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
Showing posts with label review. Show all posts
Showing posts with label review. Show all posts
Sunday, 4 August 2013
Thursday, 18 July 2013
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
Saturday, 22 June 2013
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.
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.
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.
Tuesday, 11 June 2013
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.
www.facebook.com/killcrocodiles
www.twitter.com/killcrocodiles
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.
www.facebook.com/killcrocodiles
www.twitter.com/killcrocodiles
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.
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.
Saturday, 1 June 2013
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.
www.qotsa.com
www.facebook.com/QOTSA
www.twitter.com/qotsa
Monday, 20 May 2013
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)
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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