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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New Choons: Superfood - 'TV'

Hello! Its been a while since I posted hasn't it. In my defence I haven't been listening to much new music at the moment due to broken earphones/volume conscious housemates (well... family). Also I have been working on yet another new regular feature for this blog that I hope to share with you very soon, however it takes a certain amount of time to get through it. But anyway, Superfood! Its been just over a month since Superfood allowed us into their world with debut self-titled track "Superfood" (reviewed here) and they've been pretty busy. Announcing their first headline 'b-town' show at The Rainbow in July, revealing future supporting gigs with Splashh and of course touring across the UK in support of Peace (though they decided to miss the Birmingham and Coventry shows, the latter I attended... bitterness, thy name is Huw). And here we are, the buzz growing ever er... buzzier, today they gave us a new track.

A shortly strummed intro and we burst straight into the first verse with singer Dom Ganderton bawling "I can never sleep without the TV on waahhhh!". The band continue with the dynamic set by "Superfood" with quiet/loud verses and a swirling solo closing the song to a suitably zany end. The grunge meets brit-pop feel of "Superfood" is emulated but "TV" seems more akin to the latter with faux Albarn yelps and guitars pop discordantly making it a Blur-esque affair. Not necessarily a bad thing and definitely not a bad song, you're just not taken anywhere noticeably different to their previous outing, in fact it feels a bit of a disappointingly similar younger sibling to "Superfood" despite its good quality. I leave it wondering "ok this is good, but what else?". No doubt the band have a more diverse repertoire of songs that I've yet to here though and "TV" may grow on me after I've heard them. But for now I'm afraid I'm happy to go back to the debut single instead.



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Summer Grooves: Vol 1 - Fleet Foxes, Real Estate & Smith Westerns

Its an odd summer this one. Is it actually summer? It feels like it, its May. But then again its been just over a month since my garden was coated in snow. We didn't really encounter a Spring, thus the trees that sway in the gentle breeze on my road remain hauntingly leaf-less. Still, the sun is out and I've decided to start on a new feature for this blog to accompany the middle months of 2013, "Summer Grooves". Basically over the next 4 months I'm going to write about bands, albums, live shows or general experiences within this heading, in particular bands that make me feel summery. 

I spent the past couple of weeks carefully compiling a playlist to soundtrack the sun but in my usual indecisive state I couldn't really get what I wanted out of it. Plus as numerous other summer playlists cropped up over the blogosphere from other writers, the idea felt less like my own creation and I fell completely out of love with it. So instead, this! Today I'm keeping it on the band side of things with 3 artists I like to listen to in the sun with some suitable examples of their most joy inducing choons being performed as well as the studio versions with bonus songs at the bottom. Enjoy!

Fleet Foxes

Ok, ok, this band probably doesn't really fit with the last sentence of that introduction. Joyous songs, Seattle folk rockers Fleet Foxes are definitely not known for. However, they've got a few stompers, my particular favourite being "Ragged Wood" from the band's self-titled debut LP. The galloping rhythms of the drums and the lively plucked guitars make for a delightfully (if not uncharacteristically) pleasant folk song that could fill the coldest of heart's with cheer. Robin Pecknold's voice rings resolutely as he sings of longing for a past love, the rest of the band providing powerful backing harmonies. I've used footage of the song from their performance at 2009's Glastonbury Festival as the festival is drawing near and it generally looks like a sunny lark. Bring out your inner folkster... don't resort to Mumford & Sons though.

Real Estate

From the New Jerseyan band's sophomore album "Days", "Its Real" is one to lie back and lose yourself in. Although released in the autumn of 2011, I always feel far more connected to this type of song in the summer. Jangling guitars and steady drums create a warm atmosphere but its the sentimentally sweet lyrics that make it shine with singer Martin Courtney detailing his realisation of falling in long-time love and knowing "its real". The video I'm using is from The Guardian's 'How I Wrote...' sessions and includes and introduction of Courtney describing the odd conception of the song. If you like this, I can confirm you will really enjoy the album "Days".

Smith Westerns

This song always makes me feel a bit sick. Don't get me wrong, its a great song and the lyrics aren't too wishy washy, its just that the song was written by a band of 19 year olds... Yup, when Chicago trio Smith Westerns released their fantastic second album "Dye It Blonde" they were only entering their 20s and already had a devoted fan base. Anyway, enough of my jealousy, album opener "Weekend" is great for a cruise around in the sun with guitarist Max Kakacek's George Harrison style guitar lick and Cullen Omari's sickeningly sweet chorus of "Weekends are never fun, unless you're around here too" that'll either give you relatable butterflies or send you into a deep depression... its the former for me don't worry. With new album "Soft Will" to be released this June, get yourself familiar with the band's back catalogue.

So yeah, three summery songs from three summery bands. Want more? Have some more! I've made a playlist below of the three songs as well as other stompers from the bands in question. Hope you enjoy and until next time, kick back and bask in the warmth.

www.fleetfoxes.com

www.realestatetheband.com

www.smithwesternsmusic.com

Video: Tame Impala - 'Prototype' (Outkast)

This September will be the 10th anniversary of one of the most prolific and brilliant pop albums my generation had the pleasure of growing up with. "Speakerboxxx/The Love Below" saw Atlanta Georgia hip-hop duo Outkast appeal to a much wider audience. Their fifth LP, after the amazing third and fourth outings "Aquemini" and "Stankonia" the duo decided it would be a nifty idea to record a double album that served as solo albums for both members Big Boi who created "Speakerboxxx", an album rooted firmly in Southern Hip Hop and Andre 3000 who created "The Love Below" an album that saw Andre branch out from his usual hip-hop style and bask in a more free form record dabbling in Soul, Funk and Jazz orientated pop. While both LPs are incredible (and best listened to as a whole rather than two separate albums), it was "The Love Below" with killer hits "Hey Ya" and "Roses" cementing long standing places on international charts and generally had most people somewhat unfairly overlooking Big Boi.

However, as much as I'd love to, I'm not here to post a detailed analysis of the album. I'm here to post a video my girlfriend (who writes a much better blog at electragrrl.blogspot.co.uk) sent me today. Literally seeing the title bought me out of the awful headache I'd been having to search for my headphones and good grief I was not disappointed. Tame Impala, as anyone who knows me can tell you, are a band I became incredibly obsessed with last year with the release of their second album "Lonerism". The psyche rock band hailing from Perth Australia at a recent radio session decided to woo me further (a feat I thought to be impossible) by covering, you guessed it, Outkast. They opted for the last single from "The Love Below", "Prototype" an epic psychedelic soul jam that saw Andre 3000 singing about falling in love with a woman who if not 'the one' must be 'the prototype'. Its an incredibly addictive slow funk song already and Tame Impala do it great justice, with singer Kevin Parker singing a smooth falsetto as bassist/synth/Pond singer Nick Allbrook provides some hilariously accurate backing vocals. Fans of either band rejoice in what can only be described as an unexpectedly fantastic cover. To Andre 3000 and Tame Impala I stank thee smelly much.

Tame Impala session(watch them play single "Feels Like We Only Go Backwards" here)

Outkast/Andre 3000 in the awesome Prince-esque sic-fi promo video of original version

www.tameimpala.com

www.outkast.com