Best Albums Of 2013

Hello there, apologies once again for the lack of posts and the somewhat false promises I tend to make along the lines of 'I will return with something spectacular!'. I'm afraid not this time, I've got a pretty standard music related post that by the title I'm sure you're already tutting at my dull as heck transparency. Yep, its best albums of the year! Seeing as its a couple days before the very end, I thought I may as well mock a quick one up whilst I try and forget about the annoying food poisoning I've picked up this past week (damn buffets!), I've decided to spend my time worrying about music instead of my cruel desire for cake (wah) so enjoy the below list of albums I believe to have made a cracking 2013.

10/ Drenge - Drenge

Yes the Derbyshire duo of brothers Eoin and Rory Loveless seemed to spring out of nowhere this year after a reputation for rambunctious live shows. Whilst perhaps not as staggering as their concerts tend to be (seen them twice myself, good fun both times), the record is a charming affair with plenty of mean riffs ala Gun Crazy and I Don't Want To Make Love To You and equally as impressive yet bitter lyrical displays from Eoin, in the form of People In Love Make Me Feel Yuck and I Want To Break You In Half (sample lyric "If you had a soul I'd like to meet it"). Of course monster singles Dogmeat and Bloodsports proved to get the fiercest of crowd reactions and will probably be the signature tracks for most listeners, but the rest is definitely worth a look in.

9/ Arctic Monkeys - AM

This album actually wasn't an instant love of mine this year (shock horror/don't kill me). Though I still think the full marked review made by a certain popular music publication was hilariously cringeworthy, I actually came to rather like AM, the Sheffield band's fifth album that waved goodbye to shaggy hair and jangly guitars and said hello to Sabbathy riffs and teddy boy quiffs. Opening tracks Do I Wanna Know? and R U Mine?, possibly the band's strongest start since FWN, made sure everybody got their rock'n'roll fix whilst subtle numbers Fireside, No.1 Party Anthem and I Wanna Be Yours showed Alex Turner hadn't lost his penchant for eery ballads supplying a wonderful croon as always. Whatever you think about the band, you've got to give them credit for consistently pushing the envelope.

Wanna know more? 
Have a look at Kayleigh over at Electragrrl's review on Renowned For Sound here

8/ Unknown Mortal Orchestra - II

After their incredibly adored self titled debut, New Zealander Ruben Nielson's latest project Unknown Mortal Orchestra felt the need to impress. By no means a drastic change, II was further exploration into Nielson's psychedelic tendencies but perhaps with a poppier refined edge as showcased on From The Sun and The Opposite Of Afternoon. Ever dabblers of Lo-fi, the band bought fuzzy guitar, groovy bass and crackly drums create a sound that loses itself somewhere between this century and the last with Nielson's soulful vocals, as seen on So Good At Being In Trouble, adding to this timeless hubbub. The swirling glory of Faded In The Morning and the Beatles influenced stylings of Swim And Sleep (Like A Shark) show the diversity of the group proving Nielson to be New Zealand's equivalent to Australian neighbour Kevin Parker. A tour together please?

7/ Kurt Vile - Wakin' On A Pretty Daze

A somewhat unlikely star of recent years, Kurt Vile finds himself once again, looking rather awkward, in the indie spotlight. Not to say it isn't deserved, after 2011's Smoke Ring For My Halo won over thousands, this year's Wakin' On A Pretty Daze was a suitably fresh record that saw Vile taking more risks than ever before. Opening with the somewhat daunting nine and a half minute Wakin On A Pretty Day, the record gives instant good vibes as we sway along on a trip of Vile's day-to-day. Many of the songs' lyrical content saw  a rather revealing side of Vile with Shame Chamber a description of the singers dissatisfaction with his mirror image whilst Never Run Away serves as an ode to the comfort found when with his wife. However the lasting line comes from Was All Talk as Vile professes "There was a time in my life when they thought I was all talk, now I got the upper hand". The underdog turned out to be prize pooch.

6/ Phoenix - Bankrupt!

Wolfgang, Amadeus, Phoenix was a stomper of an album. Easily one of the greatest albums of the noughts, serving as quite the swan song to the decade in 2009. French wonders Phoenix knew their return would have to be delivered with a bang and Bankrupt! was a downright explosion. Singles Entertainment and Trying To Be Cool owned the year with poppier and more electronic decorations than the band had not previously dared to try. The catchiness of songs like S.O.S In Bel Air, Drakkar Noir and the super cheery Oblique City stick in your head for days with melodies so rich with hooks they'll have you humming along in no time. Elsewhere the band gave us wonderfully textured songs such as Bourgeois and title track Bankrupt! that deserve countless listens to get lost within. A triumph where many have fallen, Phoenix soar once more.

5/ Haim - Days Are Gone

The buzz surrounding Los Angeles sisterly trio Haim this time last year was at its ultimate peak, with a much anticipated debut album promised for release in Spring. The album actually didn't arrive until September and by then the buzz had only grown larger with fans lapping up available singles. Worth the wait, Days Are Gone featured some of the years best crossover music pleasing fans of rock, pop, dance and R&B. The super singles Falling, Forever and The Wire served as the opening tracks of the album, creating a definite feel of never ending hits. We weren't let down either as the record supplies the kind of never-ending hooks it puts most bands' greatest hit collections. Don't Save Me, the ultimate break-up song for an inattentive partner steals the show with its neighbours Days Are Gone and My Song 5, which both prove the sisters' diversity as they embrace the R&B stylings of heroines Destiny's Child. The debut album all pop artists dream to have.

Wanna know more? Read my review on Renowned For Sound here

4/ My Bloody Valentine - mbv

Twenty two years is an awfully long gap between albums two and three isn't it? Ok, ok in that time My Bloody Valentine suffered a 12 year break up after the fall-out of guitar guru Kevin Shields and shy singer Belinda Butcher's relationship. Regardless, 1991's Loveless is a classic album that has topped many a music lover's top albums (ever!) list. Mbv was not the Loveless Pt. 2 that many fans had wished for but in many respects that is what made it more special. With shoegaze in the public eye once more (thanks to revivalists such as The Horrors) songs such as Only Tomorrow and Who Sees You the bands trademark scuzzy wall of sound is as popular as ever. Experimentation of course was still in good display as Wonder 2 with its drum'n'bass rhythms proved a strangely pleasant surprise while the gritty buzzing of Nothing Is made it clear the band haven't gone stale with age. Middle track New You however steals the show with a funky bassline and the murmured melodies of Belinda Butcher making you thankful this band decided to come back, however long it took.

3/ Peace - In Love

B-Town, B-Town, B-Town. Yeah, I know, its the lamest scene name ever, but for those of us living in the West Midlands its a siren call to some of the best music the UK has to offer. Leaders of the pack, Peace, became the first group of the family to release an album, but thats not the only reason they won the most adoration. Their debut album In Love proved to be one of the most vital records of the year by one of the most promising new groups for years. Blending influences of Grunge, Brit-Pop, Madchester and more into one polished mish-mash songs such as the Nirvana meets Stone Roses swing of Follow Baby to the Oasis soaked ballads of Float Forever and Sugarstone. The somewhat more tropical sounds of Wraith fit nicely with the lovelorn grit of Delicious and stomper Toxic. Whilst the ten track version of the album is indeed a treat, those looking for a masterpiece can find more on the deluxe edition featuring one of the years greatest and easily underrated songs, Drain, worth the extra pennies I guarantee.

