There’s something about Ugly Season’s cover art that makes it more than just a nice picture. Mark Hadreas ‘song has been 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, he feels his need to work, relax and be obedient, noticing him hold so, 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 album that took them all into consideration to create for his greatest comfortable and grand album to date. Yes, 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 arising song is nothing short of deep.
With just a bunch of all other bassists assisting Hadreas offer such music for living – Alan Wyffels donates peripherals, mellophone, bells 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 Seasons are amplified just by how tightly coiled and eerie they experience. Protect two Hadreas ‘2019 tracks, Pop Song and Eye in the Wall, finding their way onto the album, the entirety of Ugly Season has been constituted of blacks, dark Western genre and room items shoved through a 6×10 inch cave entrance, black and white so far indescribably wonderful and full of superb information around every twist. Lineup Just A Room gives you in with a strong one, eerie robots that pillow their tone with skin-tearing ambient sounds, Hadreas’ smooth and soft chanting like the last speech of someone being sucked by the mouth of a sea. Once he achieves the bottom, it seems like and anything is possible: Pop Song’s sparkle synthesizers tremble like glowing bugs as Hadreas’ crystal mellifluous verse turns verse into a chant about gender and homosexual relationships in distortion, I love the words “Harvest from the pit!” “Sharpen the pulley” and the previous Teeth’s recurring hammer rhythmic folds a smooth online inside his simple lyricism, enabling all the audience to focus on his speech before showing how he likes to straighten you in. Often, he completely ignores lyricism, like on the belly weirdo Scherzo and it differs 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 mood, nearly surreal nook where the disappointment he performs through 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 he began experimenting with more of skin and atmospherics in the mid-2010s, but with Ugly Season he has to let go of all the 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 it definition could indicate, Ugly Season has the same level of helpful depth and boatloads of affection pumped into any of the Hadreas ‘past songs. Tho it’s lower enclosed than before, Here’s neither rejecting nor rejecting why thrilling and tonally brilliant the seven-minute Herem is, clipped chord robots clashing with Hadreas’s glistening lyrics and Wyffels ‘soft horn and synth attempting to play a piece of music, only the second song on “Ugly Season” one of its greatest and deepest. It’s modifiability and it Hadreas uses his edge throughout, where the hunky 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 part of his jobs in the “Ugly Season”, His eye for detail and skill for special music composers have never remained forgotten in the combination, Hellbent’s spine-chilling synthesizers and influenced guitars seem to be eerily similar to the noise of his 2020 Nothing At All, with its uproarious production style, 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 way, sex-positive and creative recital, this is the kind of confusion and formlessness that makes the music seem strange. 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 is 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 and distortions, unmoored reasoning.
Now in the second half of his creative journey, Mike Hadreas’s job hasn’t forgotten any of these bright and glowful jobs, such eleven beautiful songs create a fantastic and completely new dialogue with the now 40-year vintage songwriter. Mike Hadreas’s “jobs” have always been on the fringes of music, 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 on 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 appearance. He demonstrates the same kindness and sentimental frequency and it creates his history songs sure captivating, but has the song say narrative instead of his tone, rejects his standard clear songwriting for angle and creative narration and it takes you involved without saying you all absolute. Ugly Season leaves you more within wonder with Hasreas than ever, the once in a while skilled 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 made a noise that would be soothing, hazy, and pressing, Ugly Season demonstrates he can present on the upside of that much, very very, very young.