If Man’s Ruin Records had never put anything else out, the 1997 Kyuss and Queens of the Stone Age split would still make them legendary. The end of one era and the beginning of another. Of course, Man’s Ruin did put out a ton of other landmark albums from the likes of Acid King, Dozer, Alabama Thunderpussy and on and on, but to have the last Kyuss tracks and the first Queens of the Stone Age tracks on the same disc gives the split a momentous feel in hindsight. Josh Homme had put out the Gamma Ray 7″ in ’96, and Queens would go on to include the track “18 A.D.” on Roadrunner Records‘ Burn One Up: Music for Stoners compilation (discussed here) in 1998, but the three tracks on this split — “If Only Everything,” “Born to Hula” and “Spiders and Vinegaroons” — were the first to surface under the moniker.
And until John Garcia and Brant Bjork picked back up with Kyuss Lives! and continued into Vista Chino, the jamming cover of Black Sabbath‘s “Into the Void” and the two “Fatso Forgotso” tracks (both of which were included on 2000′s Muchas Gracias: The Best of Kyuss, the second under the title “Flip the Phase”) were the last of Kyuss‘ studio output. So yeah, something of a landmark. It was more the grooves of the thing itself than the historical aspect that made me want to round out the week with it, but I figured if the thing can be appreciated on multiple levels, that rarely hurts the actual listening experience.
Next week, look out for a new podcast, a review of that Clutch show and hopefully one for It’s Not Night: It’s Space, Olde Growth and company on Sunday night in Boston — I’m going to Connecticut during the day, but provided I get back in time will hit up the show — and then a look at the new Horisont and Sandrider albums, as well as more in the “10 Days of Stoner Hands of Doom XIII” coverage, including a video premiere provided it comes together as scheduled and some words about the new Druglord tape, which is duly fucked up-sounding. I also took a poll today on Thee Facebooks to name a new vinyl column, so On Wax will start next week too.
Much to come, in other words.
Hope you have a great and safe weekend. See you back here Monday and in the meantime, please check out the forum and radio stream.
Posted in Features on June 18th, 2013 by H.P. Taskmaster
This is always fun, and because the year’s only (just about) half over, you always know there’s more to come. The last six months have brought a host of really stellar releases, and the whole time, it’s felt like just when you’ve dug your heels into something and really feel content to rest with it for a while, there’s something else to grab your ears. So it’s been for the last six months, bouncing from one record to the next.
Even now, I’ve got a list of albums, singles, EPs, tapes, demos, whatever, waiting for attention — some of which I’m viciously behind on — but it’s time to stop and take a look back at some of what the best of the first half of 2013 has been. Please note, I’m only counting full-lengths here. While I’ve heard a few killer EPs this year — looking at you, Mars Red Sky — it doesn’t seem fair to rate everything all together like that. Maybe a separate list.
If you’ve got a list of your own or some quibbling on the numbers, please leave a comment and be heard. From where I sit, that’s always the best part of this kind of thing.
The third Endless Boogie album on No Quarter was basically the soundtrack to the end of my winter, with smooth grooving cuts like “The Artemus Ward” and the classic rock shake of “On Cryology” providing a soundtrack as cool as the air in my lungs. It was my first experience with the longform-jamming improv-heavy foursome, and a CD I’m still stoked to put on and get lost in, having found that it works just as well in summer’s humidity as winter’s freeze, the off-the-cuff narrations of Paul Major (interview here) carrying a vibe unmistakably belonging to the rock history of the band’s native New York City. Was a sleeper, but not one to miss for its organic and exploratory feel.
Proffering righteous traditional doom and misery-drenched atmospherics, the debut full-length from Massachusetts-based Magic Circle hit hard and showed there’s life yet to the old ways. It never quite veered into the cultish posturing that comprises so much of the trad doom aesthetic these days, and from the grandiose riffing of guitarists Dan Ducas and Chris Corry and the blown-out vocals of frontman Brendan Radigan, it found the band carving a memorable identity for themselves with clear sonic ideas of what they wanted to accomplish. Out of all the bands on this list, I’m most interested to hear what Magic Circle do next to build on their debut.
Berlin trio Kadavar had a tough task ahead of them in releasing a sophomore answer to their self-titled, which I thought was the best first album of 2012, but when Abra Kadavar surfaced as their debut on Nuclear Blast, it was quickly apparent that the retro heavy rockers had put together a worthy follow-up. Cuts like “Come Back Life” and “Doomsday Machine” underscored the straightforward triumphs of the prior outing, while late-album arrivals “Liquid Dream,” “Rhythm for Endless Minds” and “Abra Kadabra” gave a sense that Kadavar were beginning a journey into psychedelia the results of which could be just as rewarding as even the most potent of their choruses. Their potential remains one of their biggest appeals.
It wasn’t without its rough edges, but at the core of Indianapolis heavy rockers Devil to Pay‘s fourth record was an unflinching songwriting quality that quickly established it among my go-to regulars, whether it was the quirky doom hook of “Ten Lizardmen and One Pocketknife,” the darkly progressive riffing of “Black Black Heart” or the suitably propulsive rush of “This Train Won’t Stop.” The double-guitar four-piece didn’t have much time for frills in terms of arrangement or structure, but by building on the developments over the course of their three prior releases, Devil to Pay delivered a slab of deceptively intricate standouts that made hard turns sound easy and demanded the attention it deserved.
6. Beast in the Field, The Sacred Above, the Sacred Below
Unfuckwithable tone set to destructive purpose. Immediately upon hearing the unsung Michigan drum/guitar duo’s fourth album, the impact of The Sacred Above, the Sacred Below — overwhelming though it is at times throughout the album; hello, “Oncoming Avalanche” — refused to be denied. Beast in the Field haven’t gotten anything remotely close to the attention they should for this devastating collection, but it’s one I absolutely can’t put down, cohesive in theme and full of skull-caving riffs as dynamic as they are brutally delivered by the instrumental twosome. If it’s one you missed on CD when Saw Her Ghost put it out in March (as I did), keep your eyes open for a vinyl release coming on Emetic in the next couple months. Really. Do it.
Massachusetts trio Black Pyramid quickly dispatched any doubts of their ability to continue on after the departure of their previous guitarist/vocalist, bassist Dave Gein and drummer Clay Neely joined forces with Darryl Shepard (Hackman, Blackwolfgoat, Roadsaw, etc.) to reinvigorate their battle-ready doom, and whether it was the extended jamming on “Swing the Scimitar” or the surprisingly smooth riffing on “Aphelion,” the results did not disappoint. Regardless of personnel, I’ve yet to hear a Black Pyramid album I didn’t want to hear again, and though I’ll freely admit they’re a sentimental favorite for me at this point, Adversarial is a suitable dawn for their next era. Long may they reign.
True, I will argue tooth and nail that Boston four-piece Gozu should get rid of their goofball, sitcom-referential song titles, but that’s only because I believe the band’s lack of pretense speaks for itself through the music and their tracks are too good to give listeners a chance not to take them seriously. When it comes to The Fury of a Patient Man — their second full-length behind the impressive 2010 debut, Locust Season (review here) — I knew the first time I heard it toward the end of last year that it was going to be one of 2013′s best, and while I’ve heard quibbles in favor of the debut, nothing has dissuaded me from thinking the sophomore installment outclasses it on almost every level. Expect a return appearance when the year-end list hits in December.