2/ Parquet Courts - Light Up Gold

Stubborn, uncompromising and often rude, Parquet Courts are more or less an interviewers nightmare. Every article to feature them this year has been met with lines such as 'four sullen faces' and 'the band members sigh'. Indeed the New York quartet do not care for interviews, music videos or even publicity shots and have confirmed themselves as the grumpiest band of 2013, but they also turned out to be one of the best with their ferocious debut album Light Up Gold. Opening track Master Of My Craft is a pacey song that rumbles and rumbles into the thundering masterpiece it is with the yelped line "Socrates died in the fucking gutter" adding a great sense of hilarity. The song's finishing moments immediately launch into next song Borrowed Time, an equally brash affair that sees singer Andrew Savage violently rasp words along to a riff straight from US indie boys' wet dreams. Furthermore songs like Yr No Stoner and Careers In Combat offer Pavement style twangy guitars hit the nail in lo fi indie rock on the head. Not so charming as people perhaps, Light Up Gold more than makes up for it.

1/ Queens Of The Stone Age - ...Like Clockwork

Six years since their last effort with a hell of a lot drama in-between (Them Crooked Vultures and Josh Homme's operating table resurrection to name but two!), Queens Of The Stone Age finally returned and by gum did they mean business. A collection of ten tracks with guests that range from past members Dave Grohl and Mark Lanegan to new friends Alex Turner and er Elton John. Steeped in dark times, ...Like Clockwork is the bands broodiest record to date with Josh Homme laying his soul on the line. The delicate piano ballad The Vampyre Of Time And Memory and the twists and turns of epic tune I Appear Missing show Homme exploring new musical directions and detailing some of his recent struggles that seem to spawn from a certain heartbreak, becoming a father and of course the previously mentioned event where he died on the operating table during routine knee surgery. Left in a coma for days and unable to walk for months, it would scar any man. Of course the savage stoner rock that we all know and love from the band was not missing from the album with the rambunctious tracks If I Had A Tail and My God Is The Sun offering rollocking tunes whilst the funky Smooth Sailing continues last album Era Vulgaris' penchant for the strange and sexy. What makes ...Like Clockwork the album of the year however is how listenable it is from start to finish. Never a bore it is easily one of the most exciting albums of the decade as well as one of the band's finest in an already spotless back-catalogue. Turning his pain into others pleasure, Homme can be proud of a record that is truly part of him.

And Thats It!

There you have it, thats my top 10 I decided to talk about this year, I should mention my list was changing all year round and to avoid any regret from my own end, if theres something you think should be on the list that isn't, let me know!

Honourable Mentions:

AlunaGeorge - Body Music

Atoms For Peace - Amok

Charli XCX - True Romance

Daft Punk - Random Access Memories

David Bowie - The Next Day

Disclosure - Settle

Franz Ferdinand - Right Thoughts, Right Words, Right Action

James Blake - Overgrown

Kate Nash - Girl Talk

Savages - Silence Yourself

Sky Ferreira - Night Time, My Time

Smith Westerns - Soft Will

TOY - Join The Dots

Wavves - Afraid Of Heights

Yuck - Glow & Behold

Heavy Rotation: Wavves - Nine Is God

Short one folks, just a song I really dig that I felt like sharing. Its Wavves, a band I have always known yet for some reason, simultaneously avoided. Not with intent I should add, just haven't got to the point of buying an album.

But yeah, "why?", I hear you ask, am I only til now becoming interested in the group? Well like most of the 15-25 console owning male population of the world, I have been playing Grand Theft Auto 5 and as always, the stellar radio soundtracks of previous games have been recaptured. 

Not only do Wavves contribute a song to the game, but members Nathan Williams and Stephen Pope actually acted as radio DJs to one of the game's many stations, Vinewood Boulevard Radio. I fine job they did to, between the station's alt rock choons the duo proved to be a comical duo offering a perfectly stereotypical slacker view on proceedings.

Anyway, the song itself is Nine Is God taken from the group's most recent album; Afraid Of Heights. I'm yet to listen to the album as before now my only prolonged experience with the band was catching the closing moments of their set at Reading Fesitval this year. Ironically I meant to listen to them more after that but GTA kindly acted as a reminder for my forgetful ways.

I'm including the studio version and a rather nifty live version performed on US talk show Conan. Enjoy folks! I'll try and do something with this blog soon.

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UPDATE: BLOG REVIVAL Y'ALL

Yo yo yo! To anybody who may read this blog or comeback from time to time, you may have noticed my posts and contributions have been a bit few and far between. Well I have excuses! Kinda...

First of all, I now write reviews for a website! Since the beginning of this month I have been contributing to a music and film reviewing site Renowned For Sound. This has mainly been a collection of album and single reviews and its been going pretty cool so far. If you fancy reading any of my work you can at www.renownedforsound.com/index.php/author/huw/

Does this mean you're stopping music reviews on this blog? No! However I'm gonna shift things about a bit. Rather than write album reviews as such I think I'll continue with a few of my slightly less conventional features. Thats means Dream Streams, Delectable Discographies and New Choons will be uploaded to this blog when theres something that takes my fancy, purely because I don't get to cover everything I'd like on R4S.

So theres going to be even less posts on here than usual? Well, thats where things get a little more interesting. Rather than have the-go-slow as a stand-alone music blog, I've decided I may as well revamp it as a bit more of an all purpose blog where I can post... well... anything. This means, Films, TV, Books, News, People, Life, etc. As I'm getting older I'm starting to become one of those annoying people who wants some physical proof of the often awesome memories I keep. I've got tons of photos of me from the age of 0-11 and then theres a massive gap with very few things to fill the void which in all honesty really bums me out. So I've decided in some way I will dedicate a section of this blog to note good days, funny stories, bad jokes and general self indulgent shit for my own benefit.

Why should we care about your life? Good question! You don't have to at all, I don't expect you to. If you want music reviews just read them. I know I don't get a massive amount of traffic anyway so it shouldn't bother anyone! This isn't an effort to make a revolutionary and new site, just one that is my own that others can read.

So if everyone bears with me over the next few days/weeks/year this blog will be under construction whilst I brainstorm some ideas for things to write about. 

If there are any new bands reading, I STILL WANT TO WRITE ABOUT YOU! I love listening to new music and would love the opportunity to interview any bands who fancy some exposure. If you want to send anything to me for reviewing or talking about feel free to do so on the Contact Me page and I will vow to get on top of things as soon as possible. Ta :)

Why don't you just get a tumblr? Oh fuck off.

Mind Vomit: Reading/Leeds & The Eternal Battle of Rock vs Dance...

