Ugly Season was written for a dance piece (Kate Wallich's The Sun Still Burns Here), but despite this and the stark difference in sound, it has the same core team as the two previous Perfume Genius albums. Ugly Season is produced by Blake Mills, the multi-instrumentalist who produced Set My Heart on Fire Immediately and No Shape. The album is the fruit of collaboration between Hadreas, Mills, and Hadreas' long-time partner, pianist Alan Wyffels. The high quality of Ugly Season makes the chemistry between the three evident - the sequencing is excellent, and the notable influence of classical music comes off well. The sparsity of "Just a Room" is a fine precursor for "Herem," a more lush piece with harmonium and mellotron taking the role of the strings of its predecessor. Hadreas is angelic on "Herem" and the track that follows, "Teeth," singing both with a spellbinding falsetto. The latter song features intricate passages of rising clarinet and saxophone that wouldn't feel out of place in a contemporary classical composition far removed from the style of Hadreas' previous work.
The instrumental pieces that work as an interlude ("Scherzo") and a closer ("Cenote") of the album further confirm that Hadreas approached Ugly Season with classical music in mind. Perhaps fans were intentionally misled by the inclusion of "Pop Song," a tune that does what it says in the context of Perfume Genius. Hadreas' pop is shifting and expansive, and "Pop Song" is one of the best examples. Divine, percussive-focused passages peppered with flourishes of chimes, synths, and Hadreas' lovely voice make "Pop Song" an easy tune to put on repeat.
The words "pop song" are more of a descriptor than a proper song title, and although hyphenated "pop" terms (e.g., "art-pop") can describe Hadreas' discography, Ugly Season is his most experimental work yet. "Pop Song" is a stellar track - an album highlight, but it does nothing to prepare the listener for the twisted beauty that makes the punchier second half of this record so exciting. Hadreas opts for a muffled, rough vocal approach amidst the hypnotic reggae of "Ugly Season," and the results are haunting. "Hellbent" is a release of desperation that lives up to its name with a frantic vocal performance and an impressive torrent of drums and guitar. The ferocity of "Hellbent" makes it a standout moment in Hadreas' discography, and it may leave fans clamoring for an experimental rock-based Perfume Genius record.
The second half of Ugly Season is consistently foreboding. Even in the danceable moments of "Eye in the Wall," it feels like something unwelcoming awaits. Synths create an ominous atmosphere in "Photograph," and the trepidation of Hadreas' singing fits the aesthetic perfectly. Based on Hadreas' recent work, it would have been reasonable to expect an album that is a bit brighter or at least structured a bit firmer in a pop sense. In other words, something very different from what this album is. What Hadreas has done here can be compared to what Julia Holter did with the transition from Have You In My Wilderness to Aviary - an accomplished singer/songwriter taking a left turn after a relatively pop success. Ugly Season may be Hadreas' most impressive work yet - a strong record grounded by an alluring sense of journey.
The instrumental pieces that work as an interlude ("Scherzo") and a closer ("Cenote") of the album further confirm that Hadreas approached Ugly Season with classical music in mind. Perhaps fans were intentionally misled by the inclusion of "Pop Song," a tune that does what it says in the context of Perfume Genius. Hadreas' pop is shifting and expansive, and "Pop Song" is one of the best examples. Divine, percussive-focused passages peppered with flourishes of chimes, synths, and Hadreas' lovely voice make "Pop Song" an easy tune to put on repeat.
The words "pop song" are more of a descriptor than a proper song title, and although hyphenated "pop" terms (e.g., "art-pop") can describe Hadreas' discography, Ugly Season is his most experimental work yet. "Pop Song" is a stellar track - an album highlight, but it does nothing to prepare the listener for the twisted beauty that makes the punchier second half of this record so exciting. Hadreas opts for a muffled, rough vocal approach amidst the hypnotic reggae of "Ugly Season," and the results are haunting. "Hellbent" is a release of desperation that lives up to its name with a frantic vocal performance and an impressive torrent of drums and guitar. The ferocity of "Hellbent" makes it a standout moment in Hadreas' discography, and it may leave fans clamoring for an experimental rock-based Perfume Genius record.
The second half of Ugly Season is consistently foreboding. Even in the danceable moments of "Eye in the Wall," it feels like something unwelcoming awaits. Synths create an ominous atmosphere in "Photograph," and the trepidation of Hadreas' singing fits the aesthetic perfectly. Based on Hadreas' recent work, it would have been reasonable to expect an album that is a bit brighter or at least structured a bit firmer in a pop sense. In other words, something very different from what this album is. What Hadreas has done here can be compared to what Julia Holter did with the transition from Have You In My Wilderness to Aviary - an accomplished singer/songwriter taking a left turn after a relatively pop success. Ugly Season may be Hadreas' most impressive work yet - a strong record grounded by an alluring sense of journey.
