WGSU Music Blog

Queens Of The Stone Age: Self-titled

2011-02-27T17:06:00.000-08:00

Queens of The Stone Age have pleased and teased their fans for the past 14 years now, with records being rubbed out on a nearly bi-annual basis and a lineup that's been practically on shuffle since the group formed that long ago. In recent years, however, they and their jingoistic fans have been forced (not quite the right term) to pass the time between 2007's Era Vulgaris and a new release with each of the band members' side projects. It was hardly an effort, however, with frontman Josh Homme stepping aside to work with former drummer Dave Grohl and the legendary John Paul Jones to form the supergroup Them Crooked Vultures, keyboardist Dean Fertita joining Jack White's project The Dead Weather, and bassist Mikey Shuman co-founding the pop trio Mini Mansions.

But as of the start of this year, the Queens are back in the recording studio. To help celebrate/promote a return to business as usual, the group is re-releasing its 1998 debut eponymous album sometime in March. This is the album that rose from the ashes of desert-rock vanguards Kyuss to bring the genre into a whole new limelight. It was the only one by the band to feature in the reference book 1001 Albums You Must Hear Before You Die. Homme himself credits the record with establishing the band's sound, and what an unorthodox sound at that.

"Regular John" kicks the door open by introducing the "robotic" riff-oriented style that blueprints the remainder of the album. While it doesn't necessarily start off slow, it takes some time to really get things crashing. But it's easy to see how Dave Grohl fit in so well when he joined for 2002's Songs For the Deaf; alongside the relatively uncomplicated, yet habit-forming guitar parts are carpet-bombing symbols and bass kicks. From there, things only get heavier with "Avon," which carries the percussion from the track before it and absolutely pounds it into your skull.

Then things soften up a bit with "If Only," which splits the anxious riffs with sadder, more sentimental wails from Josh. You can feel real emotion in this song, implying a certain authenticity to the group as more than just tattoo junkies using their guitars to whack the cash piñata. Josh confided in an interview once that it wasn't until he was about 25 (the approximate time of the album's release) that he started to think he might be able to turn music into a career, so apparently a lot was riding on this record for him and his gang.

Some other essential tracks include "You Can't Quit Me Baby," a fan favorite and one that definitely puts the band in a class of their own. The song unfolds like a stalker saga, but somehow finds a sweet spot between the sheer creepiness of the vocals and uncannily dance-worthy bass grooves. Just pay attention to the lyrics, and try not to find yourself just a little bit uncomfortable while fighting the urge to nod your head.

The final track on the record is the curiously-named "I Was a Teenage Hand Model." It seems like the band was really out to melt their names in the desert sand with this kind of an ending. How does it stand out? For one: there aren't any guitars in it. Unlike the rest on the album, the song introduces and emphasizes piano and augments/interrupts it with rather strange electronic effects in the background. It's a slow, fading sunset to what is for the most part a highly mercurial debut, but trust me - it somehow fits perfectly.

To aid the memory of their longtime fans and to give more recent fans an education, the band is currently going on tour to play the album in its entirety, and yours truly will be in attendance for their stop in NYC. I'll see about letting you know how it went once I come back, if I make it back.

In the meantime, do yourself a favor and check out this one, for old time's sake if you're a Queens fan, and for christ's sake if you're not yet. But Josh Homme & Co. tell it better than I can.

Recommended tracks:

2 - "Avon"
3 - "If Only"
9 - "You Can't Quit Me Baby"
10 - "Give the Mule What He Wants"
11 - "I Was a Teenage Hand Model"

Mogwai - Hardcore Will Never Die, But You Will

2011-02-01T10:22:00.000-08:00

Mogwai, a post-rock band from Glasgow, Scotland, has just released their first studio album in almost three years. Let there be no doubt: Mogwai still has what it takes to rock out.

Recommended tracks:
Rano Pano
San Pedro
George Square Thatcher Death Party
How to be a Werewolf

For those unfamiliar with the genre known as post-rock, it can be described as music that uses traditional rock instruments and chord progressions, but with an emphasis on the instrumentals, rather than vocals, which are often absent. Typically, vocals are the most recognizable and distinctive parts of a rock song. Mogwai scarcely includes vocals on their tracks, and when they do, they not prominent or distinctive, but instead act as an instrument. It is important to note that it can often be difficult to make a song engaging or interesting with the absence of vocals, and it is a testament to Mogwai's great skill that they are able to create such fantastic albums.

Hardcore Will Never Die begins slowly, as Mogwai are apt to do, with the track "White Noise." The song slowly builds in speed, and transitions well into "Mexican Grand Prix," one of the few tracks with vocals on the album. I could continue to comment on every song on the album, but I believe it is ultimately unnecessary, as one can only gain a true appreciation for any music by listening to it for themselves. Instead, I will highlight the tracks I believe to be most worthy of attention.

The next track, Rano Pano, is an excellent example of how post-rock operates. Rather than featuring a vocalist, electric guitars are used to slowly build tension, and go through some thoroughly interesting chord progressions. The skillful guitar playing entirely eclipses the need for a vocalist.

After "Death Rays" slows it down a little, San Pedro starts strong, and doesn't let up until the track is over. Once again, the progression of the guitar throughout the song is interesting and engaging enough to render a vocalist unnecessary. Moreover, I believe vocals would subtract from the quality of this track.

George Square Thatcher Death Party, like San Pedro, starts strong and stays strong. Vocals are present on this track, but they are largely indistinguishable, and compliment the instrumentals, rather than superseding them.

The last track I'll comment on is How to be a Werewolf. I really can't do justice to this track in writing. Suffice to say, it's incredible, and you should listen to it and judge for yourself.

Hardcore Will Never Die, But You Will will be released on February 14th, 2011. I highly recommend it, especially to post-rock fans.

- Taimur

WGSU Music Blog

2011-01-06T20:03:00.001-08:00

This is all still in a very early form, but this is the new WGSU music blog. More to come.

- Taimur