Hello readers, sorry it has been a while, been a bit busy settling in to a new job and having a few little adventures, one of which being my first attendance of a music festival. Yes folks, this weekend just gone I travelled down to the infamous Reading Festival to run around fields full of tents great and small (the smallest of which having my girlfriend and I lying on hard ground, missing our beds). Of course the uncomfortable nights were a minor downer on what was actually quite a brilliant weekend of music, burgers and overpriced cider! We made sure to see as many bands as we could cram in (with tickets costing £200 this year, I don't see a weekend of getting up late to watch the headliner before spending the early hours getting wasted in a bush to be getting my money's worth) and thus enjoyed a great deal of artists of all genres and varieties. 

It was when hopping from heavier rock artists to indie bands to dance acts that I realised whilst the good job organisers had done this year in fitting in a good range of different acts was commendable, audiences were far greater for the dance/hip hop/electronic groups. Of course, these artists do come from a more mainstream standing in music culture at the moment but at a festival that used to be known as  a 'heavy rock weekend', I was a little surprised. Still, I wasn't complaining, I enjoyed the difference in acts and the shift in crowd dynamics the genre hopping entailed, very much so!

The NME however see things differently. A new article featured on the publications occasionally interesting blog section entitled "Note To Half-Arsed Indie Bands: Take A Leaf Out Of Skrillex's Book" in which the writer seems to firstly blame guitar bands for not making audiences endure fits of euphoria before then stating "people are sick of standing around watching half-arsed indie boys boshing through lumpen songs with no concern for whether the audience are enjoying themselves". 

Now I know, I know, its one writer, its one opinion, but honestly I don't understand how such a fallacious bit of nonsense could be promoted quite so much by the NME, especially when the bands attacked in the article are so often promoted by the magazine. I cant vouch for Leeds Fest but I can guarantee the majority of Reading festival-goers were neither there for much more than a handful of artists or a fair representation of the music loving public. Whilst me and my girlfriend would leave our tent by 11am to catch as many bands as possible, neighbouring groups seemed happy to sit around a campfire drinking to leave late afternoon/evening time to see the more popular 'top 40' artists.

Now don't get me wrong, I am not saying that these kind of festival goers aren't 'real fans'. Nor am I saying that theres anything wrong with getting drunk, or going to a festival to see mainstream artists. I was personally quite excited to sample a bit of every genre from System Of A Down to AlunaGeorge. Still, I do feel targeting a genre or attacking bands for the poor turnout is unnecessary and rather unfounded. 

Savages and Parquet Courts, two of the groups the blog claims were met with indifference, were two of the groups I actually found most entertaining in the weekend and the lack of manic crowds were probably more to do with several understandable factors:

• The bands were playing the Festival Republic Tent, roughly the size of a small-venue.
• The bands both have small followings with very little exposure coming from mainstream outlets.
• Many fans go to watch bands play, not to climb stage rigging/rip clothes off.
• Even the most passionate of indie fans tend to just jump around, which is what they did.
• I doubt either band intend to write a club stomper to take Ibiza by storm.

You get where I'm coming from, to compare either group to Skrillex or Chase & Status, two of the most popular electronic acts of the past few years playing on humungous capacity stages is both unfair and irrelevant. Club acts will draw club audiences, the kind that are not bothered about watching an act play but want to dance A fair portion of people who watched guitar bands were entertained and impressed, they clapped, cheered and had a good wiggle. Peace, Drenge, Tame Impala, Haim all received warm audiences as well as crossover artists like Chvrches and Phoenix. 

One of the most alarming moments of the festival for me was the rowdiness and atmosphere in the Dance tent during a DJ slot... nobody on stage. Then as Charli XCX came on, over half the crowd left. Now Charli XCX has a few stompers in her repertoire as you may know, however she has nowhere near the exposure or airplay given to acts such as the fantastic Major Lazer and Disclosure, hence nobody stuck around.

I dont want to say this writer is wrong as his point on crowds being less rowdy for indie/guitar bands is valid, but the argument that these bands are boring or need to 'up their game' is just silly. The fact is we live in a generation that currently favours a very limited number electronic pop artists and practically no big guitar bands in its charts, which is why your typical festival goer is drawn to an act like Skrillex whilst avoiding Drenge. If anyone is to blame for this its the media for its ignorance of many indie groups who never get the exposure needed to draw in a great crowd. Give the bands a break, if you want to get wasted and dance around to top 40 groups, by all means do! Who can blame you? But don't assume any band that hasn't got fleets of adoring followers aren't worthwhile. Like what you want!

RANT OVER

Have anything to say about this matter? Do you find modern guitar bands boring? Join the debate and give me a comment if you do :) See you soon readers.

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Dream Streams: AlunaGeorge/Pond/Swim Deep

Hello! Welcome to a new feature called Dream Streams, where its my aim to round up some streams of some of the best albums to have recently come out/been made available to listen to. Not sure if I'm going to carry on with conventional album reviews, simply because I don't think its a very interesting method in all honesty. Its tiresome to write sometimes and lord knows nobody reads anything lengthy unless theres a rating at the bottom (Not something I think should get in the way of an album you might enjoy). 

So yeah, I've 3 recent albums to talk briefly about and share with you today so I hope you enjoy and have a good listen if it takes your fancy!

ALUNAGEORGE - BODY MUSIC

Yes, after such unending hype AlunaGeorge finally released their debut album Body Music last monday and if you dig well crafted Electronic Pop songs, you're in for a treat. As the title suggests, this is an album for the movers and shakers of the world. Not to say you can't enjoy it in the comfort of your armchair, but if your head doesn't start bopping I'll eat my beanie. The London duo, made of childlike singer Aluna Francis and Musician/Producer George Reid, put together old favourites like stomper singles "You Know You Like It" and "Your Drums, Your Love" with excellent new r'n'b tinged material like the alluring "Just A Touch" and smooth sailing album opener "Outlines" and somewhat ferocious garage-esque choons like "Lost & Found". Its a really enjoyable album and if chart success as well as collaborations with other UK upstarts Disclosure is anything to go by, its the first of many from a certified duo of pop legends in the making. Have a listen below...



POND - HOBO ROCKET

Now as anyone who knows my musical taste will tell you, I love Tame Impala. But its spinoff/other group Pond that have always lived somewhat unfairly in the shadows of Kevin Parker's main article. Indeed, former Tame bassist Nick Allbrook's group is a much more primitive affair in terms of song writing and production but for those into good old fashioned rock records, thats not a bad thing. Anthems come in full swing on the band's (short but sweet 7 track) 5th album Hobo Rocket with latest single "Xanman" sounding like George Harrison's "Wah Wah" had he co-written it with Kevin Shields. Similarly "Giant Tortoise" shares the weird 60's psychedelia meets 90s shoegaze sound that puts guitarist (and Tame synth player) Jay Watson in the spotlight he quite deserves. Elsewhere on "O Dharma" and "Aloneaflameaflower" the band seem to share MGMT's taste in the weird and whackier side of psych rock with slow Syd Barrett/Pink Floyd-esque jams. If that sounds like your bag, give it a listen below...



