There’s something about Ugly Season’s cover art that makes it more than just a nice picture. Mark Hadreas ‘song has focused inside his body- its emotion and its physical movements, his war with Crohn’s illness and the wonderful fantasies of residing as a L-shaped guy – and after his exit from fleshy desires and sadness on 2017’s “No Shape”, noticing him holding 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 frustrations of the human and producing an album that took them all into consideration to create his greatest comfortable and grand album to date. Sure today, 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 kind 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 helping Hadreas offer such music to the living — Alan Wyffels donating peripherals, mellophone, bells and tone; Rob Moose composing string arrangements; quirky jamming of quirky Sam Gendel; Matt Chamberlain whistling; Blake Mills playing almost any tool under the heat – the close composers of The Ugly Season are amplified just by how tightly coiled and eerie they experience. Protect two Haderas ‘2019 tracks, Pop Song and Eyes in the Wall, finding their way onto the album, the entirety of Ugly Season has been constituted of black, dark Western genre and room items shoved through a 6×10 inch cave entrance, black and dour so far indescribably wonderful and full of superb information around every twist and turn. Line-up Just a Room gets you in with a strong crowd, eerie robots that pillow their tone in skin-tearing ambient sounds, Hadreas’ dearly and softly 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 shimmering synthesizers tremble for luminous bugs as Hadreas’ crystal mellifluous verse and its chant of gender and gay relationships in distorted slant, I love the words! “Harvest the pit” “Sharpen the pulley” 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 how handful he likes to straighten you in. Often, he completely ignores lyricism, like on the belly weirdo Scherzo. And 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 layering inside Hadreas’ smooth, delicate musicianship and it makes a peaceful tune, nearly surreal nook where the disappointment he performs through the album’s 10 songs seems to dissipate, at least for a present. Hadreas’ work when he started in his late twenties always focused around pop, and yet as he began experimenting with more skin and atmospherics in the late 2010s, but with Ugly Season he has to let go for and it’s protection, his song talking 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 helpful depth and boatloads of affection pumping into all that Hadreas’s past songs have. Tho it’s lower enclosed than before, Here’s to both relish and tonally brillant the seven-minute Herem, 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 mobility in part, it Hadreas uses to his edge throughout, the hot team elegance of Eye in the Wall, with its 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 parts of his jobs in “Ugly Season”, His eye for detail and skill for special music composers has 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 as to attain Kate Wallich’s “The Sun Still Burns Here”, a mesmerizing sound, sex positive and creative recital, this is the kind of confusion and formlessness that makes the music make sense. This was 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 travels, Mike Hadreas ‘job hasn’t forgotten any of these bright and glowing moments, such eleven beautiful songs creating a fantastic and completely new journey with the now 40-year vintage songwriter. Mike Hadreas’s job 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 remains in the edges of his silence in fullscreen, offering a micrographs look at all the little information and it offered his previous work the kind of hero and appearance. He gives out the same kindness and sentimental frequency and it creates his iconic songs sure captivating, but has the song say and it narrative rather than his tone, rejecting his standard clear songwriting for angle and creative narration and it gets you involved without saying absolute opposite. Ugly Season leaf you closer to Wonderland than ever, the once in a sudden skill examines himself and the global inside him with 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 “F”, Ugly Season demonstrates he can present on the upside of that much, very, very, very very, very, very very.