There’s a big part of me that feels like a sucker for digging …Like Clockwork, the first Queens of the Stone Age full-length since 2007′s relatively lackluster Era Vulgaris, but when it comes right down to it, I hit the point in listening to the album that I came around to its sheen, its up-and-down moodiness and its unabashed self-importance. I hit the point where I was able to separate …Like Clockwork from its “viral marketing” and just enjoy Josh Homme‘s all-growed-up songwriting for what it is. Would I have loved a second self-titled album? Probably, but it wasn’t realistic to think that’s what …Like Clockwork would be, and as much as I’ve tried out other spots for it, I’d be lying if I put this record anywhere else on this list but here. So there you go. I understand the arguments against it, but reason doesn’t always apply when it comes to what gets repeat spins.
I was late to the party on the second Uncle Acid offering, 2011′s Blood Lust, as I often am on records where the hype gets to din levels, but by the time the subsequent Mind Control was announced, I knew it was going to be one to watch out for. Aligned to Rise Above/Metal Blade, the UK outfit began to unravel till-then mystery of itself, playing live and developing the brazen psychedelic pop influences hinted at in the horrors of Blood Lust so that the swing of “Mt. Abraxas” and the acid-coated psych of “Valley of the Dolls” could exist within the same cohesive sphere. Between the death-boogie of “Mind Crawler” and mid-period Beatlesian exploration of “Follow the Leader,” Mind Control continues to be an album I hear as much on the mental jukebox rotation as one I actually put on to listen to again. Either way, there’s no getting away from it — the eerie melodies of guitarist/vocalists Kevin “Uncle Acid” Starrs and Yotam Rubinger are hauntingly ever-present.
Obvious? Probably, but that doesn’t make it any less genuine. To set the scene, here’s me on the Masspike a couple weeks ago in the Volvo of Doom™ with the little dog Dio, 90 miles an hour shouting along to “Crucial Velocity” at the top of my never-on-key lungs. I couldn’t and wouldn’t endeavor to tell you how many times I’ve listened to Earth Rocker since I first got a taste, but from the title-track on through the surging groove at the end of “The Wolfman Kindly Requests…,” front to back, the 10th Clutch album still does not fail to roil the blood with not a dud in the bunch. The Maryland road dogs of course shine best on a stage, and Earth Rocker‘s polished, layered production is a studio affair in the truest sense, but all that does is make me hopeful they’ll complement it with a live record soon. Clutch could easily have phoned in a follow-up to 2009′s Strange Cousins from the West and their fanbase probably would’ve still salivated over it, myself included, but by boldly pushing themselves to write faster, more concise material, they’ve reenergized one of heavy rock’s best sounds. Whether you’re a longtime fan or a brand new listener, Earth Rocker is utterly essential.
Two more records I have to mention: Kings Destroy‘s A Time of Hunting and Clamfight‘s I vs. the Glacier. I wasn’t involved in releasing the Kings Destroy, but felt close to it nonetheless, and since the Clamfight came out on The Maple Forum, it wouldn’t be appropriate to include it in the list proper, but hands down, these are my two favorite records of the year so far and made by some of the best people I’ve had the pleasure to know over the course of my years nerding out to heavy music.
Some other honorable mentions go to Toner Low, Cathedral, Church of Misery, Serpent Throne, Naam, The Ultra Electric Mega Galactic and All Them Witches. Like I said, it’s been a hell of a year so far.
You may note some glaring absences in the list above — Black Sabbath, ASG, Orchid, Ghost, Kvelertak and Voivod come to mind immediately. Some of that is a result of my disdain for digital promos, and some of that is just a matter of what I listened to most. Please understand that although release profile is not something discounted, at the heart of what’s included here is one individual’s personal preferences and listening habits.
Thanks for reading. Here’s to your own lists and to the next six months to come!
Posted in Reviews on June 4th, 2013 by H.P. Taskmaster
There is an impressive slew of narratives surrounding the release of …Like Clockwork, the first studio album from Queens of the Stone Age in the six years since 2007′s Era Vulgaris and first for new label home, Matador Records. First, the jump from Interscope led some to speculate in advance if, freed from the perceived creative restraints of working with a major label, Queens of the Stone Age and the band’s auteur, guitarist, vocalist, principal songwriter and figurehead Joshua Homme — once upon a time the six-stringer for Kyuss — might return to the tonally thicker, more stripped down desert feel of the outfit’s earliest works, principally their first two albums, 1998′s Queens of the Stone Age and 2000′s Rated R, which in combination with 2002′s landmark Songs for the Deafpairing with drummer Dave Grohl have become a gospel influence for a league of heavy rockers in the decade since. It’s a nice thought, but unrealistic. Homme, even if he was remotely interested in such a stylistic turn away from the vibe of Era Vulgarisor the supergroup Them Crooked Vultures with Grohl and Led Zeppelin bassist John Paul Jones, likely couldn’t capture the same tones and atmospheres. Different time, different equipment, different personnel, different interests. Like Clockwork(you’ll forgive me if I remove the ellipses for sentence flow) was never going to be that album. Second, it’s Homme‘s first Queens of the Stone Age outing since Them Crooked Vultures, and the time since Era Vulgarismarks it out as a return to the band, put on hiatus in the wake of touring for fifth full-length in 2009. They also toured in 2011 around a reissue of the self-titled. Not a reunion, then, but a return. Third, a near-death experience following complications from leg surgery that plays into a questioning of mortality in several of the lyrics, arguably most of all the penultimate “I Appear Missing.” Fourth, with recording sessions begun in 2011 and completed in 2012, it was executed smack in the middle of a well-publicized lawsuit that pitted Homme and former bassist Scott Reeder against former Kyuss bandmates JohnGarcia, Nick Oliveri– who seems to have extracted himself from the situation entirely, though he guests on Like Clockworkon the song “If I Had a Tail” — and Brant Bjork over the use of the band’s name; an action that resulted in Kyuss Lives! becoming Vista Chino for the release of their forthcoming debut. Many of the lyrics here to cuts like “The Vampyre of Time and Memory,” “Fairweather Friends,” and “Kalopsia” — some of Like Clockwork‘s moodiest and most effective moments — could easily be read to reflect the conflicting emotions of that lawsuit. Whether or not they’re actually concerned with it at all is another matter entirely, but it’s an interpretation that could fit as well as any number of others.