SWIM DEEP - WHERE THE HEAVEN ARE WE

It would seem, despite the great groups that still pour out of the West Midlands, that the 'b-town scene' is dying. Peace and their charming debut album In Love seeing the group explode into the world of nationwide adoration was the first bullet wound to the scene and Swim Deep's debut Where The Heaven Are We may just be killing blow. The hits that gave Swim Deep their name are of course still stellar pieces of pop songwriting with optimistic synth plodders "Honey" and "The Sea" and perfect album opener "Francisco" giving off the air of feelgood vibes (I know, I said it, puke). Its still, the band's first real hit "King City" that continues to steal the show with the perfect getmeoutofthismiserabletown lyric "fuck your romance I wanna pretend, that Jenny Lee Lindberg is my girlfriend". Elsewhere the album falls perhaps a little flat. The songs aren't bad, they just could have been so so much more. Still as album closer "She Changes The Weather" finishes off, you have to commend the boys from Brum for getting this far without trying all that hard. Blast it in your lugholes below...



And thats it! Hope that was interesting or something took your fancy. If you feel like having a look at some real reviews for the AlunaGeorge and Swim Deep albums, check out my girlfriend Kayleigh's reviews on Renowned For Sound here and here, she sums them up rather perfectly.

Otherwise see you soon, feel free to write in and hope you enjoy your not so frequent (I will improve!) dose of music. Be safe :)

www.alunageorge.com
www.pondband.com
www.swim-deep.tumblr.com

New Choons: Yuck - 'Rebirth'

I know its been a month since my last post, something that I'm going to apologise for in greater depth in another post I'm working on later. Nothing to worry about, content is on its way, I just feel like this blog needs a bit of a rebirth. Speaking of rebirth, Yuck have just released the first single from their upcoming second album fittingly titled er... "Rebirth". Its a particularly poignant title for a band who have in the past year had their lead singer quit the group. Indeed Daniel Blumberg decided to focus on solo project Hebronix, a more self indulgent affair than any previous Yuck material. Listening to the album today I was pleasantly surprised to find it wasn't too pretentious to enjoy. Still, I was eagerly awaiting what guitarist/new singer Max Bloom had to offer as it was his songwriting on Yuck's 2011 self titled debut, showcased on Bloom's only vocal track "Operation" as well as the captivating instrumental "Rose Gives A Lilly" and 7 minute album closer "Rubber", that had truly won me over. So today, after weeks of recording and mixing in New York, the band release "Rebirth", and as the saying goes, it does exactly what it says on the tin.

If Yuck's debut record could be (lovingly) accused of being an imitation of US Indie Rock bands such as Pavement, Sonic Youth and Dinosaur Jr, "Rebirth" would appear to display that Yuck have decided to cross back over the pond. Alas, the first thoughts of the new single I had were how it reminded me of a lot of UK shoegaze of the early 90s bringing to mind bands like My Bloody Valentine (Particularly the track "Blown A Wish"), Slowdive and The Verve's very early material. Ironic that the first record was made in the UK and the band travelled to New York to make this one! Anyway, comparisons aside "Rebirth" is an instantly enjoyable song for fans of 90s alt rock and shoegaze and is refreshingly different enough from the first album to escape any accusations of Max not moving on. "I don't want your love, I want you" Bloom sings with a dreamy voice that puts any doubts of his vocal abilities to bed. The last track Yuck revealed (though never released), "Chew" is actually a good indication that the band are choosing to go down a more psychedelic/atmospheric route. The lo fi production that characterised Yuck's earlier material is actually not too sorely missed on "Rebirth" with spiralling guitars and swirling synths elevating the song to epic new heights for the band. Hopefully the fans take to what is a well formed and enjoyably groovy song that bodes well for the upcoming album. Yuck reborn, "Rebirth" has me wanting more.

Available now, you can download "Rebirth" for free at www.yuckband.com

www.yuckband.com

www.facebook.com/yuckband

www.twitter.com/Yuckband

New Choons: Arctic Monkeys - 'Do I Wanna Know?'

Don't you hate it when a really big band says something like "Keep your eyes peeled tonight, we've got something for you". Even worse when its like 11pm and you stay up waiting a silent forever for the new song only to find yourself falling asleep by the time its hit. Arctic Monkeys don't do that, the considerate bastards, they let you get a nice bit of sleep and have you wake up to a new song. Not only that, but a video and availability to buy this new single straight off the bat. Sure they happen to be the biggest band in Britain, they have a fanbase of millions that snap at every opportunity to buy into the group and they can afford to be risky with their promotion methods but that doesn't make "Do I Wanna Know" any less exciting. Its a sign of what to expect with the band's forthcoming fifth album and with last years' "R U Mine?" fast becoming one of the band's most popular songs, our tongues wag only harder.

The first thing I thought when the opening seconds of "Do I Wanna Know?" hit me was, "this sounds a little familiar". Indeed, the song's intro plays a bit like a slower version of the aforementioned "R U Mine?" with some fans describing it as the popular singles sister song. The ominously bluesy scale the guitars play is remarkably similar, however teamed with the punchy bass and almost r'n'b drum beat, the song is elevated into something altogether quite different. A musically aggressive tune when it really kicks in, it seems the Sheffield quartet have spent their new residency in LA wisely, most likely hanging out with close friend Josh Homme and his gang. Its in the lyrics that "Do I Wanna Know?" shines still, with Alex Turner crooning the words "There's this tune I found that makes me think of you somehow and I play it on repeat until I fall asleep, spilling drinks on my settee" detailing the unbearable feeling of wanting someone but not knowing whether to act on the feeling. "Do I wanna know if this feeling falls both ways?" and "Been wondering if your hearts still open and if so I wanna know what time it shuts" are lines that drip with the passionate wordplay that made Mr Turner famous. Despite everything that has changed with the Arctic Monkeys over the years, Turner's lyrical genius remains unmatched and its that which pushes a song that already rocks your ears into one that rocks your mind. If its anything to go by, the new album shall not disappoint the fans of the band's last albums Humbug and Suck It And See. Do you wanna know? Do I even have to ask?

"Do I Wanna Know?" is out now on Domino Records and is available to download on iTunes here: http://po.st/DoIWannaKnowSingle

Or watch the Pink Floyd style promo video below.

www.arcticmonkeys.com 

www.facebook.com/ArcticMonkeys

www.twitter.com/ArcticMonkeys

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New Choons: Sisters - 'Clearhead'

If there's something a blogger with a 'contact me' page should do, its probably work out how to read the emails in your inbox... don't judge! Anyway apologies to anybody who has sent me things to listen to over the past few weeks, I've literally only just read them due to a misunderstanding (gmail is new to me), so I will listen to as much as I can and hopefully get back to some of you/write some words. Anyway, one email that cropped up came from the upcoming indie label/PR company Gravy Records (artists include Wolverhampton's own God Damn) informing me of the new single from Ireland born but London based noise pop trio Sisters. I'd already familiarised myself with the band, the band's name was actually one I had in mind for my own band but alas, in discovering it was taken, google led me to Sisters and their charming debut single "Clearhead".

With guitars drenched in reverb, slightly fuzzy bass and thrashy drums, some would argue its a familiar formula of many bands emerging in the UK at the moment. In fact its safe to say "Clearhead" definitely wouldn't sound out of place with the jingle jangle musings of Palma Violets or Splashh, but by no means is this a bad thing. The song has an almost folkish feel to it despite the otherwise brash and fuzzy sounds, helped by singer/bassist Aoife's soft voice that opens with the relatable line "I'm a fighter not a lover, but I feel all soft inside". The song as a whole is actually quite a delightfully catchy tune that will have you humming along in no time. In fact, if Sisters remind me of anyone its of UK indie pop legends Comet Gain or perhaps Veronica Falls if they dug out a fuzz pedal or two, not necessarily for the female vocals but the great pop songwriting and the familiarity that comes from the oh-so-human lyrics. If "Clearhead" is a sign of things to come, I'm happy to amble down Sisters' road.

