There’s something about Ugly Season’s cover art that makes it more than just a nice picture. Mark Hadreas’s voice 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 LGBTQ guy – and after his exit from fleshly desires and sadness on 2017’s No Shaped, noticing him hold out 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 frustrations of the human and produced an album that took them all into consideration to create his greatest comforting and grand album to this point. Now, 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 other bassists assisting Hadreas offer such music a living – Alan Wyffels donating peripherals, mellophone, bell and tones; Rob Moose composing string arrangements; music 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 it. Protect two Hadras ‘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 pushed through a 6×10 inch cave entrance, black and dark so far indescribably wonderful and full of superb information around every twist and turn. Line-up Just a Room gives you strong lines, eerie robots that pillow his tone in skin-tearing ambient sounds, Hadreas’ smooth and softly chanting like the last speech of someone being sucked into the mouth of a seagull. Once he attains the bottom, it seems like and anything is potential: Pop Song’s sparkle synthesizers tremble for luminous bugs as Hadreas’ crystal mellifluous verse turns verse into a chant of gender and gay relationships in distorted, 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 you how handful he likes to straighten you. Often, the child of Alessandro will be rescued from harm or death for mischievousness, He completely ignores lyricism, like 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 makes a peaceful music, nearly surreal nook where the disappointment he performs through the album’s 10 songs seems to dissipate, at least a present. Hadreas’ jobs when he started in his late twenties always focused on pop, and yet as he began experimenting with more skin and atoms in the long mid-2010s, but with the Ugly Season he has to let go of the protection, his song talking completely for itself, as he refuses to give you anything except his briefest feelings.
Despite the impenetrability of the song and its definition could indicate, Ugly Season has the same degree of depth and boatloads of affection pumped into any of Hadreas’s past songs. Tho it’s higher 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’ glistening lyrics and Wyffels ‘soft horn and synth attempting to play, only the second song in 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 convey 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 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 influenced guitarists seem eerily similar to the noise of his “2020 Nothing At All” production, a series of uproarious electronic performances, 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 recital, this is the kind of confusion and formlessness which makes the music make sense. This is a song that 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 breakdown, Unmoored reasoning.
Now in the second half of his creative journey, Mike Hadreas hasn’t forgotten any of these bright and glowing days, This eleven beautiful music creates a fantastic and completely new dialogue 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 remained waiting in the edges of his noise in fullscreen, offering a micrograph look at all the little information and it offered him previous work that kind of heroes and appearance. He gives out the same kindness and sentimental frequency and it creates his historical songs that are sure captivating, but has the song say it narrative instead of its tone, rejecting their standard clear songwriting for angle and creative narration and it gets you involved without saying it all out. Ugly Season leaf you more within wonder at Hasreas 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 pressing “Enter”, Ugly Season demonstrates he can present on the upside of that much, very good!.