Another matter entirely is the profile of the release. Where Era Vulgarisseemed a step backward in the band’s and in Homme‘s rock stardom, Like Clockworkarrives with increased prestige thanks to a number of factors, among them the return/continuation of a collaboration with Grohl, who played on most of the songs here after the departure of drummer Joey Castillo, as well as appearances from Trent Reznor (who was also on the last album), Sir Elton John, Jake Shears of Scissor Sisters, the always-welcome Mark Lanegan, new live drummer Jon Theodore (ex-Mars Volta) on the closing title-track and Alex Turner of Arctic Monkeys. Coupled with a pervasive and intimidating viral and social media marketing campaign that capitalized both in the aesthetic strength of graphic artist Boneface‘s artwork for the album in a series of short films and on the perceived laissez-faire attitude of Homme‘s persona that instead of the guy who sweated out a year-plus writing and recording this material, he’d be the guy who, when Elton John called and said he “needed an actual queen” in the band, would answer, “Honey, you have no idea,”as well as “event”-type live performances in advance support of the release partnered with outlets like NPR and The Late Show with David Letterman, this has made the fanfare extensive, multi-tiered and as modern as the sound of the album itself, which is no less complex or dynamic. Of the sundry stories, the one that has yet to be established so far as I’ve seen is that which has the most to do with the actual music contained on Like Clockwork‘s 10 tracks — namely that this is the record that confirms Queens of the Stone Age as the band that will age with Homme. There’s nothing about the material here that Homme couldn’t sustain, build on and revisit as his whims dictate for the remainder of his career. In short, in coming back to the band that made his career (as influential as Kyuss has been in the years since, during their time together, they were more or less a commercial nonentity) , Josh Homme has set a formula he could feasibly work with for the rest of it. The model, as they say in business, is sustainable. More over, Like Clockwork proves Homme is a strong enough presence on the album to be roughly the only factor tying it together, since although band members Troy Van Leeuwen (guitar), Michael Shuman (bass) and Dean Fertita (keys/guitar) make consistent appearances, the surrounding swirl of people on and off the record and the bipolar nature of the record’s atmosphere is such that it’s basically Homme at the center keeping it from falling apart.
That in itself is a critical narrative and a very specific reading of the album that not everyone will agree with or be interested in when it comes to listening. So be it. The fact remains that as the sunny side A opener “Keep Your Eyes Peeled” — which is an immediate lurking threat built on rumbling low end tension — transitions into the upbeat bop of the subsequent “I Sat by the Ocean” — sad lyrically but musically uptempo and lighter feeling — Homme is the constant, and he’s able to successfully steer these songs in a number of directions without sacrificing a sense of mastery. Songwriting is credited to Queens of the Stone Age as a whole but for the closer, which Homme shares with that song’s co-producer James Lavelle and Charlie May and “Fairweather Friends,” which is credited to the band and Mark Lanegan, and definitely other contributions stand out, most notably Grohl‘s drums, Reznor‘s vocals and Elton John‘s piano and vocals, but Homme nonetheless emerges at the fore and is the driving force within the tracks. He gives, specifically on “Fairweather Friends,” the performance of his career vocally. Throughout, his voice is fluid in moving into and out of falsetto, and in stepping up his game — presumably one does not have Sir Elton appear on one’s album and then half-ass it — he draws a continuity between tracks that Era Vulgariswas lacking and that still sounds less uniform than most of 2005′s Lullabies to Paralyze. There are missteps along the way in the lyrics to “If I Had a Tail,” which remains a catchy, well-written song that shows obvious awareness of its dopey premise but has one all the same, and “…Like Clockwork” itself, which feels overdone with Homme nonetheless effectively crooning out a comedown epilogue following the album’s apex in “I Appear Missing,” but in terms of the song craft, there are few acts who can so ably bring any sense of looming danger at all to material still considered commercially viable, and Like Clockworkwouldn’t have received the substantial push it has if somebody along the line didn’t think it was going to sell. Those who continue to lament the split post-Songs for the Deafwith Nick Oliveri, who to that point was the most substantial (or at least the most visible) contributor to the songwriting apart from Homme won’t find much solace. There’s next to no screaming, and the edge that still seems so sharp on those early albums has been irrevocably smoothed in the production and the arrangements, but the broader audience that Queens of the Stone Age was able to reach over the years who’ve followed them through Lullabies to Paralyzeand Era Vulgaris will have no such qualms in handling the up-and-down/back-and-forth/manic-depressive tradeoffs the band makes across Like Clockwork‘s 46 minutes.
Its two sides themselves stand somewhat in opposition overall, but the real rollercoaster on a track-by-track basis, as the aforementioned “Keep Your Eyes Peeled” launches the album with a sense of moody fearfulness, start-stop guitar peppering steady bass and low end rhythm while flourishes of piano add a classic feel and Homme‘s vocals play into the theme, returning to the lines, “If life is but a dream/Wake me,” more insistent than melancholy, though that vibe is present as well in the music, whereas “I Sat by the Ocean” answers back with an immediately more engaging, pop sensibility, a more blatant hook, and friendlier feel. Castillo – who plays on the first two tracks, the subsequent “The Vampyre of Time and Memory” and side B opener “Kalopsia” — is well suited to the track’s straightforward push, and the interplay of Homme and Van Leeuwen on guitar amid the handclaps of the bridge only enhances the spirited feel, opening to more keys in a pretty chorus that’s too smooth to be live-sounding, but not wholly unnatural either. It’s with “The Vampyre of Time and Memory” that Like Clockwork unveils the chiaroscuro at the center of its methodology, pulling the listener into a depressive sinkhole with a simple piano line, lyrical tales of insecurity, vulnerability and falling apart, a bluesy solo deep in the mix that’s a short but effective cue, and a linear build that plays out gracefully as the verses and choruses trade between them. Homme asks, “Does anyone ever get this right?” even as he touts some level of naive triumph in the lines, “You think the wost of all is far behind/The vampire of time and memories has died/I survived/Hooray,” but there’s no real sense of hope conveyed and it’s the questioning that serves as the takeaway impression. That makes “If I Had a Tail” — Oliveri‘s return on bass, Grohl on drums, Lanegan and Tuner joining Homme on vocals — a transitional middle-ground between “The Vampyre of Time and Memory” and side A finale “My God is the Sun,” and it’s a role the song plays well. Homme plays off bubblegum pop in the verse section “Gitchee gitchee/Oooh la la/Doo run run/You won’t get far,” still more hopeless than teasing, but not as outright miserable as on the previous cut, the song given an underlying sense of swagger from Grohl‘s drums and Oliveri‘s bass, which is relatively understated but works in a few choice fills before the would-be drama of the chorus “If I had a tail I’d own the night/If I had a tail I’d swat the flies” opens to a disco interlude and makes way for an attitude-laden guitar solo leading back to the verse. They repeat the cycle and build off the last chorus to a section of insistent “Uh huh”s and “oohs” — Lanegan most prominent here — as Grohl revels in closing and opening his hi-hat and the riff gets bigger and thicker to finish, cut right before a short lead line that appeared earlier returns to end, leading to some backwards sampling transitioning into the propulsive rocker, “My God is the Sun.”
I’ve been through this clip for Queens of the Stone Age‘s “I Appear Missing” a couple times now — a three-minute sample of what the interwebs tells me is a six-minute song. As someone who’s done probably more than his fair share of nerding out over the years for the work of Josh Homme, I guess it’s cool, but I’ve yet to hear anything in the actual music either in this track or the single “My God is the Sun” that’s got me really on board the dorkwagon for …Like Clockwork, the band’s first studio outing since 2007′s Era Vulgaris. After a certain point, I start to feel like the problem is my expectation and not the songs themselves. What the fuck did I think was coming?
