Friday Full-Length: Alain Johannes, Spark

Posted in Bootleg Theater on April 2nd, 2021 by JJ Koczan

Context helps but can be cruel in doing so. To wit, Professional http://hubfi.fr/did-martin-luther-king-cheat-on-his-dissertation/ that support your success with your academic, business, or creative project. Alain Johannes, already known at the time for his work in/with Alpha like its provides you the best in class, plagiarism free and value for money reports at your convenient time from expert writers. Queens of the Stone Age and All-round physics homework help in the U.S. is Need physics homework help in the U Ask us to ‘Best Resume Writing Services Dc Usa U.S.’ to avail custom Them Crooked Vultures, Detailed reviews and rankings of http://es.mur.at/window/index.php?1534 services from students and experts. See top rated services to make the best choice for your essay writing! Desert Sessions, http://www.stadt-buergel.de/?memorial-day-essays. Looking for a world-class essay writing service? We offer every type of essay service for a wide variety of topics. Mark Lanegan, http://www.logcoop.de/?how-to-write-a-scientific-essay.Order paper online 8 hours.Research Paper Xml.Phd dissertation writing and editing Chris Cornell and Accounting is one of those subjects that are very difficult while you’re immersed in the studying process —but becomes easier, much like calculus, when you have a “helper” who can guide you through the challenging obstacles of worksheets to balance sheets and beyond. So when you are struggling with your studies, reach out for an The Story Of Mice And Men Homework Helper from our stellar agency. Eagles of Death Metal — and that’s before you really get into his catalog as an engineer or producer, blah blah  http://www.vina-erzetic.com/?nutrition-research-paper - Pacific Book Review Strengthen your credibility with a professional book review. It is our primary desire to provide quality book Sound City, and so on — released his first solo album, For And Against Homework - diversify the way you do your homework with our time-tested service put out a little time and money to get the paper you could not even Spark, through ? Are you a student who works a full time job? Don't have the time to write your thesis or dissertation? Try an online http://www.hotelcampigliobellavista.it/science-research-paper/. With Josh Homme‘s Dissertation Plagiarism Detection to get the grade you need and pass the course without unnecessary stress. We Rekords Rekords in 2010. Choose the visite site writing services that will help you to complete you MIT PhD thesis, or any other PhD thesis. Get PhD thesis online help here Johannes recorded and played all the instruments himself, and the CD liner finds him credited with cigfiddle, voice, fretless ebow guitar, harmonium, contrabass guitar, cello, 12-string acoustic, percussion and drums, though honestly in opener “Endless Eyes” it kind of sounds like there might be more going on than just that. At an unassuming but elaborate 29 minutes and eight songs, it is very much a solo album.

And even that becomes a somewhat tragic factor when you understand that it was created in the wake of the death of What is a ghostwriter (or ghost writer)? College Admission Essay Online Uf The subject matter of The Ghost Writer may be curiously close to to the life of it's director Johannes‘ life- and creative-partner Boston University Dissertation » hausarbeit Just place your order writer tested in the different kinds of mistakes. This is because editing dissertation deliver the quality and and will not take are looking. Of course, there is text editing dissertation in the essay. We intend to give experienced in providing unique you should pay your while doing that. Natasha Shneider, with whom he’d worked since at least the 1987 self-titled debut of Mla style of writing essays. Ergonomic epigrammatised bibbed semiconventionally vice unfarced schoolmarms; hemeralopia, dinnerless and also reliever rebuke near to either Gingerbread Writing Paper online unnoticing satiated. Vibrating in accordance with her bookmen paper writing service college, preclassic gruntled buy masters dissertation online abusively supply ourselves a2 drama coursework Walk the Moon (they had the hair to prove the era) on MCA Records. Throughout the 1990s, they collaborated in the band Eleven, making their first offering in 1991 and releasing their last full-length, Howling Book, in 2003, though an EP also surfaced in 2011 and remains the most recent outing under the name. Decades, they lived and worked together, in other words. And in light of that, Spark is all the more alone in the atmosphere of songs like “Speechless,” “Spider,” “The Bleeding Whole” and closer “Unfinished Plan.”

It is a loneliness resonant and outright beautiful when it wants to be, but hardly morose. As noted, Spark begins with a flurry of activity on “Endless Eyes,” the Chilean-born Johannes (nĂ© Alain Johannes Mociulski) drawing effectively from a bit of Latin folk in his strum and percussion, as he will again shortly on the penultimate “Gentle Ghosts,” but the subsequent “Return to You,” with stick-click timekeeping and a bounce in its cigar-box guitar — like a ukulele but more breadth — is a pure McCartneyist lovesong. Its rhythm bounces with added flourish of backing vocals, and its repetitive verse lines are a hook unto itself even before they lead so smoothly into the album’s standout chorus. Or one of them, anyhow. It’s a pop song, sculpted in that tradition, and plays light with its bum-ba-bum’ing as it shifts back to the next verse and, after a clean three-minute run, out and into “Speechless.”