"Clearhead" is out now on Gravy Records and can be bought at www.gravyrecords.bandcamp.com/album/clearhead though you can listen to/watch the promo video below. Enjoy.

www.sistersband.co.uk

www.facebook.com/sistersband

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New Choons: Crocodiles - 'Cockroach'

As I stated in my previous review of Vampire Weekend's "Diane Young", artistic change in a band isn't always needed and sometimes a continuation of a band's characteristic sound works in the interest of the band. Not to say all bands should stay the same, its often refreshing to hear artists try something new and a bonus when it rivals older material. There is a middle ground however where a band may go to change their sound whilst trying (or accidentally) to retain their trademark flavour. Crocodiles, with their latest single "Cockroach" (from the album Crimes Of Passion to be released in fall this year), may have accidentally found themselves within this territory, and often where a band begins to fade away into obscurity.

It's not that "Cockroach" is a particularly bad song as such, it just feels a little uninspired. The San Diego band, tipped to be the next big indie thing back in 2009, have had some good songs in their defence. The James Ford (of Simian Mobile Disco fame) produced album Sleep Forever was an enjoyable affair with particularly cool single "Mirrors" giving the band a bit of a popularity boost. Of course though, as is always the way, comparisons to the band's psychedelic noise pop influences (namely of The Jesus & Mary Chain and Echo & The Bunnymen) always stood in the way of a potentially great band forging their own unique reputation. "Cockroach" however is business as usual seeing the band revel in gritty guitars, thin organ and lo fi vocals they've always been associated with. Perhaps less of a lo fi insistence could see what is a fair song live up to its potential but as singer Brandon Welchez groans "Maybe I was sleeping but I'm certainly not done" I think I could sleep blissfully ignorant of the new album and to be honest, its a real shame.

The album Crimes Of Passion will be available in August on Fat Possum Records.



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New Choons/Video: Vampire Weekend - 'Diane Young'

Hey! Hey! Hey! Hey! (Bad joke alert) Alas, Vampire Weekend are back again and it would seem they have done well in avoiding the dangerous 'different' third album formula and released yet another chart friendly indie pop hit. "Isn't that a bad thing though?" I hear my imaginary readers ask. No, no its not! "Diane Young", which was initially released as a double single in March (I know its June, shut up, the video is new!), is if anything a bold statement for such a critically acclaimed band to make. Its been 3 years since the band's sophomore effort Contra was released and new album Modern Vampires Of The City, at least in sound, isn't the hugest departure. In fact "Diane Young" would blend quite seamlessly with "Cousins", "Holiday" and the other singles from Contra and to that I say, fair play. Its a good sound, why mess with it?

Lyrically, "Diane Young" keeps up singer Ezra Koenig's reputation for smart and inventive wordplay/story telling. Detailing the end of a relationship where Koenig reminds his former lover she wont be the young single hip girl for much longer and if "Diane Young" (i.e. dying young) won't change her mind, he'll persist in believing that it will change as he wants no other ("You know I love the past, because I hate suspense"). With lyrics like "Out of control but you're playing a role, do you think you can go til the 18th hole?" the song becomes as playful even as it is slightly sad. Musically the band are on top form with fuzzy guitars and pitch-bending vocals giving it the devilish tint it deserves. As for the video, its a brash and fun party affair including guests like Santigold and synth-pop fox Sky Ferreira doing her best to look utterly bored whilst someone blazes up from a saxophone. Once again VW succeed in turning bleak scenarios into energetic stompers. Kudos deserved.

"Diane Young" and it's album Modern Vampires Of The City are both available now on XL Recordings.

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Video: The Raconteurs - 'Consoler Of The Lonely'

Hello readers! Thought I'd start this post by venting a little. So its been about a week since my last post and thats a bit naff really isn't it? I've been writing a small number of long posts at once rather than writing as many concise single reviews like a good blogger should. Ok, so this post isn't one of those and I'm still going to write longer features when I see fit, but this is a platform for the oath that I shall be more committed to shorter and more frequent content on new music. My own fault really, just haven't been as focussed as I could be meaning I haven't really made much of an effort to even listen to any new singles. IT SHALL CHANGE!

Anyway, I'm having a bit of a nostalgia trip at the moment and thought I may as well share it with you as its a musical one. Remember The Raconteurs, Jack White's side project? No not Dead Weather the other one, with Brendan Benson, "Steady As She Goes" and all that. Well apparently they're recording a new album after 4 years since the last effort, 2009's Consolers Of The Lonely, which if I do say so myself had some mega choons on it. In particular the opening and title track of the album "Consoler Of The Lonely". In accordance with my reminiscing state, I thought I'd post a live version of this spectacularly vicious song and a hope that the classic riffs that the band made their penchant shall be utilised on The Raconteurs' future effort. Sit back and enjoy the riffage!

Review: Queens Of The Stone Age - '...Like Clockwork'

Tick... tick... tick... like clockwork. Such has been the life of those awaiting the latest outing from desert rock legends Queens Of The Stone Age. Given the 6 year gap between their last album, 2007's somewhat understated Era Vulgaris, fans have been understandably tense in their anticipation of the band's latest effort. A double edged sword of wanting your favourite band back but not wanting them to scupper their so far stellar discography (see my feature on the very topic here). Not that fans were completely deserted. Them Crooked Vultures, singer Josh Homme's side project with Dave Grohl and Led Zeppelin bass god John Paul Jones released a much loved album in 2009 and the band's painfully overlooked first 2 records got the reissues and tours they truly deserved. However, living in the past only worsens the ache for the future and the return of the band with new material is thankfully upon us. The only worry is, is it a future worth stepping into?

If one thing can be said about 6th album ...Like Clockwork, its that the marketing and promotion leading up to the record has been handled fantastically. With teaser letters to music publications across the globe and song trailers featuring animated videos from artist Boneface that combined create a short film. Not to mention the long list of A-list collaborators that was anounced ranging from living legends Elton John and Trent Reznor, long time friends Jake Shears and Alex Turner and past members Nick Oliveri, Mark Lanegan and Dave Grohl. The hype alone made pressing play on this album an experience in itself as I focussed on soaking every second of this album in. I dive in. Album opener "Keep Your Eyes Peeled" introduces you with ominous sounds of smashing glass before a slow pompous drum beat and aggressive bassline begin the journey. Ominous pianos and creepy guitar decoration climbs aboard as Homme's smooth voice (backed up by Scissor Sister Jake Shears) introduces to the mood of the album with the menacing lyric "If life is but a dream... wake me". Tense isn't the word. As the track fades to just spooky cello you are released from the paralysis of this lullaby with the overall sense you're onto a winner. 