Anyway, this one’s a little moodier than “My God is the Sun,” which was catchy and upbeat. Whoever’s gonna like it is gonna like it and whoever isn’t gonna like it isn’t gonna like it. I hate to think of myself as falling in the middle ground. Case of the sonic Mondays. Or maybe the song’s a downer and it’s got me down. Working that magic. You know how it is. Maybe I never liked rock and roll that much in the first place, or maybe I just feel like a tool feeding into a viral marketing campaign. Whatever.
Video and PR wire info:
Following the cryptic surfacing of thehttp://www.likeclockwork.tv/ and its hazy semi-clues and last night’s Adult Swim ad, Queens Of The Stone Age have unveiled a trailer scored by three minutes of the never-before-heard “I Appear Missing,” which appears in its entirety on the band’s upcoming … Like Clockwork, out June 4 on Matador Records.
Showcasing disturbingly beautiful (or beautifully disturbing?) images from the boundless imagination of … Like Clockwork visual visionary, enigmatic UK artist Boneface (brought to life by animator Liam Brazier), “I Appear Missing” is a hypnotic journey into a nightmare-scape that adds illustrative dimension to another audio glimpse of the coming storm that is … Like Clockwork. Keep Your Eyes peeled onhttp://www.likeclockwork.tv/to see what happens next…
Described by Queens principal Joshua Homme as “an audio documentary of a manic year,” … Like Clockwork is the band¹s first full length collection of all new material since 2007′s Era Vulgaris, as well as its debut release on new label partner Matador. The record can be pre-ordered on CD and vinyl now fromhttp://smarturl.it/QOTSApreorderand from iTunes athttp://smarturl.it/QOTSAlikeclockwork. iTunes pre-orders will immediately receive “My God Is The Sun.”
… Like Clockwork was produced by Joshua Homme and QOTSA, recorded by Mark Rankin with additional engineering by Justin Smith, at Josh’s studio, Pink Duck, in Burbank, California.
Yeah sure, the video of Queens of the Stone Age doing new song “My God is the Sun” at Lollapalooza in Brazil got like 300,000-plus views in a span of about 30 hours. Sure. It’s kind of a big deal. Well, fine. In case you didn’t see it on the rest of the internet, here it is. Fuck you, peer pressure.
QOTSA‘s new album, Like Clockwork, is due in June on Matador Records. You might recognize drummer Jon Theodore in the video from The Mars Volta.
Queens of the Stone Age, “My God is the Sun” live at Lollapalooza Brasil
Posted in Features on January 15th, 2013 by H.P. Taskmaster
Last year was a monster. You might say I’m still catching up on reviews for records that came out in October. Yet here we stand in 2013. It’s a whole new year and that means instead of looking back at some of the best releases, it’s time to look ahead and nerd out at what’s to come. Frankly, either way is a good time, but with some of what’s included on this list, 2013 has the potential to be yet another incredible year for lovers of the heavy.
Across a range of genres and subgenres, there are bands big and small, known and unknown, getting ready to unleash debuts, follow-ups and catalog pieces that by the time December rolls around, will have defined the course of this year. It’s always great to hold an album in your hands, to put it on and listen to it for the first or 19th time, but part of the fun is the excitement beforehand too, and that’s where we’re at now.
Some of these I’ve heard, most I haven’t, and some are only vague announcements, but when I started out putting this list together, my plan was to keep it to 10 and I wound up with twice that many because there was just too much happening to ignore. The list is alphabetical because it doesn’t make any sense to me to rate albums that aren’t out yet, and I hope if you find something you’d like to add, you’ll please feel free to leave a comment below.
Thanks in advance for reading, and enjoy:
Acid King, TBA
We begin with only the basest of speculations. Would you believe me if I told you that 2013 makes it eight years since the heavier-than-your-heavy-pants San Francisco trio Acid King released their last album, III? Of course you wouldn’t believe me. You’d be like, “Dude, no way,” but it’s true. Eight friggin’ years. They’ve hinted all along at new material, toured Europe and played fests in the States like Fall into Darkness, but really, it’s time for something new on record. Even an EP. A single! I’ll take what I can get at this point, so long as it’s Lori S. riffing it.
Chances are, the above isn’t the final art for Argentinian Los Natas-offshoot Ararat‘s forthcoming III, but frontman Sergio Chotsourian has posted a few demos over the last several months and the logo image came from that. Either way, with as far as last year’s II(review here) went in expanding their sound, I can’t wait to hear the final versions of the tracks for the next one. They’re still flying under a lot of people’s radar, it seems, but Ararat are quickly becoming one of South America’s best heavy psych acts. Do yourself a favor and keep an eye out.
Brooklyn trio Bezoar‘s 2012 debut, Wyt Deth, might have been my favorite album that I never reviewed last year, and needless to say, that’s not a mistake I’m going to make twice. The new songs I’ve heard the three-piece play live have ruled and an alliance with engineer Stephen Conover (whose discography includes Rza and Method Man) is intriguing to say the least. I’m sure whatever Bezoar come out with, the performances from bassist/vocalist Sara Villard, guitarist Tyler Villard and drummer Justin Sherrell will be as hard to pin down as the debut was. It’s a record I’m already looking forward to being challenged by.
Blaak Heat Shujaa, The Edge of an Era
Due out April 9, Blaak Heat Shujaa‘s The Edge of an Era will mark the full-length debut for the ambitious trio (now based in L.A.) on Tee Pee Records following on the heels of the impressive The Storm Generation EP (review here). From the Scott Reeder production to the band’s engaging heavy psych/desert rock blend, this one seems bound to win Blaak Heat Shujaa a lot of new friends, and if the advance EP is anything to go by, The Edge of an Eracould prove to be aptly-titled indeed.
Black Pyramid, Adversarial
No release date yet, but so far as I know, Adversarial, which is Massachusetts doom rockers Black Pyramid‘s third album and first to be fronted by guitarist/vocalist Darryl Shepard, is recorded, mixed and mastered. Song titles include “Swing the Scimitar,” “Onyx and Obsidian,” “Issus,” “Bleed Out” and “Aphelion” (the latter was also released as a limited single in 2012 by Transubstans as a split with Odyssey), and having seen the band live with this lineup, expect no less than a beheading. Also watch for word from the recently announced side-project from Shepard and bassist Dave Gein, The Scimitar.
Black Sabbath, 13
There was a bit of a shitstorm this past weekend when the title of Black Sabbath‘s first Ozzy Osbourne-fronted album since 1978 was revealed in a press release. Nonetheless, 13is set for release in June and will feature Brad Wilk of Rage Against the Machine on drums in place of Bill Ward, who last year was engaged in a well-publicized contract dispute with the band. Bummer though that is and as crappy and generic a title as 13 makes — especially this year — let’s not forget that Heaven and Hell‘s The Devil You Know also had a crap title and it was awesome. I’m not sure if I’m willing to stake anticipation on the difference between the vocals of Ronnie James Dio circa 2010 and Ozzy Osbourne in 2013, or Rick Rubin‘s production, but hell, is Geezer Butler playing bass on it? Yes? Well, okay then, I’ll listen. The world can do a lot worse than that and another batch of Tony Iommi riffs, whatever else may be in store.
