QOPH - Kalejdoskopiska Aktiviteter (IMPORT) (CD)
Think a cross between labelmates Abramis Brama, Mammoth Volume, November and Yes at their most progressive... and I´m talking '70s stuff now, not the lame shit Yes put out today. Like all the songs on this album, it is far too complex to try to get across how it sounds in a review... Sometimes jazzy, sometimes bluesy... Always trippy, always progressive... And more often than not... Heavy, in that special '70s kinda way. Bands like Captain Beyond, Armageddon and Iron Butterfly comes to mind.
Through the band's music I constantly hear sort of a Led Zeppelin shining through without becoming a pure rip off of Plant and Co. It will probably be due to the 'hidden' amount of hard blues. In the opening song "Vansinnet" I note the fabulous guitar solo of Filip Norman, whilst the well-balanced violin of guest musician Ola de Freitas delivers a nice complimentary asset to the whole. Often the wah-wah pedal is used, the flanger is dusted off, whilst various voices form a nice counterpoint. An element, which is constantly apparent in QOPH's music, is the psychedelic approach to hard blues so that we sort of listen to the Swedish answer to Blue Cheer.
QOPH is Swedish prog, with a fairly heavy rhythm-base, but I must say that it is virtually indescribable! I think that means the originality factor here is extremely high. The thing with these guys is that they remind me of the first time I heard stuff like King Crimson and Zappa back in the '70s. At the beginning of my experience with them, it was such unusual stuff that I didn't know whether I liked it or not. Now, like with those artists, the more I listen, the more I like.
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Queen Elephantine - Kailash (CD)
This is a fuzzy muscle play of distorted dirge and Hindu atmospherics that easily embodies the slow majesty of bands like Earth, or to a lesser extent, Mono … but this is a rawer, far heavier brew, buckling the confines of the medium, so over-saturated that it almost struggles for definition. The instruments take on a scary dynamic, like a vibrating cloud of flies, distorted in the heat. It’s hard to avoid the magnetic pull of that turbine shackled hertz, or that accompanying tinsel soak from the cymbals, even the words seem to be dragging you through the dusty soil on mystic hooks.
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Queen Elephantine - Surya (CD)
Best described as a sprawling psychedelic space jam, Surya is the full-length debut of Queen Elephantine and a crushingly impressive follow-up to recent split-albums with Sons of Otis and Elder.
The band lives up to its name and presents a perfect soundtrack to the unwieldy march of a mystical elephant caravan across the celestial plains. They melt down the sounds of Black Sabbath, Sleep, Hawkwind, Pink Floyd, early Monster Magnet, and a variety of other influences into a cosmic swamp all their own, populated by droning numbers. The layers upon layers of hypnotic rhythms and molasses riffs, enhanced by the jammed-out feeling throughout Surya should please fans of bands like Sons of Otis, Mammatus, Acid Mothers Temple, Ufomammut, and Om.
Queen Elephantine is a group of young explorers in the world of heavy psychedelia, and ‘Surya’ is their first full-length, coming hot on the heels of various split releases. 'Surya’ is a long, contemplative trip into the world of inner visions, a journey in which the devotional merges with the visionary to stake out a unique corner of the musical underground. Lovers of heavy psychedelic doom or drone as manifested by groups as wide-ranging as Sleep, Acid Mother’s Temple, Mammatus, YOB, and even ‘Saucer’-era Floyd should climb aboard with these young musicnauts. It’s not a comfortable or easy trip by any means, but it will reward your (lysergic) attention.
Queens of the Stone Age - ...Like Clockwork (CD)
Collaborations with Mark Lanagan (Screaming Trees), Dave Grohl (Nirvana), Joey Castillo (Eagles of Death Metal), Trent Raznor (NIN), Elton John, and Nick Oliveri (Kyuss).
All the surface evidence on ...Like Clockwork suggests Josh Homme is steering Queens of the Stone Age back to familiar territory. Once again, he's enlisted drummer Dave Grohl as his anchor and he's made amends with his erstwhile bassist Nick Oliveri, suggesting Homme is returning to either Rated R or Songs for the Deaf, the two turn-of-the-millennium masterpieces that thrust QOTSA out of their stoner rock cult, but ...Like Clockwork isn't so simple as a return to roots. Homme flirts with his history as a way to make sense of his present, reconnecting with his strengths as a way to reorient himself, consolidating his indulgences and fancies into a record that obliterates middle-age malaise without taking a moment to pander to the past.
Like always, Homme opens himself up to collaborations, wrangling an impressive roster that includes his wife Brody Dalle, his longtime companion Mark Lanegan, his protégé Arctic Monkey Alex Turner, his kindred spirit Trent Reznor, Scissor Sister Jake Shears, and superstar Elton John, but despite this large cast, the only musician who makes an indelible presence is Homme himself. ...Like Clockwork is unusually focused for a Queens of the Stone Age record, containing all of the group's hallmarks -- namely volume and crunch, but also a tantalizing sense of danger, finding seduction within the darkness -- but there is little of the desert sprawl and willful excess that have always distinguished their records. This is forceful, purposeful, fueled by dense interwoven riffs and colored with hints of piano and analog synthesizers that quite consciously evoke '70s future dystopia.
QOTSA always specialized in this eerie sexiness, but the precision on ...Like Clockwork - quite different than the merciless propulsion of Era Vulgaris, feels conceptually tight, Homme smartly sculpting guitar fuzz, elastic solos, haunted harmonies, and deceptively slinky rhythms into a cool, relentless collection of heavy rock. The force impresses but also the restraint: there are missed beats and open space, muscular music that seduces and pummels, even manages to soothe while it assaults. It's complex, harder, and catchier than anything QOTSA have done in a decade, and more song-oriented, too, but that's a sign of maturity: Homme has marshaled all of his strengths on ...Like Clockwork and has found a way forward, a way to deepen his music without compromising his identity.
