Queens of the Stone Age: ...Like Clockwork Review

Album: ...Like Clockwork

Artist: Queens of the Stone Age

Genre: Alternative/Stoner Rock

8.0/10

      

    Queens of the Stone Age are almost huge.  They're definitely well known, but no one could really argue that they're a stadium-filling band.  They do have a myriad of moderate hits and usually grab a high place on the Billboard album charts, but they never seem to reach that Foo Fighters level of rock popularity, and for awhile I never understood why.  The more I listen to their new record, however, the more I realize perhaps why they aren't that popular.  With crashing guitars, intense solos, dirty production style, and above 4:30 song lengths, the songs on ...Like Clockwork just have too much for a casual rock listener to handle.  They're content with their straightforward pop-rock antics like the Foo Fighter's "The Pretender" or Jet's "Are You Gonna Be My Girl".  Queens of the Stone Age are definitely accessible, but they also have a truly musical component that can set them above other modern mainstream acts.

     Deep and messy tracks like opener "Keep Your Eyes Peeled" layer on component after component. Drums boom for one verse and become filtered for the next.  Clear piano chords resonate alongside fuzzy bass lines.  "Smooth Sailing" features some heavy syncopation and interplay between the instruments, with Homme reaching as high as his vocal register can while still retaining that constant heavy atmosphere.  Trent Reznor really brings a creepy factor to "Kalopsia".  Heavy breathing and deep subbass synth tones give the first part of the track a near-ambient break in the fast-pacedness of this record.  This tone doesn't linger though, as guitars screech and crash to bring in the most powerful chorus on the record.  "I Appear Missing" boasts an over 6 minute song length that is justified with a dichotic breakdown and noisy outro.

    While these components are the ones that truly set Queens apart, Josh Homme's pop smarts cannot be denied either.  Homme has a knack for crafting simple yet catchy melodies on top of his layered, methodical instrumentals.  "The Vampyre Of Time and Memory" and "Fairweather Friends" both boast incredibly catchy vocal lines.  He creates a perfect amount of space between him and the chord changes, and embellishes his voice to match the theme of the song.  Single of the record "My God Is the Sun" is a deceptively simple track that is a clear choice for lead single.  It's danceable, singable, and ends with the oh-so-tantalizing half-time outro.

     The record is not without fault however.  Sometimes the messiness loses its charm and becomes somewhat muddled like on the opener.  If you pay attention to lyrics in your music you may not like what you hear, as Josh relies heavily on cliches throughout the record.  The ending of "Fairweather Friends", while funny, definitely denies the listener a satisfying end to the tune.  Finally, the last track is pulled straight out of a rock bible, with a slow piano chord intro, swelling strings, and tired melody.  It's something we've heard a dozen times a dozen times before.  But overall, it's a satisfying return to form for QOTSA, and their best record since Songs for the Deaf.  8.0 clocks out of 10.