Clutch, Earth Rocker
It’s a ripper. With Earth Rocker, Clutch reunite with Blast Tyrant producer Machine and the results are a record varied enough to keep some of the recent blues elements of the past couple albums (“Gone Cold”) while also showcasing a reinvigorated love of straight-up heavy rock numbers on tracks like “Crucial Velocity,” “Book, Saddle & Go” and “Cyborg Betty.” Longtime Clutch fans can expect a bigger guitar sound from Tim Sult, killer layering and much personality from vocalist Neil Fallon and yet another stellar performance from the best rhythm section in American heavy, bassist Dan Maines and drummer Jean-Paul Gaster. No doubt in my mind it’ll prove one of the year’s best when 2013 is done. Once more unto the breach!
Devil to Pay, Fate is Your Muse
Last month, I hosted a Devil to Pay video premiere for the Indianapolis-based rockers’ new track, “This Train Won’t Stop,” from the 7″ single of the same name that precedes the release of their Ripple Music debut full-length (fourth overall), Fate is Your Muse. If the 575-plus Thee Facebook “Likes” are anything to go by, anticipation for the album is pretty high. Reasonably so. When I saw Devil to Pay at last year’s SHoD fest, the new material was killer and the band seemed more confident than ever before. Stoked to hear how that translates to a studio recording and how the band has grown since 2009′s Heavily Ever After.
Egypt, Become the Sun
Technically speaking, Become the Sun is the full-length debut from North Dakota doomers Egypt. The band released their self-titled demo through MeteorCity in 2009 (review here), were broken up at the time, and reassembled with a new guitarist for Become the Sun– which is the only album on this list to have already been reviewed. I don’t know about a physical release date, but it’s available now digitally through iTunes and other outlets, and however you do so, it’s worth tracking down to get the chance to listen to it. Underrated Midwestern riffing, hopefully with a CD/LP issue coming soon.
The Flying Eyes, TBA
Currently holed up in Lord Baltimore Studios with producer Rob Girardi, Baltimore’s The Flying Eyes are reportedly putting the finishing touches on the follow-up to 2011′s immersive Done So Wrong, an album full of young energy and old soul. Along with Blaak Heat Shujaa above, I consider these dudes to be right at the forefront of the next generation of American heavy psych and I’m excited to hear what kind of pastoral blues works its way into their tracks when the album finally gets released. They’re a band you’re probably going to hear a lot about this year, so be forewarned.
Gozu, The Fury of a Patient Man
The melodicism of Boston-based Gozu‘s second Small Stone full-length, The Fury of a Patient Man (I swear I just typed “The Fury of a Patient Mrs.”) is no less striking than its album cover. I’ve had this one for a while, have gotten to know it pretty well and my plan is to review it next week, so keep an eye out for that, but for now, I’ll just say that the sophomore outing is a fitting answer to the potential of Gozu‘s 2010 debut, Locust Season (review here) and marks the beginning of what already looks like another strong year for Small Stone. I never thought I’d be so into a song called “Traci Lords.”
Halfway to Gone, TBA
What I’d really like to see happen is for Halfway to Gone – who are high on my list of New Jersey hometown heroes and who haven’t had a new LP out since their 2004 self-titled — to put out a new record in 2013, for it to lay waste to everyone who hears it, and for the band to finally get the recognition they’ve long since deserved. I’ve been charged up on revisiting their three albums since I saw them at the Brighton Bar this past July and after a long wait, rumors, breakups, makeups, etc., I’ve got my hopes up that this year is when these dudes pull it together and make a new one happen. It’s been too long and this band is too good to just let it go.
Kings Destroy, TBA
Confession time: I have the Kings Destroy record. I’ve had it for a bit now. It rules. I don’t know when you’re gonna hear it, but it’s strange and eerie and kind of off the wall stylistically and it doesn’t really sound like anything else out there. Last I heard they’re looking for a label, and whoever ends up with it is lucky. I use a lot of descriptors for bands and their albums, but rarely will I go so far as to call something unique. This album is. If you’ve had the chance to check out songs like “The Toe” and “Turul” live, you know what I’m talking about, and if you haven’t, then stick around because with all the sessions I’ve had with the tracks, I still feel outclassed by what these guys are doing. Shine on, you doomed weirdos.
The Kings of Frog Island, Volume IV
I keep going back to the video for “Long Live the King” that Leicester, UK, fuzz rockers The Kings of Frog Island put up back in October. No, really, I keep going back. It’s a good song and I keep listening to it. Just about any other details regarding their fourth album and first without guitarist/vocalist Mat Bethancourt (Josiah, Cherry Choke), Volume IV, are nil, but periodic updates on the band’s Thee Facebooks have it that progress on the recording is being made, and in the meantime, I don’t seem to have any trouble paying return visits to “Long Live the King.” Hopefully Elektrohasch stays on board for a CD release, and hopefully it happens soon.
Several times over the last couple months I’ve had occasion to say it to people and I’ll say it here as well: I think Lo-Pan are the best American stoner rock band going right now. I was interested to see how they handled the bigger stage for their opening slot for High on Fire and Goatwhore (review here), and as ever, they killed. I haven’t the faintest idea what their recording plans might be, if they’ll even sit still long enough to put an album to tape in time to have it out in 2013 — I suspect it depends on what tour offers come up in the meantime — but new songs “Colossus” and “Eastern Seas” bode well for their being able to continue the course of momentum that the excellence of 2011′s Salvador(review here) and all their hard work before and since has put them on.
Queens of the Stone Age, TBA
It probably wouldn’t be fair to call the upcoming Queens of the Stone Age album a reunion between Josh Homme and Dave Grohl since the two also played together in Them Crooked Vultures and Grohl only drummed on Songs for the Deaf, but it’s exciting news anyway and could mean good things are coming from QOTSA, whose last outing was 2007′s comparatively lackluster Era Vulgaris. The big questions here are how the time apart from the band may or may not have affected Homme‘s songwriting and where he’s decided he wants to take the Queens sound. We’ll just have to wait and see.
Sungrazer & The Machine, Split
With the Strikes and Gutters tour already booked to support it (dates above; or here), Dutch upstart heavy psych jammers The Machine and Sungrazer have teamed up for a split release as well that’s bound to feature some of the year’s best fuzz. The two bands have a lot in common, but they’re pretty distinct from each other sonically too, and with The Machine guitarist/vocalist David Eering helming the recording, you can safely bet it’ll capture the live, jammy feel both groups share. Latest word has it that the mastered tracks are in-house, so watch for more to come as we get closer to the Valentine’s Day launch of the tour.
The Swedish fuzz juggernauts’ fourth album overall, this will be Truckfighters‘ first with new drummer McKenzo alongside the core songwriting duo of Dango and Ozo. They’ve been teasing recording updates and threatening song clips, but as soon as I run into something concrete, I’ll share. I’m especially looking forward to the Truckfighters album since it means they’ll likely come back to the US for another tour, and since 2009′s Mania (review here) was so damned brilliant. Not sure on a release date, but it’s high on the list of necessities anyway, however low it may appear alphabetically.
