Thursday, March 24, 2005
Queens of the Stone Age - Lullabies to Paralyze
I guess I can't expect the Daily Campus to just print my articles whenever I send them - its always worked, but not this time. Tuesday, Queens of the Stone Age released Lullabies to Paralyze. I wrote a review, but they ran a different review that was much more critical of the album. So to prevent my writing to go completely to waste, I've included my article below. Basically, I'm very pleased with this CD, not at all a letdown from their three previous albums. I'm psyched to be seeing the band at the Webster Theater this Saturday, and I'll definitely have a review in the DC or right here.
Queens of the Stone Age - Lullabies to Paralyze
When discussing the follow up to their 2002 breakthrough album, “Songs for the Deaf,” it would be easy to focus on what is missing from Queens of the Stone Age. Gone are Dave Grohl and Nick Oliveri. Mark Lanegan appears on the album, but in a noticeably smaller role. Expecting any less of the group would be a mistake, however. While the group’s first two albums did not generate the same mainstream success as “Songs for the Deaf,” they were still top notch rock albums that did earn the band a loyal following and much respect among fans and peers. Frontman Josh Homme has always been the driving force behind QOTSA, and his abilities are again apparent on “Lullabies to Paralyze.” Despite the changing lineup, QOTSA has again made an incredible rock record that separate
“This Lullaby” gives the album a slower, more somber beginning than prior discs, though this is no criticism. Lanegan’s deep and rather haunting vocals are fitting for this short acoustic opening to the CD. “Medication” sharply contrasts the first track with a much faster-paced and heavier sound. Guitarist Troy Van Leeuwen provides an aptly played slide intro to “Everybody Knows That You’re Insane,” which grows more aggressive as the song progresses.
“Tangled Up In Plaid,” and “In My Head” stand out as catchy songs that still maintain their edge. The same could be said of the album’s first single, the current hit “Little Sister.” This is one of the many tracks where Homme is able to further establish his lead and rhythm guitar work as some of the most unique in rock today. Another highlight is “Burn the Witch,” which features some of the most prominent guest appearances on the disc. Lanegan again lends his vocals to the odd, bluesy number, while ZZ Top’s Billy Gibbons offers exceptional guitar work.
As with prior work, QOTSA prove they can produce a radio-friendly hit without at all compromising their style of music. There is no indication the band feels pressure to stick with “safe” 3-4 minute songs that will appeal to the mainstream. The group’s willingness to take chances on longer songs with meandering guitar lines might alienate some, but true fans should realize that this band’s occasional musical experimentation is what made them stand out in the first place. “Someone’s In The Wolf” and “The Blood Is Love” run the risk of appearing less focused than the earlier part of the album, but Homme’s interesting guitar work and lyrics keep the songs and album from growing boring.
While the CD remains strong throughout, the final two songs emerge as absolute gems that tie the disc together nicely. “You Got A Killer Scene There, Man” has a more trippy, laid-back feel with effective lead guitar laced around moody vocals. The very well-written “Long Slow Goodbye” provides a poignant conclusion with Van Leeuwen’s guitar work again perfect for the song.
Once a band establishes itself as a success, comparisons to past music are inevitable and sometimes unfair. “Lullabies to Paralyze” compares favorably not only to anything QOTSA have done before, but to any modern album. Homme steals the show, but a variety of musicians make meaningful enough contributions to create a balanced effort. Managing to produce an accessible piece of work that adheres to a band’s roots is easier said than done; QOTSA has no problem doing so. There really is no band like Queens of the Stone Age on the current music scene, and “Lullabies to Paralyze” showcases their consistently distinct and refreshing sound.
I guess I can't expect the Daily Campus to just print my articles whenever I send them - its always worked, but not this time. Tuesday, Queens of the Stone Age released Lullabies to Paralyze. I wrote a review, but they ran a different review that was much more critical of the album. So to prevent my writing to go completely to waste, I've included my article below. Basically, I'm very pleased with this CD, not at all a letdown from their three previous albums. I'm psyched to be seeing the band at the Webster Theater this Saturday, and I'll definitely have a review in the DC or right here.
Queens of the Stone Age - Lullabies to Paralyze
When discussing the follow up to their 2002 breakthrough album, “Songs for the Deaf,” it would be easy to focus on what is missing from Queens of the Stone Age. Gone are Dave Grohl and Nick Oliveri. Mark Lanegan appears on the album, but in a noticeably smaller role. Expecting any less of the group would be a mistake, however. While the group’s first two albums did not generate the same mainstream success as “Songs for the Deaf,” they were still top notch rock albums that did earn the band a loyal following and much respect among fans and peers. Frontman Josh Homme has always been the driving force behind QOTSA, and his abilities are again apparent on “Lullabies to Paralyze.” Despite the changing lineup, QOTSA has again made an incredible rock record that separate
“This Lullaby” gives the album a slower, more somber beginning than prior discs, though this is no criticism. Lanegan’s deep and rather haunting vocals are fitting for this short acoustic opening to the CD. “Medication” sharply contrasts the first track with a much faster-paced and heavier sound. Guitarist Troy Van Leeuwen provides an aptly played slide intro to “Everybody Knows That You’re Insane,” which grows more aggressive as the song progresses.
“Tangled Up In Plaid,” and “In My Head” stand out as catchy songs that still maintain their edge. The same could be said of the album’s first single, the current hit “Little Sister.” This is one of the many tracks where Homme is able to further establish his lead and rhythm guitar work as some of the most unique in rock today. Another highlight is “Burn the Witch,” which features some of the most prominent guest appearances on the disc. Lanegan again lends his vocals to the odd, bluesy number, while ZZ Top’s Billy Gibbons offers exceptional guitar work.
As with prior work, QOTSA prove they can produce a radio-friendly hit without at all compromising their style of music. There is no indication the band feels pressure to stick with “safe” 3-4 minute songs that will appeal to the mainstream. The group’s willingness to take chances on longer songs with meandering guitar lines might alienate some, but true fans should realize that this band’s occasional musical experimentation is what made them stand out in the first place. “Someone’s In The Wolf” and “The Blood Is Love” run the risk of appearing less focused than the earlier part of the album, but Homme’s interesting guitar work and lyrics keep the songs and album from growing boring.
While the CD remains strong throughout, the final two songs emerge as absolute gems that tie the disc together nicely. “You Got A Killer Scene There, Man” has a more trippy, laid-back feel with effective lead guitar laced around moody vocals. The very well-written “Long Slow Goodbye” provides a poignant conclusion with Van Leeuwen’s guitar work again perfect for the song.
Once a band establishes itself as a success, comparisons to past music are inevitable and sometimes unfair. “Lullabies to Paralyze” compares favorably not only to anything QOTSA have done before, but to any modern album. Homme steals the show, but a variety of musicians make meaningful enough contributions to create a balanced effort. Managing to produce an accessible piece of work that adheres to a band’s roots is easier said than done; QOTSA has no problem doing so. There really is no band like Queens of the Stone Age on the current music scene, and “Lullabies to Paralyze” showcases their consistently distinct and refreshing sound.
