Queens of the Stone Age Concert Review Portland, Oregon April 15th 2014

          

A few weeks ago I saw Neutral Milk Hotel. It was a transcendent experience that was emotionally potent. I’m not the most emotional person, but I nearly cried towards the end of the set. The show is currently tied for my favorite live set I’ve seen this year. The co-champion is Queens of the Stone Age at the Keller Auditorium. While I was profoundly moved at NMH, Queens simply kicked unprecedented amounts of ass.

My love for QOTSA is well documented, but even I was surprised by how great the show was. Two plus hours of the best rock n’ roll on earth. They opened with the legendary “Feel Good Hit of the Summer” which owns the iconic “C-C-C-Cocaine!” chorus and things only got crazier from there. Homme downed some suspicious clear liquid and announced “I’m fucked up already!” Queens took a strange route by playing their two biggest hits first with “No One Knows” following “Feel Good.” After a brief detour into their self-titled debut with “Avon,” Queens decided to blow the roof off the house by preforming a super charged version of “My God is the Sun.” Anyone that was in the audience quickly realized what fools the Grammy producers were for cutting off one of the best guitar songs of the 2010s prematurely.

            

One of the most impressive things about the set is how natural Jon Theodore sounds working with songs in Queen’s back catalog. The trio of songs from Lullabies to Paralyze were given a heavy boost by Theodore’s colossal drum chops. “Burn the Witch” in particular stomped along with an apocalypse bringing weight thanks to Theodore’s work on the skins. Even on the minimal songs Theodore provided a brutal foundation. …like clockwork cut “Smooth Sailing” (which recently received an uproarious video) lurched along a dangerous pace. Theodore wasn’t the only one bringing his all into “Smooth Sailing” the faux-disco track’s grinding guitar dissonance that serves as a solo was as thrilling as it was uncomfortable, likely to make the entire body shudder.

What put Queens’ set above every other rock concert I’ve seen is their ability to morph songs into more massive pieces on stage. Queens were never afraid of experimenting with their studio work. Three songs in the set nearly doubled their original length. “Make it Wit Chu” was turned into the night’s biggest sing along with the entire crowd chanting “I wanna make it! I wanna make it wit chu!” (Homme commented there was “nothing better than fucking” as the song ended only to come back with “But sometimes it’s just really good to fuck stuff up” as the band lunged into a fantastic “Sick Sick Sick.”) …like clockwork center piece “I Appear Missing” stretched on for over 10 minutes of powerful insanity, but the night’s most spectacular was Rated R’s “Better Living Through Chemistry.” The darkly swirling track is one of Queen’s best, but they made in into something completely different. The atmospheric intro was blown apart by Homme’s vicious guitar work and the band grew in intensity until it seemed like the entire building was quivering. They stopped for a moment, letting it all sink in, before doubling down on their attack and pushed the song to its overwhelming ending. Those nine minutes were some of the finest moments in rock I’ve ever had the honor of hearing.

Queens “closed” with “Go with the Flow” and returned shortly for the encore. And with the encore came Nick Oliveri. The former Queens vocalist and bassist who left the band in 2004 was in the opening band Moistboyz and Homme dedicated “Better Living Through Chemistry” to him, but no one thought Oliveri would be brought out to perform his best Queens song “You Think I Ain’t Worth a Dollar, but I Feel like a Millionaire.” It was as if the entire night had been leading up to this moment. Queens grew in strength with every song and with “Millionaire” they burst into rock n’ roll ecstasy. Queens closed the set with the ever excellent “A Song for the Dead,” but Oliveri’s first performance with Queens in a decade was a legendary moment that left me awe-struck and thrilled to be a part of the experience.

Make no mistake guys, Queens of the Stone Age are the best rock band in the world. 

               

Piñata- Freddie Gibbs & Madlib Album Review

          

In an interview with Radio.com Freddie Gibbs was asked about his jab at Young Jeezy on Piñata cut “Real.” “I ain’t worried about nobody coming at me lyrically. I make these sh*t diss records look like kumbaya…you come at Gibbs man that sword better be sharp.” Those are some fiery words and usually MCs would be running to send slicing tracks Gibbs’ way. But it’ll have to be one seriously ignorant rapper to challenge Gibbs after Piñata. Produced by the man, the myth, the legend, Madlib, Gibbs has made the finest record of his career and one of the best damn rap records in recent memory.