Valley of the Sun, TBA
All I’m going on in including Ohio-based desert rockers Valley of the Sun on this list is a New Year’s message they put out there that read, “Happy New Year, Brothers and Sisters!!! You can count on a Valley of the Sun full-length in 2013.” Hey, I’ve relied on less before, and even if you want to call it wishful thinking, the Cincinnati trio are due a debut full-length behind 2011′s righteous The Sayings of the Seers EP (review here). Even if it doesn’t show up until November or December, I’ll basically take it whenever the band gets around to releasing. Riffs are welcome year-round.
Well, I mean, yeah. Right? Yeah, well, sure. I mean. Well. Yeah. I mean, sure. Right? It’s a supergroup with YOB‘s Mike Scheidt on vocals, John Cobbett of Hammers of Misfortune on guitar, Sigrid Sheie of Hammers of Misfortune on bass and Aesop Dekker of Agalloch and Worm Ouroboros on drums. Album’s done, set for release on Profound Lore. So, I mean, you know, yeah. Definitely. No music has made its way to the public yet — though that can’t be far off — but either way, sign me the fuck up. Anywhere this one goes, I’m interested to find out how it gets there.
Vista Chino, TBA
After that lawsuit, it’s not like they could go ahead and call the band Kyuss Still Lives!, so the recently-announced Vista Chino makes for a decent alternative and is much less likely to provoke litigation. But still, the Kyuss Lives! outgrowth featuring former Kyuss members John Garcia, Nick Oliveri and Brant Bjork along with guitarist Bruno Fevery is of immediate consequence. I’m not sure what the timing on the release is, but they’ve already been through enough to get to this point that one hopes a new album surfaces before the end of 2013. What I want to know next is who’s recording the damn thing.
Yawning Man, Gravity is Good for You
Not much has been said in the time since I interviewed Gary Arce, guitarist and founder of influential desert rock stalwarts Yawning Man, about the 2LP Gravity is Good for Yourelease (the Raymond Pettibon cover for which you can see above), but the band has been confirmed for Desertfest since then and they’re playing in L.A. on Jan. 25, so they’re active for sure and presumably there’s been some progress on the album itself. It remains to be seen what form it will take when it surfaces, and the lineup of the band seems somewhat nebulous as well, but when there’s a desert, there’s Yawning Man, and there’s always a desert. 2010′s Nomadic Pursuits(review here) was a triumph, and deserves a follow-up.
Anyone else notice that the “20 Albums to Watch for” list has 22 albums on it? Maybe I wanted to see if you were paying attention. Maybe I can’t count. Maybe I just felt like including one more. Maybe I had 21 and then added Vista Chino after someone left a comment about it. The possibilities are endless.
So too is the list of bands I could’ve included here. Even as I was about halfway through, a new Darkthrone track surfaced from an album due Feb. 25 called The Underground Resistance, and news/rumors abound of various substance concerning offerings from YOB, Eggnogg, When the Deadbolt Breaks, Mars Red Sky, Asteroid, Apostle of Solitude, Windhand, Phantom Glue, the supergroup Corrections House, Kingsnake, Sasquatch — I’ve already made my feelings known on the prospect of a new Sleep record — news went up yesterday about Inter Arma‘s new one, and you know Wino‘s gonna have an album or two out before the end of the year, and he’s always up to something good, so 20, 22, 35, it could just as easily go on forever. Or at least very least the whole year.
If there’s anything I forgot, anything you want to include or dispute, comments are welcome and encouraged.
Some awesome people involved in this faux behind-the-scenes clip of Queens of the Stone Age working on their new album, due in the first half of 2013. Talking with frontman Josh Homme for most of the video is British comic actor Matt Berry, who’s probably best known for playing the boss, Douglas Reynholm, on the sitcom The IT Crowd, but who’s also been in excellent stuff like Garth Marenghi’s Darkplace and the gosh-I-wish-they-made-more-episodes-of-it show Snuff Box, both of which are recommended viewing for anyone who can get ahold of them.
Joining Berry in finding the “Secrets of the Sound” is Steve Agee, who was on The Sarah SilvermanProgram as Brian Posehn‘s pot-smoking, video-game-loving boyfriend. The clip of Agee “interviewing” QOTSA bassist Michael Shuman is pretty awesome, as is the footage of Berry with guitarist Troy Van Leeuwen, whom I don’t think I’ve ever seen outside of a sport jacket and open button-down. Everyone’s gotta have a uniform, I guess.
The nine-minute video was also directed and edited by Liam Lynch, who has worked with QOTSA and Foo Fighters in the past (he appeared on Queens‘ last album, Era Vulgaris, in 2007), and who created Sifl and Olly and has directed a host of stuff for Tenacious D. One big family.
Also watch for: Josh Homme art, the dog dragging its ass on the rug, “the Swayz,” etc. Dig it:
If Probot taught us anything, it’s that when Dave Grohl decides to take on a passion project, the results have the potential to kick some serious ass. And just about a week after it was subtly announced Grohl had rejoined Queens of the Stone Age on drums, the PR wire sent over these clips from a documentary he’s produced called Sound City, about the studio of the same name. There are a bunch of “musical memories” interview snippets on the movie’s YuberTubes channel, but here are a few choice ones, along with some background on the studio and Grohl‘s involvement.
Again, courtesy of the PR wire:
Grohl was inspired to create SOUND CITY the film after purchasing that same recording console last year as Sound City announced its closing. Built in 1972, it is considered by many to be the crown jewel of analog recording equipment, having recorded such artists as Johnny Cash, Neil Young, Fleetwood Mac, Tom Petty, Guns and Roses, Nirvana, Cheap Trick, Rage Against the Machine, Metallica, Nine Inch Nails, Fear and countless other musical legends over the past 40 years.
Grohl’s personal connection to Sound City dates back over 20 years, to the 1991 recording of Nirvana’s breakthrough album, Nevermind. Selling over 30 million copies worldwide, Nevermind not only changed the entire modern musical landscape, but also forever altered the course of Grohl’s life.
A couple weeks ago, I asked the question above: “What are the 10 greatest stoner rock records?” It was kind of just something I was throwing out there to see what came back. Nothing scientific, pretty vague on what “stoner rock” actually meant as a genre designation. Basically just trying to get a spur-of-the-moment response, like an inkblot test for riffs. First thing that comes to mind.
The response was awesome, so before anything else, thank you to everyone who contributed a list to the original post. I was taken aback by the number of replies that came in — a total 73 comments — and the resultant breadth of records named reads like a wishlist of the damned. Some people were pretty orthodox in their definition of the genre, and some more open in the bands they included, but working from everyone’s lists, I tallied up the votes, and while I don’t necessarily agree with all the choices personally (I added my own list as a comment to the initial post, so I won’t bother reprinting it), it was a blast to see what emerged on top. The people have spoken.
I tried to be as fair as I could in the tallying. There were some comments left that were individual songs and not albums, and those I didn’t count, but everything else went in, even if it was only mentioned once, and when someone said, for example, “Melvins – all,” I actually added a tally to everything by the Melvins that everyone else had said. Again, it’s not really a scientific thing polling demographic data, but it was a lot of fun.