Fave Tracks: I Sat By the Ocean, Kalopsia, My God is the Sun, I Appear Missing

Chance the Rapper- Acid Rap Review

Album: Acid Rap
Artist: Chance the Rapper
Genre: Hip-hop/Pop-rap


8.2/10






     Summer time is fast approaching, and with it the demand for songs to play while enjoying summer activities.  May I suggest the latest effort from Chi-town native Chance the Rapper, Acid Rap.  Now I wouldn't say this is an album to listen to while taking acid; I would say this is the album to play while reminiscing on that time you took acid.  On Acid Rap Chance takes a look back musically, drawing influences from classic R&B, hip-hop, acid jazz, and even ragtime.
    The production on this mixtape is really top-notch.  The drums especially are extremely crisp and the parts themselves fit well with the style of each individual song.  Leadoff hit "Good Ass Intro" starts off with a baptist-style choir as he breaks out some wacky a capella rapping.  Once the drums come in, there's a clear dynamic shift, leading to a more grounded feel.  The main chord deliverers on this mixtape are organ, piano, and clavinet.  Simple pop chord changes are played soulfully and voiced beautifully on tracks like "Cocoa Butter Kisses" and "Interlude".  Vocal samples aren't utilized much but when they're heard they're just right.  "Chain Smoker" effectively syncopates some emphatic 'yeahs' with the busy drum beat.
    The real kicker here though is Chance himself.  Chance the Rapper establishes himself alongside Danny Brown as one of those great 'weird' rappers.  Chance's vocal textures vary from atonal laughs to soulful dirges.  He can transition from soft to harsh on a dime and back again.  He establishes his singing voice often.  He could easily pass for a R&B singer on "Interlude" backed up by that classic soul chorus.  On "Favorite Song" he busts out the catchiest hook on the record.  Super sing-a-long-y, it's sure to grab even the biggest naysayer.  On "Juice" we hear the nod to ragtime, with Chance croaking a bluesy intro filtered with an old-timey effect.  His rapping fluctuates madly on every track, and he incorporates singing and rapping fluidly, not sticking to the old fashioned rap-verse sing-chorus bullshit.
  Lyrically Chance also shines.  With likes like "It's easier to get a gun than a parking space" and the spiritually present motif "I think we're all addicted" Chance attempts to act as a humble, but wise messenger.  He is a big fan of interior rhyme and building off of motifs.  "I got burn holes in my hoodie/I got burn holes in my head or "Keep a tab on my exes, keep some 'x' on my tongue Keep my work out in Texas, that's just me flexing my lungs".  This is just a taste of Chance's poetry in motion
   The guest spots are not the strongest aspects of this record, however.  Most guests provide some nice contrast, but are completely dwarfed by Chance in all respects.  Childish Gambino goes at "Favorite Song" with his signature anti-swag, and Action Bronson brings some childishness to "NaNa", but these spots are decent at best.  The first half is also somewhat better than the second.  The second half of the mixtape still has some great tracks, but Chance takes a much more introverted turn, with mostly just 'good' results, and not fantastic ones like the first.  Also I should note that I don't care for 'NaNa'.  The track is meant to represent schoolyard rivalries (na na na na naaaaaaa type stuff) but the hook's playful annoying quality turns into real annoyance quickly.
     Overall this is dope.  There are some really stellar songs that will fit in nicely in your summer playlist.  But this is also a mixtape to be listened to all the way through, seeing as it has an intro, interlude, and outro.  Check this shit out.  8.2 tabs out of 10.

FAVE SONGS: Good Ass Intro, Cocoa Butter Kisses, Juice, Interlude, Everything's Good
   

Thee Oh Sees- Floating Coffin Review

Album: Floating Coffin
Artist: Thee Oh Sees
Genre: Psychedelic Garage-rock


8.5/10





 

      I think this is the record that has established Thee Oh Sees as one of my favorite bands.  They're just so friggin' consistent.  John Dwyer has about a million song ideas in his head and he records every one of them.  Plus they release an album every year.  I don't know how they do it to be honest.
   On this new record, and with each of their records, they tweak their signature sound with one key alteration.  With Floating Coffin Thee Oh Sees take a dark and twisted turn.  You could see this change with your very eyes just by watching the video for "Toe Cutter- Thumb Buster" or by looking at the album cover.  John Dwyer's sweet falsetto is directly contrasted with furious guitars, pounding drums, and noisy solos.  Album opener "I Come From the Mountain" features classic Oh Sees guitar noisiness alongside strong simple melodic keyboard leads.  The next track features a much angrier and more powerful two-chord progression.  It establishes a sludgy quality that contrasts with a lighter chromatic quality.
     Guitar layering is a key musical motif in this record as well.  Dwyer layers guitar part on guitar part in every song, focusing it especially in 'No Spell" and "Strawberries 1 + 2".  This syncopation has been less pronounced on their previous records, but is a welcome addition on this one.  It gives it a full, rich sound while still retaining that glorious DIY attitude.
    It's also their most intense record, with large crescendos and frantic dynamic shifts.  Distortion is a key element not only in the instrumentation, but in the vocal filtering.  John Dwyer is mostly intelligible, with only the crunchy melody coming through.  The dark lyrics cannot be understood, but once you read them alongside, the record becomes that much more disturbing.
    But don't let the scariness scare you off!  These songs are very enjoyable and quite accessible.  The first two tracks should hook you for the rest of the album.  You'll be hypnotized by the drums and the guitar breaks will make you say "Fuck Yeah!".  At least they did for me.  The only real problem I have with this record is that they put the two best tracks as the first two songs.  8.5 coffins out of 10
 

Listen to Queens of the Stone Age play 2 new songs

    As you probably know, Josh Homme and his merry men are returning with a brand new album due out June 4th.  They've been teasing us with clips and the shortest track on the record, and now we have two new tracks performed live.  The first of which definitely sounds like it could've been pulled off of Lullabies to Paralyze, complete with sleek slide guitar line and sing-along chorus.  The second is much darker, utilizing a punchy vocal delivery and syncopated descending guitar and bass chords, along with that signature QOTSA crunchy guitar tone.  Take a listen.