The album certainly doesn't shy away from the menacing mood that greeted us as we are immersed further into Homme's darkest and deepest record to date. Lyrically there is an overall sense of doom and gloom that would give the impression that Homme has perhaps recently been left wounded, certainly a departure from the man who got famous writing songs about drug benders. There are some real stand out moments in Homme's poetic ability with lines that stick with you more than ever. The belligerently bombastic "If I Had A Tail" with the line "Tears of pleasure, tears of pain, they trickle down your face the same" is a particular insight as well as the closing verses of "I Appear Missing" revealing a much more delicate side to Homme in particular the line "I never loved anything until I loved you". Its possible that with the fatherhood of his second child with wife/Spinnerette singer Brody Dalle and the complications he encountered during a routine knee operation that lead to death on the operation table, Homme found himself in a state of life contemplation. His apparent bed-ridden depression that came afterward reflects throughout ...Like Clockwork, the tone being summed up by the staggeringly deep title track and album's final sentence that Homme utters softly over a mournful piano accompaniment, "One thing that is hear, its all downhill from here".

That being said, ...Like Clockwork is by no means lacking in any energy. "I Sat By The Ocean", already a fan favourite live is a lively affair that displays the groovier side of Queens fans have come to love on their more recent albums. This as well as "Smooth Sailing" and first single taken from the album "My God Is The Sun" are tantalising examples of the brilliant musicianship involved on the album. Despite 6 years of membership, bass player Michael Shuman and keyboardist/guitarist Dean Fertita make their first full album appearances for QOTSA and deserve a mention for the impressive musicianship they display, in particular Shuman's contribution to "I Sat By The Ocean", grooviest bass line of the year me thinks. Long time member Troy Van Leeuwen also deserves credit for some truly impressive guitar work, namely the guitar solo duel with Homme during the end of "I Appear Missing", both guitarists producing some of their best instrumentality yet. 

Contributors are also in impressive swing most noticeably from Trent Reznor's vocal contribution on the crunchy choruses of "Kalopsia" and Elton John's unexpectedly fantastic piano and backing vocals that push "Fairweather Friends" from a possibly weaker number to a powerful and dramatic highlight of the album. Whilst Alex Turner, Mark Lanegan and Nick Oliveri's contributions aren't obvious ones, they provide to the sense of camaraderie this album entails. Former drummer Joey Castillo and new member Jon Theodore provide usual levels of sophisticated style but its Dave Grohl's drumming on 6 of 10 songs that offers the most forceful contribution that actually knock his work on QOTSA's classic Songs For The Deaf off the top spot of his career with "I Appear Missing" providing air drumming aplenty to many fans. 

In regards to comparisons with the band's already monumental discography, ...Like Clockwork sits comfortably with the previous efforts and in a sense brings the former efforts closer than ever. Elements from the band's classic Songs For The Deaf are clear with waltzing rhythms and of course the contributions of band members from that time but the dark dancier elements of Era Vulgaris and Lullabies To Paralyze are clear as well as the raw and crunchy energy of Rated R and the band's self titled debut. In this respect its a triumph for Homme who expressed interest in revisiting the styles of his previous work whilst creating an originality about it, a success I myself didn't truly expect despite my adoration for the band. At just under 46 minutes, its the band's shortest effort since 2000's Rated R but it does not suffer for it. The continuity of the songs is paramount on this album with delicate moments like "The Vampyre Of Time And Memory" blending seamlessly with rollocking ferocity of "My God Is The Sun". For someone whose expectations were far from low I find myself not only pleasantly satisfied but startlingly impressed by what I can only described as a worthy comeback. Homme suffered for this album and it shows but the suffering ends with him, for the rest of us its a handsome bounty. All those years we waited, ...Like Clockwork was worth it.

...Like Clockwork is available to buy June 4th on Matador Records. If you can't wait however, you can head over to itunes.com/qotsa to stream the album in full.

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Review: God Damn - 'Heavy Money EP'

As a Wulfrunian (person from Wolverhampton), I grew up thinking my town had the crappest bands hailing from it, mainly because I was non-the-wiser. Regardless, I didn't really take any pride over the fact that we were the sproghole that spawned glam-rocker's Slade or forever disappearing/reappearing soul diva Beverly Knight despite the locals insistence that this was a good thing. Ok, ok, we've got Robert Plant, but for a teenager with a taste for more 'out there' music I felt like I was in the worst of the worst. God Damn are a band that put that former belief to bed... with a shotgun to the face.

The band have been slowly creeping into the ears of as many mardy Midlanders with their refreshingly... well... fresh sound that has them compared to artists from UK hardcore outfit Pulled Apart By Horses to 90s stoner rock giants Kyuss. After debuting with a rollocking 10 song "Demonstration" album in late 2012 that they decided to release as a free download (10 TRACKS!!! FLIPPING FREE!!!) and a fantastically awesome 4 track single I'm A Lazer, You're A Radar (both released through Distorted Tapes), the hard hitting trio return with new releases in the form of their new Heavy Money EP, its title track "Heavy Money" being their latest single (featuring a downright awesome promo video I'm embedding at the bottom). 

From the get go, its an explosive EP as first track "Red Checker" bursts into life with double bass drums, a rollocking pair of thick n creamy, bluesy riffs (a sound that has the band reacquiring no bass player) and a QOTSA block piano. Its a sound born in the Midlands with clear influence taken from the region/world's metal legends Black Sabbath.    "I believe the simple things will just come to me" howl guitarist/singers Thomas Edward and Dave Copson. Its short at just under 2 minutes but its a rock hard, exciting opener that has your heart pounding and your tongue wagging for more. We then are immersed into fat riffs once more with title track "Heavy Money" drenched in delay and octave effects that make the 3 piece sound so bombastically massive. The vocal talents of Edward and Copson are a massive presence with a screeching lament of "You are a terroriser" creating a positively haunting atmosphere as drummer Ash Weaver provides a stomping steady groove that elevates the song to kick ass levels. Its easy to see why it serves as the title track, it sounds incredibly heavy and best of all, like no one else.

A departure from the stompy and immediately aggressive former tracks, next song "I Don't Really Mind" is a menacing affair. Akin to Queens Of The Stone Age's Lullabies To Paralyze era, its a ghostly outing with a slowly winding guitar riff coupled with cave like moans and an atmosphere so ominous it could soundtrack your darkest dreams. We move on to "New Invention Victory Club", a 2 minute 40 second instrumental with one of the most ensnaring riffs you will hear this year. The lack of vocals surprisingly isn't a suffering point as the track is spectacular in its untouched state, expect this to open future God Damn gigs or you can slap me. The teasingly titled "Like Meat To Morrissey" is a return to the first couple tracks' fast paced nature. Once again, the trio's penchant for solid catchy riffs and growling and gory vocals is revisited. It really has to be noted that the band have the impressive ability to create guitar lines that sound simultaneously familiar and cutting edge, a modern twist on a classic sound but without at all being derivative. Some raunchily epic closing moments are followed by an oddly eerie ukelele interlude separating it from the final song and EP closer.