Okay, here’s the list:
The Top 10 Greatest Stoner Rock Records Poll Results:
1. Kyuss, Welcome to Sky Valley (41 votes)
2. Sleep, Sleep’s Holy Mountain (27 votes)
3. Black Sabbath, Master of Reality (19 votes)
4. Kyuss,Blues for the Red Sun (18 votes)
5. Monster Magnet,Spine of God (15 votes)
5. Sleep,Dopesmoker(15 votes)
7. Electric Wizard, Dopethrone(14 votes)
7. Fu Manchu, In Search Of… (14 votes)
9. Queens of the Stone Age, Queens of the Stone Age (12 votes)
10. Fu Manchu, The Action is Go (10 votes)
As you can see, some real classics in there, and Welcome to Sky Valleywas far and away the winner, picked by 41 out of the 73 people (myself included), with Sleep and Black Sabbath behind. There were two ties at numbers five and seven, but beyond that, it’s a pretty clear picture of where people are at with their favorites.
What about everything else? Well, it was all counted. I broke all the entries down by number of votes and listed them by artist with albums in chronological order.
This past weekend was my local record show at the firehouse in scenic Wayne, New Jersey. Cobbling myself together from semi-hungover morning-after fragments, I took my two coin repositories — a dog with its tongue sticking out and a Yankee cap — to the bank: $84. Not enough money to really live large, but I was more than willing to take it. The Patient Mrs., bless her heart, waited in the car while I entered the firehouse fray. It was packed.
The dude I bought Amon Düül II‘s Carnival in Babylon from told me I should get Yeti and Wolf City too, and if he had them, I might have. I didn’t tell him I’d seen the band, it being too early for conversations of that magnitude and the generally claustrophobic air of the crowd preventing it. Beatles vinyl abounded, always tempting on an existential level, but I stuck to CDs despite eying a Sly Stone cassette and wound up with Firebird‘s Double Diamond (review here), and from a table in the back, an original issue Diary of a Madman and the first Nativity in Black Black Sabbath tribute, which I probably didn’t already own because I’ll never listen to it. Well, now I own it and I’ll never listen to it.
I picked it up because it was the third in a three-for-$10 deal with the guy selling it, and along with Diary of a Madman, the deal was rounded out by the jewel case version of Lullabies to Paralyze, by Queens of the Stone Age. I’ve owned this record since it came out. I had both the jewel case and digipak editions previously, but gave the hard plastic one away to my sister’s husband when he said he dug it. They were both promos, and I still have the digipak, but it’d been years since my last listen. Every time I get a fancypants digipak like that, the comic book collector in me comes right out. I don’t want to bend the corners.
Plus, when I’m reaching for Queens of the Stone Age — which I am not infrequently; it comes in waves — I’m usually going for the 1998 self-titled or 2002′s Songs for the Deaf. Rated R less so, but every now and again it hits the spot, and the last album (to date), 2007′s Era Vulgaris, just about never. So paying the three-and-a-third dollars for Lullabies to Paralyze was a chance to revisit these songs, which I always recall being a sucker for when the album came out, however overshadowed they may have wound up being by their Dave Grohl-infused predecessors.
Grohl‘s absence and that of bassist Nick Oliveri are all over Lullabies to Paralyze, which means that as much as it was guitarist/vocalist Josh Homme‘s stated mission to continue from where the band had left off three years earlier on Songs for the Deaf — starting with Mark Lanegan singing “This Lullaby” to the tune of Chris Goss‘ vocal on Songs for the Deaf epilogue “Mosquito Song” supports the argument of flowing one into the next — it simply wasn’t going to happen. And ultimately, it didn’t. The album’s character turned out to be more a show of Homme‘s songwriting than anything else.
And that might have more to do with Oliveri being out of the band than Grohl, who, despite being one of his generation’s finest rock drummers (and a capable songwriter to boot) probably didn’t have much to do with the construction of the actual riffs or the arrangements on Songs for the Deaf. Oliveri, on the other hand, fronted the band for that album’s opener, “Millionaire,” and comparing that to “Medication,” which seems to be going for some of the same immediacy and abrasion sonically, the effect simply isn’t the same. Homme‘s semi-blown-out approach is still no match for Oliveri‘s druggy screams, and Lullabies to Paralyze was lacking both that edge and diversity.
Not that the album didn’t have its share of diversity. From the near-bubblegum infectiousness of “In My Head” — a song that seemed to both realize and revel in how catchy it was — to the sexed-up shimmy of “Skin on Skin” and the vague threats of “‘You’ve Got a Killer Scene There, Man,’” Lullabies to Paralyze worked within a variety of moods and atmospheres, but it wasn’t the same, and in directly linking itself to Songs for the Deaf, it seemed like it wanted to be, and was confused as a result.
Performance-wise, however, it might be the best vocal outing of Homme‘s career. “Everybody Knows that You are Insane” proved early on that he could carry the band on his own, “Tangled up in Plaid” confirmed mastery of his falsetto and the smooth transitions into and out of it, and “I Never Came” showed he could convey emotion without being cartoonish or sappy. The single “Little Sister,” along with “Burn the Witch” and “Long Slow Goodbye” and “Broken Box” were affirmations of Homme‘s songcraft, and “Tangled up in Plaid” showed there was hope for life after Oliveri, featuring Alain Johannes‘ bass line as one of the album’s highlights.
But however accomplished, Lullabies to Paralyze was the point at which Queens of the Stone Age became Homme‘s and Homme‘s alone, because although Joey Castillo held his own on drums in the wake of Grohl and Troy van Leeuwen contributed on guitar amid guest performances vocal and otherwise from the likes of producer Joe Barresi, Chris Goss, Lanegan, Shirley Manson (of Garbage),Billy Gibbons (of Z.Z. Top), Jessie “The Devil” Hughes and others, it was Homme himself who emerged as the one steering the ship. More than ever before, it was easy to see Queens of the Stone Age as Josh Homme‘s band, and that became the pivotal difference between Lullabies to Paralyze and anything the group had done previously.
I don’t know if I’ll speak to the enduring appeal of the album, since however much I’ve enjoyed getting to know it again, I’ve already owned it from before it was actually released and haven’t listened to it in years, but it’s a cool record nonetheless, and probably undervalued in the QOTSA catalog for the quality of Homme‘s songwriting and what it meant in terms of the changing personality of the band. Not bad for $3, in any case.
Posted in audiObelisk on November 20th, 2010 by H.P. Taskmaster
I have absolutely no information about this track, when it was recorded, or for what reason, where, how, etc. All I know is that Obelisk attendee David sent me an email with a link in it to Soundcloud (to answer your next question, yes, I follow every link that gets sent to me in emails because I understand nothing about how the internet works), and it’s a Queens of the Stone Age cover of Tom Waits‘ “Going out West” that kicks ass. It’s nigh on 1AM, and the player says it was uploaded four hours ago, so there you have it. Thought I’d share, so here it is:
Posted in Whathaveyou on September 15th, 2010 by H.P. Taskmaster
…Or December if you, like me, are of a more CD-buying persuasion. Queens of the Stone Age‘s first album — hard to get considering the massive success the band had after it — is one of the heftiest slabs of buried treasure I’ve ever come across. I’m sure Josh Homme‘s decision to reissue the album through his Rekords Rekords imprint (with subtly changed artwork and extra tracks, no less) comes in no small part as a response to the people who’ve been paying considerable amounts of cash for the self-titled on eBay, Amazon, etc. It’s worth whatever they’re charging.