Anyone paying attention to the EPs that Madlib and Gibbs dropped before Piñata knew that something great was coming. Thuggin, Shame, and Deeper all held fantastic tracks. The title track from Deeper was one of the finest hip-hop pieces from 2013, but it’s even better when placed among its brethren. “Deeper,” along with the rest of the tracks here, are fairly straightforward hip-hop, but each song is refined to pure excellence. This is probably Madlib’s best full album production work since Madvilliany and he thrills with his soulful and eclectic beats. There’s the breezy keyboard that pushes “High” along, “Uno” sounds like it sampled some of the Donkey Kong Country soundtrack, and “Knicks” is smooth New York jazz. Madlib never stays in one place, but he makes it all sound so smooth. After the video gamey “Uno” is “Robes” which is a smooth Mo-town throwback with a silky vocal sample. For nearly anyone else those two tracks couldn’t be placed next to each other, but in Madlib’s world it makes perfect sense and with these fantastic beats the guests flourish. Danny Brown gives a high-octane performance on “High” and Raekwon brings extra menace to the already atmospheric “Bomb.” Ab-Soul’s laid back ode to his home town gives levity to “Lakers” and it’s sure to be a summer anthem for California residents. Even Odd Future shows up, with the ever hungry Domo Genius and the always dark Earl Sweatshirt on “Robes.” The only major complaint with the features is that Scarface doesn’t show up on the song titled “Scarface,” he instead drops a great verse on “Broken.”

The guests have a great chemistry with Madlib, but nothing comes close to the mad gansta genius of MadGibbs. Gibbs’ flow combined with the gorgeous soul background of “Deeper” is nearly breath taking and the story. Gibbs spins a tale of jail time and questioned paternity that will, to quote Gibbs, “cut a nigga deep.” Gibbs never sacrifices speed for lyrics and holds the best of both worlds. Madlib pushes Gibbs to top speeds on “Scarface,” “High,” and “Real.” Even on wonky beats like “Real” Gibbs owns it. The truly impressive thing about Piñata is when the album is at its top level, it’s nearly untouchable. “Shitsville” has an absolutely mad beat and is the gangsta anthem of the year and the aforementioned “Bomb” is equal parts swagger and threat. But even when MadGibbs is just having fun it’s amazing. “Harold’s” is Gibbs’ ode to his favorite Chicago restaurant. It’s fun, but Gibbs still sounds like a complete badass. “Scarface” has Madlib cooking up a beat in the same vein of Black Star’s “Definition,” but with Gibbs’ flow acting like a steam roller. “Thuggin’” is Gibbs in a nutshell, smooth, unapologetic, and simply great. “Cause motherfucka I'm thuggin'/Selling you the science of the street rap/…I’m tryin to feed my family, give a fuck about your feedback.” Gibbs might not care, but Jesus has he made a stunning album.

Best Music of March 2014

Albums-

Random Access Fhqwhgads- Daft Punk vs. Strong Bad

 This is the greatest album ever made.

Ahem... to the actual list

Pinata- Freddie Gibbs & Madlib
Often we get wrapped up in the concepts behind hip-hop albums. I’ve definitely done this, my love for Cancer for Cure, Skelethon, and Good Kid mAAd City is thanks to the fantastic stories that connect the songs together. But hot damn, Piñata is the best straight up rap albums made in years. Madlib lays down soulful and smooth beats while Gibbs sounds like a total badass on every single track. It’s gonna be hard for any hip-hop album, or any album in general, to top this.

Say Yes to love- Perfect Pussy
Get ready. Perfect Pussy are going to set fire to your world. In the best punk album released in recent memory frontwoman Meredith Graves tears down everything around her while laying herself emotionally raw and dangerous. This sure as fuck isn’t for the faint of heart.