"Dangle Like Skeletons" is without a doubt, the most adventurous God Damn have been in recording, almost 8 minutes in length and a slow beat to boot. Its a risky concept for a closing track but god damn indeed, it pays off. Introduced by isolated soft guitar and vocals that sway to a waltzing rhythm. A gentle organ accompaniment sets the mood as the feeling becomes more and more epic before the riff drops. A mighty drop, drums kicking in, guitars blazing, its a face melter. "We'll dangle like skeletons" the singer repeats before luxuriant scuzz takes over as the gentle voices turn to violent screeches that groan satisfyingly to the pained yet invigorating fade out. As if they'd read your mind, as the song begins to obscure to silence and you ache to listen again, its bursts back into life (beware headphone users!) with somehow twice as much ferocity than before. The repetition is satisfying as the track builds into a cacophony of fuzzy noise that fades slowly to silence. If God Damn were aiming to melt minds, they can rest in the satisfaction that "Dangle Like Skeletons" had mine dripping from the ears.

As a whole the EP is a triumph in creating a collection of songs that roll so seamlessly and brilliantly. If Kyuss were the soundtrack to driving through the desert, Heavy Money EP is the playlist to the slow drive through the murky grey of the West Midlands on a rainy day... I meant that in a positive manner I should add. Its a shame that due to the heavier nature of the band, recognition on a worldwide scale will be difficult to come by. Its sad enough that in comparison to the popular 'B-Town' bands, God Damn are still labelled as a 'buzz band' when they've achieved the difficult feat of releasing 20 available songs that are all fantastic and this is before a proper debut record is to hit shelves. If one things for certain though, its the fact that God Damn are the light that cometh from the darkness of Wolverhampton. Ay it?

The EP is available June 17th on Gravy Records but is available to stream below via Soundcloud. Enjoy.

Also, here's the 'super' video for lead single Heavy Money. Worth watching, believe me ;)

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Delectable Discographies: Vol 1 - Queens Of The Stone Age

Allo, allo, allo. Another new feature. Yes I know, I could be reviewing albums and new singles like a normal (successful) blogger but hey, I don't feel like it today. I feel like doing this, its an idea I had. You know what I hate on a lot of music websites? "Rate the albums" articles. Albums are so interchangeable for each listener, one man's masterpiece is another man's overrated crap sandwich. SO, I decided to talk about band's who have those kind of discographies that faults are hard to pick at and generally just give a background to each outing and why they might be enjoyed, not why the others are better or worse. A perfect run of albums is incredibly rare and deserves much more commending than a band with that "one classic" *coughFRANZFERDINANDcough*.

But yeah, kicking this series of articles into gear are a band most (apart from the painfully ignorant) can't help but be in love with, Queens Of The Stone Age. Josh Homme's desert stoner rockers are a force like no other, instantly recognisable and immediately (and widely) adored. Formed from the remains of 90s stoner rock/metal quartet Kyuss (if you're unaware check them out, easily one of the most exciting 90s alt bands), Queens of The Stone Age came to life with Homme who released the EP Gamma Ray before recruiting past Kyuss drummer Alfredo Hernandez in writing a full length LP. And thus, this delectable discography was born.

Queens Of The Stone Age (1998)

The bands debut album is an important album to any QOTSA fan, the seeds sewn by this record were incredibly influential to the growth of both the band and so many musicians of the future, the start of something big. And before the 2011 reissue it was a rare item in any format, only designated to those cheeky enough to torrent it (guilty). The debut from the Cali-stoner rockers is a mean record that saw Josh Homme embrace a groovier side he couldn't carry out in Kyuss. Opening 3 tracks "Regular John", "Avon" and "If Only" are a fearsome force, the perfect introduction to this record. Raw, groovy and sexy, its an album Josh Homme still prides for not being "a bad haircut record", further tracks "Mexicola" and fan favourite "You Can't Quit Me Baby" often still included in QOTSA sets of the present. 

Rated R (2000)

Two years later and Homme was back with the band's sophomore album and their first real breakthrough, particularly in the UK. Rated R, the band's first release on major label Interscope Records, was aptly titled with continuous references to drugs and sex that earned the band their stoner rock tag. Album opener "Feel Good Hit Of The Summer" featured verses listing the narcotics "Nicotine, Valium, Vicodin, Marijuana, Ecstasy and Alcohol" and a repeated chorus of "C-C-C-C-C-Cocaine" and single "Monsters In The Parasol" was influenced by Homme's first experiences with Acid on a cruise ship with his childhood friend. Lead single "The Lost Art Of Telling A Secret" is a particular highlight that in turn provided the band with their first experience of regular airplay. 

The record was also the first to feature vocals from others than Homme. Bassist Nick Oliveri, former member of Kyuss and QOTSA bassist since the touring of the first record, took vocal duties on the violently vehement numbers "Auto Pilot", "Quick And To The Pointless" and "Tension Head". It was Mark Lanegan of Screaming Trees fame however that stole the show taking vocal duties on "In The Fade", with a hauntingly bass driven track including the spooky delayed guitar effects the band would use extensively throughout their career. The more daring and spooky side of the band came to fruition in the form of the ensnaring darkness of "Better Living Through Chemistry" and album closer "I Think I Lost My Headache",an 8 minute epic (ending in a trumpet orgy) both characterising later sounds of QOTSA records in both length and sinister atmosphere. With Rated R, the band developed the platform they needed to amaze people. If you didn't already know, they used it wisely.

Songs For The Deaf (2002)

Songs For The Deaf, a record everyone must own. If you don't, I'm sorry but I don't have a lot of musical respect for you. It's not only the band's most popular record but by far their biggest statement of a record (so far at least...). The thing most unique about SFTD is the strange concept and theme that is carried out, an album of car radio. We are introduced to album opener "You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire" by a slamming car door and intro from 'KLON Radio' who 'play the songs that sound more like everyone else... than anyone else'. A riff and drums combo sets the atmosphere before the song explodes to life as Oliveri screams your lug holes off. 

Attention came in the form of Foo Fighter's Dave Grohl taking the drum seat for the majority of the album. "A Song For The Dead", "First It Giveth", "A Song For The Deaf" and the prolific "No One Knows" are examples of Grohl's characteristic ability to make a small drum kit sound like a never ending bombardment. Mark Lanegan once again returned to administer his signature growl on 4 songs, most notably the rollocking brilliance of "God Is On The Radio" and the title track "A Song For The Deaf". Collaborators were in full flow as guitarist Alain Johannes and his keyboardist wife Natasha Shneider made their first appearances on QOTSA records, Johannes even getting co-writing credits on the menacingly rhythmic "Hanging Tree". 

It is of course Homme though who deserves the greatest amount of credit on Songs For The Deaf. Being the main songwriter you have to realise that this album's sound was purely his creation. Whilst the instrumentality is paramount to SFTD's success, Homme's guitar/vocals included, it cant beat the fact that the man penned these songs. The fierce waltz of "The Sky Is Fallin", the Spanish influenced beats of "First It Giveth" and the epic and threatening vibes of "God Is On The Radio" and "A Song For The Deaf". Not forgetting two of the biggest and most popular rock singles of the 21st Century (or EVER) in "Go With The Flow" and the forever loved "No One Knows". The latter of which seemingly exploding overnight, taking Queens Of The Stone Age from the level of "Oh y'know that band with the song about drugs" to full fledged rock royalty. No longer "Ginger Elvis", with Songs For The Deaf, Homme became his own man.