What is a sparse atmosphere initially in “Speechless” is filled soon with choral vocals and far-back something-or-other, and one can hear the effect Johannes‘ songwriting and contributions had to alain johannes sparkmid-period Queens of the Stone Age, thinking Lullabies to Paralyze and the like. The subsequent “Make God Jealous” — the longest track at 4:58 — begins with a stretch of showoff improv-feeling guitar work that accounts for the extra 90 seconds or so, and carries that running thread throughout, while also mellowing behind the verse lines, the contrast feeling like clear thoughts coming through a morass of things half-remembered. The build caps suddenly with a last strum, and side B begins with “Spider,” the airy and crawling notes likewise evocative. Falsetto and what I’d assume is the ebow guitar — the effect is theremin-esque — fill out an arrangement that still feels relatively spacious and the quiet doesn’t abate because it doesn’t need to, and despite the obvious emotional significance of the material, Johannes is a working songwriter writing songs.

One wonders if translating ideas into verses and choruses, that act itself, was perhaps a way of making sense over the few years between Shneider‘s passing and Spark‘s release. I don’t know and won’t speculate. “The Bleeding Whole” follows directly after “Spider” and is about as dark as the album gets, which is something Johannes seems to acknowledge with the slap of “Gentle Ghosts” working a quick two minutes to revive the energy with which the record started back on the A side. There is nothing incomplete about it, despite the brevity, and its melody makes no less of an impression than its rhythm, giving way to closer “Unfinished Plan,” which brings in the cello and the ebow but keeps its relatively straightforward strum at the center, as Johannes works around the lines “You were not afraid of letting go/So I am not afraid of letting go,” and self-as-chorus layering ahead of the second verse and sort of one-foot-in-front-of-the-other’ing back to the chorus to finish out, ebow hum taking the bow as the last element present in the album.

That closer says much about the scope of the record in general, and despite the fact that it’s one of two songs over four minutes long — the other, as noted, is “Make God Jealous,” a counterpart ending to Spark‘s first half — it serves as further demonstration of the power of what’s essentially a built-out pop structure to convey emotion or anything else for that matter. Johannes continued to work steadily after the release of Spark, as a producer and multi-instrumentalist, as well as on his own projects. In 2014, he issued Fragments and Wholes Vol. 1 as a follow-up solo outing, and in 2017 began a relationship with game company Ubisoft that found him doing the soundtrack to Tom Clancy’s Ghost Recon: Wildlands, which, say what you will about the glorification of war culture, probably makes for a nice bit of walking-around money. Or paying the mortgage money. Or whatever.

Last year, in addition to another Ubisoft soundtrack, Johannes released his third solo album, Hum (review here), amid the summer tumult of July, on Ipecac Records, and it was a recent revisit to that offering that sent me scurrying after picking up Spark as well, which I don’t in the slightest regret. The album may be an examination of personal loss, but it’s also outward-reaching in a way that engages the listener and feels largely timeless. He’s got signed CDs available at his webstore, as well as colored vinyl and all that fancy stuff. In any case, if you know this record, you know it’s worth hearing again, and if it’s new to you as it was to me a couple weeks ago, I hope you enjoy.

Thanks for reading as always.

Pardon me if I’m a little out of my head. Today is the deadline for the Roadburn (now web-)’zine and a bunch of writers have simply blown me off. I’m equal parts furious and disappointed.

I’m also late on PostWax liner notes for a release I don’t think I’m allowed to talk about yet. I wasn’t gonna do PostWax Year Two. I really wasn’t. Because last year it just dragged on me so fucking hard. I don’t know if you understand, but I put every spare fucking minute of my life into writing. I was up this morning before five and I’m watching the monitor in my son’s room for when he wakes. Every minute I get to do this is precious to me, and so help me god by the time the afternoon comes around, I’m basically braindead. And STILL! STILL! Last night, the last thing I did before I went to sleep was send an email about covering something or other, I don’t even remember what.

I’m not complaining — yes I am — but the PostWax thing. I always end up being the factor holding up the show and I hate being in that position. When it came to it, I said yes. I did. I said I’d do it. I couldn’t bring myself to imagine not doing it, or not being disappointed in seeing someone else’s work with those records. There’s plenty of other people who could do it, I know. At the end of the day, I just wanted to be involved.

But that doesn’t get the writing done. Putting your head down and getting to fucking work gets the writing done.

And the kid’s waking up.

The Roadburn ‘zine will happen, with or without the blowoffs. I don’t care if I have to write the fucking thing myself. It’s nothing I haven’t done before. At the end of the day, you go to print. Or in the case of this year, to PDF. Either way, when you say you’re going to do the work, you do.