Tomorrow’s Hits- The Men

The Men have finally released an album worthy of their live show. The big hearted and ramshackle Tomorrow’s Hits is an ode to the most mad-capped of American Classic Rock. Lead yeller Mark Perro sounds like Dylan at his most pissed off on the Chuck Berry on speed “Pearly Gates,” where he spits out “I never wanted this for ya!/A little bit of P-P-P-Paranoia!” It all seems seconds away from falling apart and that’s part of the thrill.

Zentropy- Frankie Cosmos

It’s the smallest album released this year, but that doesn’t mean it can’t be excellent. Frankie morns over her dead dog, gets high, and attends a whole lot of terrible parties over fantastic indie backgrounds. There’s also a humor to the album that makes sure it never becomes a sad-sack album. Still, it’s pretty damn depressing when it wants to be. “Look mom I’m hobbling through/I am gonna be a painter to,” Frankie sings on “Busses.” But that’s just before she sings “This isn’t a party” and a danceable beat kicks in.

Encarnado -Juçara Marçal

This is a strange mix. Math-rock and Brazilian folk music. It works quite well. Juçara Marçal’s voice is as eclectic as her musical tastes and she holds it all together. Without percussion the guitars move in unnerving angular patterns and saxophones buzz like flies. I haven’t translated the lyrics, but if the music is any indication, they will be terrifying and engrossing.

Rooms of the House- La Dispute

No, it’s not as good as Wildlife, but damn is it another great album in La Dispute’s catalog. The ever powerful Jorden Dreyer describes natural disasters and failing relationships and the band sounds as tight as ever. “Stay Happy There,” “THE CHILD WE LOST 1963,” and “HUDSONVILE, MI 1956” stand as some of their most devastating (and best) songs yet.

Crystalline- Hark

Watch out, we might have some new Sludge Metal Titans a coming. The Welsh breed trio play a ferociously heavy mix of hard rock and prog that will sound familiar to fans of Mastodon and Baroness. The riffs are huge, the yelling is vocal cord destroying, and the massive drumming never disappoints.  

NIPOMO- Dva

Combine Latin Jazz, Eastern European noodlings, and the Rayman Legends’ soundtrack and you’ll get something like NIPOMO. The twitching and bouncy album comes from the quite possibly insane Czech Republic based duo. This is music for the most ADHD.  

Range of Light- S. Carey

Bon Iver buddy S. Carey has released his own debut, and it might be even better than his bandmate’s records. The soft and folky album is a reminder of Sufjan Stevens and Cloud Cut, but more importantly, it always focuses on Carey’s beautiful arrangements.

Lost in the Dream- The War on Drugs

Seemingly everyone else on the planet has proclaimed this the best album of 2014. I’m not quite at that level of appreciation, but damn are there some great songs here. The War on Drugs’ heartland rock is a welcome Springsteen tribute that never delves into peachiness and contains some of the year’s best songs in the rambling anthem “Under the Pressure” and the road trip ready “Red Eyes.”

Songs-

Johnny Cash - Out Among the Stars (With Brandon Flowers, Father John Misty, and Local Natives)

The ever stunning Take Away Show from La Blogothèque gives us one of their finest videos. Brandon Flowers reminds us that he’s one of the finest lead singers in pop, Father John Misty gives a winking performance, and Local Natives put a chilling modern spin on “Out Among the Stars.” Each song is a brilliant tribute to a legend.

Space Cadet- Flume ft. Ghostface Killah & Autre Ne Veut

Technically released last year, this remix of Aussie producer Flume was in desperate need of the single treatment. Autre Ne Vuet has a spectacularly funky and weird performance, giving the song an album’s worth of hooks over Flume’s blindingly colorful production. And Ghostface continues to prove he’s the most consistent member of Wu Tang.  

Work Work- Clipping.

The strangest, and quite possibly the best, production we’ll hear all year comes from hyper experimental Clipping. Daveed Diggs’ silky smooth verses flow fantastically into the super-catchy chorus with an automatic call of “Make that work/Get that work.” 