Vinyl’s out Black Friday with CD to follow shortly thereafter. The PR wire has this:
The track listing for Queens of the Stone Age, a reissue of Queens of the Stone Age‘s critically-lauded 1998 self-titled debut, reflects the band’s original vision for the album with three tracks that were initially cut from the record reinstated.
The sought after and long out of print album arrives in-stores on Black Friday (Nov. 26) via Joshua Homme‘s own Rekords Rekords as a special bundled package featuring the album both as a 180 gram double-gatefold, double LP and a digital download card (a straight CD release will follow on Dec. 7).
The three additional songs are “The Bronze,” “These Aren’t the Droids You’re Looking For,” and “Spiders and Vinegaroons.”
Queens of the Stone Age track listing:
1. Regular John
3. If Only
4. Walkin’ on the Sidewalks
5. You Would Know
6. The Bronze
7. How to Handle a Rope (A Lesson in the Lariat)
9. Hispanic Impressions
10. You Can’t Quit Me Baby
11. These Aren’t the Droids You’re Looking For
12. Give the Mule What He Wants
13. Spiders and Vinegaroons
14. I Was a Teenage Hand Model
Posted in Whathaveyou on June 24th, 2010 by H.P. Taskmaster
Dear Mr. Homme,
I’d be remiss if I didn’t start off saying thanks for the many years of ass kickery. Having never spoken to you either in-person or via telephone (the closest I’ve yet come was being blown off in 2005), this feels an appropriate avenue to mention that, although there’ve been highs and lows, hard rock probably wouldn’t be the same in 2010 without your having been in it for about two decades now. So yeah, much appreciated.
On to the business at hand: By now I’m sure you’ve seen the video of your former Kyuss cohorts, Nick Oliveri, Brant Bjork and John Garcia playing together at Hellfest in France during a Garcia Plays Kyuss set. If you missed it, here it is:
Pretty badass, I know. Now, the thing of it is, I can’t imagine you haven’t watched that and thought to yourself, perhaps more than ever before, that maybe it’s time to get Kyuss back together. I’m not going to urge you not to do it. Rather, the purpose of this letter is to ask that, if you do decide it’s time for a Kyuss reunion, to do it the right way.
By that I mean no shows. Think of all the reunions going on; bands get back together and they’re all so excited to be playing again — or they’re just doing it for cash — that they book a tour, and yeah, it can be great, but it’s a nostalgic thing. If Kyuss‘ music has proved to be anything, it’s timeless, and to see a reunion come about that’s just based on, “Hey, let’s trot out ‘Allen’s Wrench’ for the folks who didn’t get to see it,” would be disappointing and lame. I think that’s also why it hasn’t happened yet.
That’s not a slag on Garcia Plays Kyuss. I saw them in April and it was great to hear him sing those songs. But if you’re going to revive a band like Kyuss, whose popularity came after their breakup, the way to do it is to put out an album first. I know the music is a lot different, but the best-handled reunion I’ve ever seen was that of Celtic Frost (until it fell apart, anyway). They announced they were back together, and immediately started writing. They took as long as it needed to take to write — in their case it was about five years — and they put out a killer album in Monotheist, and only then did they start booking tours. It was a triumphant return, the shows sold out, the record was great, and most importantly, fans had a context for who Celtic Frost was in the present, instead of who they were when they put out Into the Pandemonium or To Mega Therion.
What I’m saying is, it’s been 13 years since Kyuss ended, and a lot has happened in that time. If you decide to bring Kyuss back, don’t just do it to play the greatest hits, do it as a creative endeavor. That way no one on either side, fan or artist, goes into it thinking things will be just like they were on Blues for the Red Sun, which is a ridiculous expectation but a prevalent one nonetheless. Write first, get Chris Goss to produce, and put out a Kyuss album. Then tour. You’ll find that what Kyuss was is entirely preserved, and what Kyuss is today can honor that while at the same time offer a glimpse of how time has changed you guys as players. As a fan, I just think Kyuss deserves more than the usual “one more go” reunion, and felt compelled to share my thoughts. On the off-chance you see them, thanks for reading.
Sincerely, Some Dude You’ve Never Heard Of
Heaping Pismire Taskmaster
Posted in Whathaveyou on May 31st, 2010 by H.P. Taskmaster
Here in the States, today is Memorial Day, which is basically yet another excuse for everyone to get their jingoism going and glorify war, blow fingers off with fireworks and blah blah blah. What it means to me is the official start of grilling season. True, I hate the heat and I have in fact been grilling all winter, but now it’s the season, which means eating outside, which means grilling music. Killer.
Because I’m all about sharing, here are my seven favorite barbecue records, presented in the order in which they should be played:
1. Black Sabbath, Sabbath Bloody Sabbath. What this says is, “I am here to grill. I don’t care what else happens in the universe, I am going to have a good time and that is that. Now rock with me as I cook this meat.” Perfect starter album.
2. C.O.C., Wiseblood. Like Sabbath Bloody Sabbath, it’s a fun collection of songs, but Wiseblood is a little thicker sound-wise. It’s great to sing-along to, and the groove seems to run throughout the whole album, so it’s consistent too. A definite necessity.
3. Greenleaf, Agents of Ahriman. By now you’ve had a few beers and it’s time to let loose. Greenleaf‘s Agents of Ahriman is catchy, rocking and has a freedom to its sound that seems to be made for the outdoors.
4. Queens of the Stone Age, Songs for the Deaf. I confess, I love this record regardless of the food and/or climate surrounding. I try to take it everywhere, so it comes out for grilling for sure. “Go with the Flow?” Come on, man. Can’t beat that.
5. Fu Manchu, King of the Road. The last of the real rockers on the list, it’s great to finish the meal with some righteous fuzzery, and for that, there’s nowhere to go but to Fu Manchu. If you’ve got ice cream for dessert, this’ll work with it.
6. Monster Magnet, Spine of God. You’ve rocked, you’ve stuffed yourself, you’re probably more than a little intoxicated and you feel like if you ever even see another burger, your heart will explode in your chest. Clearly you’ve yanked on the spine of god and it’s time for some penance.
7. Masters of Reality, Flak ‘n Flight. This is for your cleanup. When you’ve drunkenly insulted all your relatives or friends and they’ve left and it’s just you and the mess. You put this one on and sing along as you throw away paper plates, beer bottles and the bloody packaging that once contained the meat now blocking up your colon. It’ll help ease the pain.
I’ve also found that Enslaved‘s Ruun album is great for cleanups, so if it persists longer than Flak ‘n Flight lasts, you might want to have that on-hand for reinforcements. Or maybe you just want to sit on a plastic chair in the dark for a while. It’s good for that too.
Of course, if you’re in it for the full-day barbecue experience, you’re going to need more than seven albums, but hopefully this is a decent start. If you have any longtime favorites, leave a comment and let me know about them. You can never have too much grilling music.