Queens of the Stone Age - Era Vulgaris (CD)
Produced by Chris Goss and Josh Homme. Guests include Mark Lanegan, Trent Reznor, Julian Casablancas, and The Strokes.
Queens always delivers. More of a focus on overall song quality than just, balls out, dirty desert riffs.
Josh Homme and gang have managed to distill the Queens Of the Stone Age sound into an excellent and outstanding record. Even though they received flak for Lullabies to Paralyze this record is a throwback to the lean, fast, riff driven songs of Rated R while combining the polished elements of Lullabies. Basically, if the first song doesn't grab you,the next one will, or the one after that, or the one after that....End to end genius!
Queens of the Stone Age have come a long way since emerging, bleary-eyed, bong in hand, from the Californian desert in 1997. After four increasingly polished forays into churning, riff-driven party rock they are now model-bagging, arena-filling heroes. Album five, however, calls time on their radio-friendly years. Founder member Josh Homme's ever-catchy formula remains, but the mood is uneasy and brooding, with tracks such as 'Sick, Sick, Sick' revealing a venomous new band that's finally learned to separate business and pleasure. Gripping stuff.
Queens of the Stone Age - Lullabies to Paralyze (CD)
This one is second to no previous QotSA album. It doesn’t fuck around. Everything is very straightforward, no-bullshit rocking material. It’s got the dose of heaviness and groove and enough rock n’ roll attitude to drive you the whole way through bobbing your head. Tracks have that intricate twist that can keep them interesting. Most of them, even the slower ones, have a quite heavy undertone effect to them. This album lives up to the high expectations inevitably set by such an outstanding musical career and non-stop rocking.
The guitars sound amazing, the drumming is very Hernandezesque, Homme's vocals are vastly better. Two balls up!
This record is just too good for people to be hating. I will predict that Lullabies to Paralyze will be remembered as one of the better QotSA albums to be released, if not the best.
Queens of the Stone Age - Over the Years and Through the Woods (2CD)
This 2CD set features audio and DVD content.
From London's Brixton Academy and Kokos with all new versions of classic Queens of the Stone Age tunes including "No One Knows", "Regular John", "Go with the Flow", "Little Sister" and "Burn the Witch". Plus new songs, rarities, scars, lumps and bumps, tall tale commentary, oddities and performances by Dave Grohl, Mark Lanegan, Nick Oliveri and Billy F Gibbons. Over three hours of visuals and seventy-five minutes of audio.
Queens of the Stone Age - Rated R (CD)
This album is very good and one I would recommend to anyone who likes heavy rock bands like The Beatles and Floyd. It is an interesting direction for a band that has already broken much ground.
Queens of the Stone Age - Self Titled (Re-issue) (CD)
3 bonus tracks.
Formed from the ashes of stoner rock icons Kyuss, Queens of the Stone Age reunited the group's singer/guitarist Josh Homme, drummer Alfredo Hernandez, and bassist Nick Oliveri along with new guitarist/keyboardist Dave Catching. The project's origins date back to Homme, who in the wake of Kyuss' 1995 demise relocated to Seattle to tour with the Screaming Trees; he soon began working with a revolving lineup of musicians including the Trees' Van Conner, Soundgarden's Matt Cameron, and Dinosaur Jr.'s Mike Johnson, recording a series of 7"s originally issued under the name Gamma Ray. After rechristening the group Queens of the Stone Age, Homme recruited Hernandez to begin work on their self-titled debut LP, issued in late 1998 on Loosegroove; after the album was completed, Oliveri left the Dwarves to rejoin his former bandmates, with the subsequent addition of Catching rounding out the roster.
Instead of trying to recreate the sound of his former band Kyuss, Josh Homme took a new approach to music. He crafted tight hard rock songs that were heavy on melody and light on vocals. While there is still a lot of fuzz coming from the amplifiers, the vocals are softly interwoven among the chords. There's no screaming or rock & roll antics, and the group takes an almost lo-fi attitude to heavy metal -- an interesting combination that produced instant radio gems like "Regular John," the extreme ranges on "Avon," and the smoky, blues-influenced "Walkin' on the Sidewalks." Queens of the Stone Age are creating a new blend of heavy metal that makes it acceptable to produce creative music that doesn't rely on testosterone as the driving force.
Queens of the Stone Age - Songs for the Deaf (CD)
There are several great tunes on this album, and there is no doubt in my mind that it is their best effort yet as a band. I have been spinning this CD for a week straight and can attest to that fact. At first I thought it was a little too filler oriented, but have changed my mind since. One word of advice: Give this one several spins...it will grow on you over the course of time much like 'Rated R' did for me. I am sold on this one- it's better than 'Rated R' in my opinion and I am glad that a band like Queens of the Stone Age exists in today’s shitty rock and roll all time low. It gives hope to the world of mainstream corporate rock and is recommended for everyone. So what are you waiting for?
There's some really incredible stuff on this record. Stuff the likes of ye have yet to hear. It borrows from the past, rewrites the present and forges the future of rock. It is a work of art. It makes statements about music, consumerism and what we have become. It contains 12 of the greatest rock tunes since Revolver or Pet Sounds, I shit you not. Even though you may skip it after the initial listen, the radio banter is crucial to the flavor and integrity of the album. This is a must buy for fans of any type of music and is one of the greatest and most important albums I own. Already.