Lullabies To Paralyze (2005)

After a band releases arguably the "masterpiece" album of their career, they must find themselves in a level of musical paralysis. You can't emulate it or you'll lose lots of fans,  you can't stray too far from it or you'll lose lots of fans. However, if QOTSA's fourth outing Lullabies To Paralyze can be credited with something amazing, its a lesson in how to follow your "masterpiece" with style. 

Something that perhaps worked in Homme's favour this time round was the significant change of line-up. In 2004, Nick Oliveri, bassist/screamer/songwriter of 6 years was promptly fired from the band for "disrespect to the group's fans and excessive partying" though Homme later revealed it being because of Oliveri's disturbingly abusive behaviour towards his own girlfriend. This would also prove to be the last album to feature Mark Lanegan (heard on the eery opening number "Lullaby" with backing vocals provided elsewhere) as the singer decided to spend time with his own band. Dave Grohl of course went back to the Foo Fighters leaving the remaining members of the quartet of Songs For The Deaf era left at Homme alone. The replacements drafted in however proved to be of good stock with guitarist Troy Van Leeuwen of A Perfect Circle and ex-Danzig drummer Joey Castillo earning places after their touring of Songs For The Deaf.

The change in line up certainly affected the sound of the group creating a darker, spookier sound than the band's previous outings with gothic artwork to boot. Lead single "Little Sister" created a suitably sinister atmosphere with a snarling bassy guitar riff and continuous jam block driven drums (NOT A COWBELL - as any drummer will tell you) making it an instant hit in the rock charts. Further single "In My Head" was another chart friendly rock hit ensnaring listeners with a driving guitar line that came from Homme's infamous "Desert Sessions". Singles aside, the pairing of "Medication" and "Everybody Knows That You're Insane" is an insanely intense experience whilst hauntingly epic numbers the band had made their trademark were not lost in the burning fury of "Someone's In The Wolf" and "The Blood Is Love". Though the album was met with a less warm reception than Songs For The Deaf, it is a fantastic record and a favourite of many fans. Homme stated relating to the former album "it would have been easy to make Songs for the Deaf 2, which is basically all I heard in my own head. But I can't do that. You've got to shake all that shit away". Lullabies is certainly a different beast to its predecessor, but as dedicated fans know, its still a monster to be reckoned with.

Era Vulgaris (2007)

2 years on from Lullabies To Paralyze and Queens Of The Stone Age found themselves somewhere they'd not been in a while, out of the limelight. Indeed, I myself (15 years old at the time of release) was for reasons unknown shocked to see the band were back. There had been no hype surrounding the band's fifth album Era Vulgaris and it showed as opening week sales in the US were the lowest they'd been since Rated R. Johannes and Shneider were replaced by bassist Michael Shuman and keyboardist Dean Fertita (who had filled those roles on tour), due to the latter's diagnosis with cancer that tragically took her life in 2008. Though Shuman and Fertita appeared to be part of the new line up, they did not feature on the record that was once again primarily the work of Homme, Van Leeuwen and Castillo. The album was a concept that, like Songs For The Deaf, was influenced by a drive in Homme's car. Whilst SFTD was a desert record, Era Vulgaris portrayed the darkly enjoyable sides of modern lifestyles Homme had witnessed in the city of Los Angeles, primarily in Hollywood. The result came in a more crunchy and electronic influenced album (though still instrumental) that Homme would later describe as "Robot Rock".

Album opener "Turning Of The Screw" set the scene with viciously corroding percussion and a sharp, unruly guitar riff turning Homme from a roots rock purist to the role of a mad scientist, his voice drenched in echoey spookiness. This was expanded further on tracks like the groovy "I'm Designer", the turbulent booming of "Misfit Love" and the orgy of industrial noise that is "River In The Road". Lead single "Sick, Sick, Sick" was equally volatile with a monotonous riff paired with robotic synth guitar (supplied by Julian Casablancas of Strokes fame) and Homme's harsh vocal and lusty lyrics "A lick of the lips and a grip on your hips". Further singles "3's and 7's" and "Make It Wit Chu" were well received, the former providing a more charmingly classic QOTSA-esque riff and the latter being possibly the sexiest song ever written (move over Marvin Gaye) that also initially came from Homme's celebrated "Desert Sessions". 

Critically and commercially the album was semi-successful compared to past efforts with some believing the band to be 'past their best'. This, at least in my opinion, was certainly not the case and it was a shame to see the press and some fans not appreciate the progression of the group. Era Vulgaris was and is an excellently unique album that has won more appreciation in time than any of QOTSA's previous efforts.

Those 6 years & ...Like Clockwork

So there we have it, Queens Of The Stone Age's fantastic and forever adored back catalogue... or at least so far. Yes this post is timed specifically well (or badly, depending on your outlook) as the band set to release their long awaited 6th album ...Like Clockwork. There being a six year gap between it and Era Vulgaris, people once again seem to be buzzing with excitement. Not that Homme hasn't been busy, with supergroup Them Crooked Vultures in 2009, he was tested to new realms of genre and style and with the backing members of Dave Grohl and Nirvana's John Paul Jones, its easy to see why Homme was eager to spend time away from QOTSA to try something new. Homme again worked with Grohl on the latter's Sound City: Real To Reel soundtrack. Further new experiences came in 2009 when Homme found himself behind the producers chair for Arctic Monkeys' third album Humbug, arguably the Sheffield band's darkest record and a favourite of many. Queens' themselves weren't totally inactive either with reissues of the band's first two records and tours in support of them.

However, six years is a long time for any band to go without releasing any new material, even for a highly established act. "...Like Clockwork" has people itching for it's release and this time the fans are definitely eager. With an advertising campaign of promo videos like no other, and the news that Dave Grohl returned to the drum seat for over half the songs much drool has been expended (by myself included). In fact, collaborators come in bunches with confirmed contributions from ex-members Nick Oliveri and Mark Lanegan and further appearances from Trent Reznor, Alex Turner and Sir Elton John... no I'm not kidding! Joey Castillo, though appearing partly on the album, has departed the band replaced by ex-Mars Volta sticksman Jon Theodore (also credited with drumming on the LP) who already is proving to be a worthy replacement (though I will miss the "Sexy Mexy"). Single "My God Is The Sun", a rollocking waltzing track that brings Songs For The Deaf to mind which is promising to any QOTSA fan. With further sessions of songs like "If I Had A Tail" and "I Sat By The Ocean" causing a frenzy of excitement its safe to say ...Like Clockwork will be a definitive record of 2013.

So why didn't I wait until ...Like Clockwork came out before making this discography? Well you didn't think I was going to let myself cram a tiny review on the end of this did you. No, I promise to you (and myself!) a full review will be posted on this blog the week of it's release.

So, if you made it this far, thanks for reading! Its a long post I know but I did enjoy writing it and I hope people will enjoy reading it. Should it be regular? You tell me. Love it? Hate it? Feel free to say. There are a few other artists I could write within the same title so either way you can expect me to repeat it. Now though I'll give your eyes a rest and your ears a treat with a career spanning playlist of 30 of my personal favourite QOTSA tracks from every album. Enjoy and til next time!

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