So Sick Stories- RATKING feat. King Krule

The youth of today… No one on this track can illegally drink, but they destroy peers and elders a like. MC Wiki hits a sweet spot between Zack De La Rocha and Eminem while spinning terrifying stories from the worst part of the big apple and Hack puts down a meditative verse. Finally King Krule, though he doesn’t rap, gives the production one of the year’s best hooks. 

Hundred Waters – Cavity

Hundred Waters continue on their merrily weird way with one of their best songs yet. Captivating as always, they’ve crafted something that sounds like a more warped version of The XX. Undefinably sexy, but also off-putting. Another winner and if the rest of the album is up to this standard…. 

Words I don’t remember- How to dress well

How to Dress Well has proven again that he’s got a sharp ear and an even better voice. “Words I don’t Remember” is a wonky and funky tune that will grab both indie and Timberlake fans.

Kingdom Come - The Souljazz Orchestra

The Souljazz Orchestra mix any genre they can get their hands on and “Kingdom Come” is a brilliant blend of globetrotting Jazz. The brass and piano are great, but it’s all about that lurching rhythm.

Happy- Woodkid remix

Woodkid made “Happy” sound sad. I don’t know how I feel about this.

Baby - White Hinterland

Strangely soulful, White Hinterland’s new single is made by one of the year’s best vocal performances and some strangely enticing production.

Dograces- Dub Thompson

Like a slacker version of Tame Impala, Dub Thompson make an acid washed sound with Beck-ish verses and one hell of a chorus. Watch out for these guys in the future.

 

 

 

Deltron 3030 Shit I Should Have Listened to

                       

I’m assuming that my introduction to Del through Gorillaz is fairly common, right? I am disappointed in not delving into Del’s solo work earlier as “Rock the House” and “Clint Eastwood” are some of my favorite tracks from Gorillaz’s self-titled debut. And now, after listening to Deltron 3030, everything makes perfect sense. This completely batshit insane album stands tall as a landmark in weirdo rap.

You don’t even have to buy into the story of Deltron Zero and his rag-tag crew of space anarchists who are attempting to take down the dictators at the Bank of Time, but it helps. Del paints a world where great flows can have magical properties, killing lesser rappers and taking down the corrupt system that rules the universe in the year 3030. Over ten years since its release it still sounds futuristic. Dan the Automator and Kid Koala mix classical, soul, and industrial backgrounds to make Deltron Zero somehow believable. They could have stopped there, just making it a deeply experimental album; instead we get an album that can be as anthemic as it is strange.  Just look at the first proper song on the album “3030” which is held down by a rusty bass and sliding guitars before a freakin choir comes in and Deltron’s robotitized voice calls the chorus over a spaghetti western background. And it’s damn catchy.

3030 thrives off of making the unorthodox instantaneous. Del turns “Update your gray matter/Cause one day it may matter” into one of the album’s biggest hooks and the cartoony horns of “Memory Loss” will be ingrained in your head for days. But it’s also a flexible album, “Positive Contact” and “Virus,” the two biggest songs from the album, are more straightforward and pure hip-hop gold. Yeah Del’s still talking about alien invasions, but shit bangs.

It’s still Del’s show. He’s a national treasure and one of the most underrated MCs ever. His flow is as fast as it is engrossing and it seems absolutely effortless. Even when the world seems to be crashing down in the production Del stays cool and smooth. This is undoubtedly one of the best hip-hop albums I’ve heard in a long time.

Grade: A-

Relationship of Command- At the Drive-In Shit I should have listened to

                           

When going through this large list of critically acclaimed albums I knew I would stumble across a few thorns. There would be albums here and there that I wouldn’t understand the hype. I just didn’t think it would be the second album in, or that it would be from At the Drive-In. After all I think Frances the Mute is one of the best prog albums of the 21^st century (and I’ll be reviewing De-Loused later on) and I’ve been in love with “One Armed Scissor” for a while now. So why can’t I get into Relationship of Command?

Relationship of Command seems to be an album that would absolutely kill live. Cedric Bixler-Zavala delivers pure insanity through his vocals and all the instruments are charged with a strange energy. But it all seems to veer randomly from one thought to the next. Second track “Pattern Against User” has at least four distinct sections but none of them really feel connected like these pieces were messily stitched together. It sounds cool in theory, a punk band shifting from reggae grooves to math-rock interludes but it feels deeply uneven when placed side by side.