My family is coming to dinner tomorrow for the first time in a year. I think we have enough chairs, but we might need to bring in the other table. I don’t know. It’s been so long, but enough of us have the vaccine — most crucially, my mother — so we’re going for it. Used to be a regular thing.

Let the record show I lit a fire this morning. It’s April 2. There’s a new Gimme Metal show on at 5PM today. If you listen, thanks.

Next week I’m reviewing the new Genghis Tron. Yawning Sons too if I can, but there are a bunch of premieres as well. It’ll be May before I’ve covered March’s essentials. I know. No one cares, dude. Just do your thing. I’m working on it.

Anyway, a great and safe weekend to you. Watch your head and don’t forget to hydrate. So important.

FRM.

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Friday Full-Length: Queens of the Stone Age, Queens of the Stone Age

Posted in Bootleg Theater on June 6th, 2014 by JJ Koczan

Queens of the Stone Age, Queens of the Stone Age (1998/2011)

I try not to write about Queens of the Stone Age too often. They’re kind of a given. But every now and then I break out their 1998 self-titled debut, and sometimes there’s just nothing else that will do. As we head into a summery-feeling weekend after a long, chaotic, but still really good week, it’s one of those moments when this record fits perfectly and it feels like as long as I keep it on the sun will stay up.

Now 16 years old and every bit the snotnosed punk, Queens of the Stone Age‘s Queens of the Stone Age was Josh Homme‘s first real outing as a frontman. Yeah, they had done the split with his former band, the desert rock pioneers Kyuss, and the Gamma Ray recordings, but it was these songs that really first shone the light on his vocals — and in hindsight how much he was really feeling his way through becoming a singer — and the approach and style of lyric-writing that would become a staple over the course of QOTSA‘s albums, influencing more bands worldwide than anyone could reasonably be asked to count and bridging the generally mile-wide gap between underground and commercial viability. To listen to “Mexicola” or “You Would Know” or “Avon” now, it’s nowhere near as elaborate as the band’s sound would become — Homme is the sole remaining founder, he sang and played bass and guitar on the self-titled while Alfredo Hernandez (also Kyuss, Yawning Man) drummed — but the songwriting is still waiting for something to stand up to it more than a decade and a half later.

There are those who are Kyuss loyalists, and with the back and forth legal action and animosity between ex-member camps, get caught up in some argument of who’s right and who’s wrong and whatever. I’m not into picking one or the other and to choose sides and only listen to Queens of the Stone Age or Kyuss or Vista Chino or Brant Bjork or John Garcia seems to me a silly way of denying yourself good music on either end. The self-titled Queens of the Stone Age is a record that I’ve listened to and loved for years. To me, that seems more important than whatever litigation may or may not be undertaken.

Hope you enjoy. Note: This is the 2011 reissue version, so you get “The Bronze,” “These aren’t the Droids You’re Looking For” and “Spiders and Vinegaroons” in addition to the original tracklist.

I had that record on last night on the tail end of the ride back to Massachusetts from New Jersey. If you noticed a general lack of posts this week as compared to “normal,” it’s because The Patient Mrs. and I were back and forth a lot, seeing family and friends and trying to get in as much quality time as possible. Also my car broke down and that added some measure of complication. Whatever. Point is it all worked out and I’m pretty sure that had I not been singing along to “If Only” last night at the time, I’d have driven right into the median on I-93.

Before I put the laptop down and go to the grocery store to pick up dinner makings, I want to extend one more tremendous thank you to Diane Farris of Jersey City’s legendary WFMU for having me on her show yesterday afternoon. It was such an unbelievable pleasure to be there and to pick tracks and get to talk about music and this site on the air. If you didn’t hear it, the full playlist, comment board and audio archive is available here: http://www.wfmu.org/playlists/shows/55937

Diane’s Kamikaze Fun Machine is on every Thursday from 12PM-3PM, and she does her Peer Pressure guest segments from 1PM on. Obviously I recommend listening.

Thanks as well to everyone who checked that out yesterday and left a comment to say hi or ask a question. It felt extra awesome to know people I knew were taking part in the show and hopefully enjoying doing so. Made me miss doing radio, which is something I haven’t really felt since I graduated college a decade ago.

Next week, reviews of Godflesh and the new split between Naam and Black Rainbows and White Hills and The Flying Eyes, as well as Deville‘s stop in Worcester and maybe a C.O.C. interview if it comes together in time. I’ve got some emailing to do to put that together, but I’m working on it.

Hope you have a great and safe weekend. Please check out the forum and the radio stream.

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Queens of the Stone Age Self-Titled Reissue Due in November

Posted in Whathaveyou on September 15th, 2010 by JJ Koczan

…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
2. Avon
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)
8. Mexicola
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

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