and produced an music that took them all into consideration to create the greatest comfortable and grand music to this point. Sure, as Ugly Season swipes a photo of him into a churning drawing of colors, pastels and chocolate, his sight nevertheless penetrating through it all, it seems something else suggests what he’s doing here, a music lower attached to the physical world or more to the kind of infinite, soul holy composers of history lgbtq pioneers for Julius Eastman and Arthur Russell. The coming song is nothing short of deep.
With just a bunch of other bassists assisting Hadreas offer such music, Alan Wyffels donated peripherals, mellophone, bell and tone; Rob Moose composing string arrangements; 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 Eyes 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 dour so far indescribably wonderful and full of superb information around every twist and turn. Lineup Just a Room gives you a strong sense of security, eerie robots that pillow his tone in skin-tearing ambient sounds, Hadreas was smooth and soft chanting like the last speech of someone being sucked by the mouth of a seagull. Once he achieves the bottom, it seems like and anything is potential: Pop Song’s sparkle synthesizers tremble for luminous bugs as Hadreas ‘crystal mellifluous verse and distorted lyrics chant gender and gay relationships, I love the words!! “Harvest from the pit” “Sharpen the puller” and the previous Teeth’s recurring hammer rhythmic folds smooth online inside his simple lyricism, offering 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. It sets the mood for the album’s multiple halves and 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, nearly surreal nook where the disappointment he performs across the album’s 10 songs seems to dissipate, at least for a present. Hadreas ‘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 long mid-2010s, but with Ugly Season he has to let go of protection, his song talking entirely for itself, as he refuses to give you anything except his briefest feelings.
Despite the impenetrableness of the song, its definition might indicate, Ugly Season has the same amount of helpful depth and boatloads of affection pumped into it as any of Hadreas’s past songs have. Tho it’s lower enclosed than before, Here’s neither rejecting nor rejecting that the seven-minute Herem is thrilling and tonally brilliant, clipped chord robots clash 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. This modifiability in part makes Hadreas use It’s edge throughout, where the hot team elegance of Eye in the Wall, with its rolling homes, four-on-the-floor and groovy synthesizers and its conveying 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. Feels great subdirectories okay there. Although he prefers the more innovative aspects of his job in Ugly Season, his eye for detail and skill for special music composers has not remained forgotten in the combination, Hellbent’s spine-chilling synthesizers and influence guitarists seem to be eerily similar to the noise of his 2020 Nothing At All album with its uproarious production, and now bent and bowed into an entirely new form. Nothing is ever strong here, and contemplating so Here he authored such music to attain Kate Wallich’s The Sun Still Burns Here, mesmerizing, sex-positive and creative recitals, this is the kind of confusion and formlessness that makes the music make 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 creating an unique global for the song to present in, but giving you the chance to know its workings, unmoored reasoning.
Now in the second half of his creative journey, Mike Hadreas hasn’t forgotten any of these bright and glowing pieces, eleven beautiful songs creating a fantastic and completely new commentary on the now 40-year vintage songwriter. Mike Hadreas’s ‘jobs’ have 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 remained waiting in the edges of his noise in fullscreen, offering a micrograph look at all the little information, he offered his previous work that kind of hero and appearance. He gives out the same kindness and sentimental frequency, and it creates his memorable songs sure captivating, but has the song say and it narrative instead of his tone, rejecting his standard clear songwriting for angle and creative narration and it gets you involved without saying an absolute absolute. Ugly Season leaves you more inspired by Hadreas art than ever, the once in a wave skilfully 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 , Ugly Season demonstrates he can present on the upside of that much, very “.
