There’s something about Ugly Season’s cover art that makes it more than just a nice picture. Mark Hadreas’s 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 gay guy — and after his exit from fleshly fleshly desires and sadness on 2017’s No Shape Meth in May of 2017, 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 embraced the joys and frustrations of the human life and produced an album that took them all into consideration to create his greatest, comfortable and grand album to this point. Sure, as Ugly Season swipes a photo of him into a churning drawing of colors, pastel 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 offered such music as a living – Alan Wyffels donating peripherals, mellophone, bells and tone; Rob Moose composing string arrangements; 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 for two Hadreas ‘2019 tracks, Pop Song and Eye in the Walls, 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. Lineup Just a Room gives you an advantage, eerie robots that pillow his tone into skin-tearing ambient sounds, Hadreas’ smooth 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 sparkle synthesizers tremble for luminous bugs as Hadreas ‘crystal mellifluous verse turns up distorted verses and chants about gender and gay relationships, 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 audience to focus on his speech before showing how few he likes to straighten you in. Often, he completely ignores lyricism, like the belly weirdo Scherzo. The album features multiple halves of a nervous piano piece and helps set the tone for Ugly Season’s extra extreme second side, or on the rachis concluding Cenote. In which the acoustic layering inside Hadreas’ smooth, delicate musicianship and it makes a peaceful tune, 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 has always focused on pop, and yet he began experimenting with more of skin and atmospherics in the long mid-2010s, but with Ugly Season he has to let go, because of that protection, his song talking completely about 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 depth and boatloads of affection pumped into all that Hadreas ‘past songs have. Tho he is lower enclosed than before, Here’s to being both thrilling and tonally brilliant: the seven-minute Herem is, clipped chord robots clash with Hadreas ‘glistening lyrics and Wyffels’ soft horn and synths attempting to play, only the second song on Ugly Season one of its greatest and deepest. It has the modifiability in part, and it Hadreas uses in his edge throughout, where the hot team elegance of Eyes in the Walls, 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. Although he prefers the more innovative part of his job 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 eerily similar to the noise of his 2020 Nothing At All album, with 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 to attain Kate Wallich’s “The Sun Still Burns Here, a mesmerizing, sexually positive and creative recital, this is the kind of confusion and formlessness 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 as few more songs are, creating an unique global for the song to present, but giving you the chance to learn about its workings, unmoored reasoning.
Now in the second half of his creative travels, Mike Hadreas hasn’t forgotten any of these bright and glowing things, such eleven beautiful songs creating a fantastic and completely new dialogue with the now 40-year vintage songwriter. Mike Hadreas’ jobs 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 remained waiting at the edges of his screen 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 history songs a sure captivating, but has the song say the narrative instead of his tone, rejecting his standard clear songwriting for angle and creative narration and it gets you involved without saying you are the absolute greatest. Ugly Season leaves you more within wonder with 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 “plan” and feelings as his “lead”. Now, he makes a noise that would be soothing, hazy, and pressing, Ugly Season demonstrates he can present on the upside of that much, very very.