The more straightforward punk anthems can also fall flat. “Sleepwalk Capsules” never quite reaches its full potential and “Mannequin Republic” ends up being more grating than menacing. There’s also the spoken word “Invalid Litter Dept” that owns fascinating lyrics but Zavala’s delivery is so strange it becomes unengaging. Thankfully Relationship of Command does have a few excellent tracks tucked in here and there. “Enfilade” has the album’s best chorus with a massive “FREIGHT TRAIN COMMIN’!” And the thrashing “Cosmonaut” hinted at what the El Paso boys would do in future releases. Of course “One Armed Scissor” looms large above the rest of the album. It’s still one of the finest and most striking punk songs released in recent memory, filled to the brim with mad energy, a near perfect riff, and Zavala’s best non-Volta performance.

Still when it all comes down to it I’m really disappointed with Relationship of Command. I realize I’m in a tiny minority here but the whole album (many consider it one of the best rock albums of the 2000s) has issues with cohesion with only a few songs really standing tall. Definitely taking White Pony over this.   

Rating: C-

White Pony- Deftones (Shit I should have listened to)

                        

The alternative rock radio station in my hometown played Deftones occasionally, but they preferred to pool their music from Incubus, Chevelle, and Silversun Pickups. After listening to White Pony I’m surprised Deftones weren’t played more, because every damn band on that radio station owed something to the Deftones. Like a more concise version of Tool White Pony is a complex but sleek set of alternative metal tunes that’s as smart as it is heavy.

If comparing them to the Incubus-ish bands the main advantage Deftones hold is that they never let their sound be completely overtaken by one influence. There are plenty of hardcore break downs on White Pony, but there are just as many slow grooves, glitchy samples, and quiet melodic moments. A lot of this is thanks to Chino Moreno’s ever flexible vocal range, going from the straight arena shots of “Knife Prty” to the seductive verses of “RX Queen.” Stephen Carpenter never played guitar with the normal nu metal ideals, instead using its pure power, combing massive and silvery chords with Chi Cheng’s rumbling bass. Abe Cunningham is the star on the instrumental side though; he manages to be slippery yet crushing without ever making a noticeable shift. He’s never flashy but he holds everything together. Cunningham is the main reason that so many of these songs seem massive yet spacy. One second they’re beautifully drifting, the next crashing down with brutal power.

If there are any complaints here it comes from the songs that just go for the straight metal feel. “Elite” and “Korea” are fine but next to the rest of the album they come off as lumbering. “Passenger” has Tool’s Maynard James Keenan taking over on vocals, but it breaks the album’s flow, as Moreno has a different control on his vocals. It’s by no means a bad track, in fact the chorus has great vocals from Keenan, but I would have loved to hear Moreno’s version. But, geez this album is spectacular when it wants to be. The opening one-two punch is what every Alternative Metal band should try to be, guest singer Rodleen Getsic has a jaw dropping feature on “Knife Prty,”and "Change (In the House of Flies)" is one of Deftones’ most popular for a reason. The two best tracks are “RX Queen” and “Teenager” for completely different reasons. “RX Queen” holds the album’s best riff, a murky and unsettling beast of a line that holds the song’s alternatively sexy and threatening vibe together. “Teenager” is the album’s most beautiful and stands as one of Deftones’ most gorgeous songs, along with "Anniversary of an Uninteresting Event,” its hazy guitar sampling allows Moreno to deliver a tender vocal line that’s spine-tingling. For all the shit that nü-metal gave us in the early 2000s we did get some absolute stunners. White Pony might have been a single gem in a massive pile of rubble, but damn was it worth it.

Rating: B+

Shit I should have listened to

My musical acculturation didn't truly start until around 2005, and even then it was a long road before I became the obnoxious audiophile I am today. Over this year I'll be going through albums released in the 2000s that I never deeply listened to, but are held in high regard by friends or fellow music critics. Alright, get your head phones on. Time to adventure.