Queens of The Stone Age’s “…Like Clockwork” (2013)

It’s been six years since Queens of The Stone Age released “Era Vulgaris” back in 2007. Now they’re back, and it’s awesome. I last “heard” front-man Josh Homme back in 2009, on Arctic Monkeys’ “Humbug” which he produced. Coincidentally, Queens of the Stone Age are touring Australia and New Zealand this coming March with another band I last heard in 2009, Nine Inch Nails.

Q: In a year of comeback albums; where does Queens of the Stone Age’s “…Like Clockwork” (2013) fall?
A: Somewhere near the top.

The concise ten-track album sounds different than Queens of the Stone Age’s past material, in a good way though, in the way that a band should experiment, change, and improve over the course of six years. The band has always had a broken-machine-like quality to their sound; something about the heavily distorted guitars staying on such impeccable timing sounded like machinery, but in deviating from the timing, finding funky, catchy rhythms, and dissonant sounds, that’s where Queens of the Stone Age finds their appeal. Not unlike the robotic duo Daft Punk that happened to find their humanity in 2013, Queens of The Stone Age sounds more alive than ever here on “…Like Clockwork.”

“Kalopsia”  starts off the second half of the album with the pulse of a breathing machine. And perhaps Josh Homme’s time with Arctic Monkeys was a learning experience as well as a mentoring of sorts, as the peaceful piano and harp-like heavenly guitars paired with the prettier notes of Homme’s voice seem more out of Arctic Monkeys’ playbook than Queens of The Stone Age’s. Of course, everything beautiful falls apart, and the album’s thematic battle between hope and despair wages on, with the band’s old dark sounds (slightly-off guitars, distortion, unrelenting noise) clashing with the new sounds (pianos, falsettos, acoustics, orchestra).

From the album’s third track: “The Vampyre of Time and Memory”
“I’m alive – hooray! / You’re wrong again / ‘Cause I feel no love”

“My God Is The Sun” the fifth track on the album is a personal highlight for me. Outside of the thematic elements of the album, the song is catchy, has a really nice rolling bass, an energy you can really feel, drum breaks; the kind of track that I can see myself playing intensely along with on guitar in the privacy of my own bedroom. I spent so much time playing along with tracks from “Era Vulgaris” (2007) and “Songs for the Deaf” (2002), and I’m glad to hear that “…Like Clockwork” will give me the same emotion-venting satisfaction.  “Smooth Sailing” finds a funky rhythm after a malfunctioning electronic introduction, and “Fairweather Friends” determines that gossip, drugs, and snakes are the friends that get us back into bed.

Title song “…Like Clockwork” hits you with the heavy emotions and really shows off all of the good things that Queens of The Stone Age have have learned to do over the years. Josh Homme almost sounds like Damon Albarn, in the album’s conclusion, and the song just encapsulates the feeling of surrender so well. It really captures the theme I was getting at earlier, that I think you can find through the album, everything beautiful and quiet about the beginning gets sledge-hammered by the familiar sounds of the band’s past music, and when the song returns to the beautiful, it’s not without the ominous march of the noise behind it. The friends that have told me that “…Like Clockwork” might be the best Queens of The Stone Age album might just be right, though I’m not going to start ranking things, I have to say – it’s a damn fine album.

What’s Up? (10/18/13)

I’m not sure, but I think this might have been the longest I’ve gone without posting a chapter of What’s Up? Not that I’ve lacked for things to say since… 10/8/13… obviously the Nine Inch Nails concert and release of Pokemon X/Y has generated content over the past week.

Maybe I’ve lacked for things to say if all I can talk about is a concert and a video game.

Lets take everything from the weekend then. On Friday the 11th we celebrated my roommates birthday by going to Hoffbrau Haus, which was fun. Met somebody new, which is always nice. There was a particular drinking game played that night, as this roommate of mine turned 21, and it might have had something to do with Tim Burton’s Edward Scissorhands. I didn’t participate, instead partaking in that concoction mentioned in the first part of Liqueur, which I think made a particular impression on that somebody new.

Saturday was incredibly relaxed in comparison to Friday’s craziness, and really the only things of note that happened that day were the release of Pokemon X/Y, and a screening of First Blood (Rambo) at the apartment. I never saw Rambo before, and was surprised that it took place in America… after all I’ve only ever seen clips of Rambo fighting dudes in jungles (Vietnam presumably).

Sunday was…. football? I guess. I really don’t remember much about Sunday I guess, nor Monday. I mean, on Monday I barely/didn’t sleep, since I was working my butt off to write papers. Not sleeping much has been a theme this week, unfortunately. On Wednesday, like a total klutz, I walked straight into a piece of furniture in the dark – which left one leg bleeding in a few places, and one toe badly bruised. Between The Nine Inch Nails’ double dose of leg cramp, and this Wednesday’s injury, I’ve been hesitant to do my normal gym runs, which is unfortunate. I haven’t been eating incredibly well, and I could really use a few solid sessions of rowing.

Today (in… ten hours) I’m going to continue interviewing people for a piece of journalism. I don’t know if I’ve ever mentioned it before, and I’m not going to explain anything now, but I thought I’d leave off on a positive note. By the way, I’m happy about doing the interviews: that’s what makes this a positive note.


Nine Inch Nails: Tension 2013

The Peterson Events Center is familiar to me; hundreds of lunches and gym sessions have been had there since I arrived at the University of Pittsburgh, though tonight it feels very different. I get in line with the black-attired masses there to see Nine Inch Nails tonight. There are girls in black skirts, black leggings, black jeans, and boys in black leather jackets, black trench coats, black vests, blue jeans all around. Green military caps, pink mohawks, raver goggles, lip piercings, finger-less leather gloves. I’m wearing a Pretty Hate Machine T-shirt I purchased in High School from a Hot Topic, and a pair of white cargo shorts. I’ve never looked the part of a Nine Inch Nails fan I suppose, but I don’t feel like I have to. Nobody here can judge another; if you’re here to see Nine Inch Nails, you ‘get it’ even if you don’t look like it.

I get settled on the floor, centered with the stage and as close as I can get without squirming my way closer. The opening band comes on stage with incredible punctuality, about 7:30 sharp just like the ticket says. “It’s kind of hard to explain who we are… we’re Explosions in the Sky, we’re a band from Texas.” They start off well enough, loud and pretty. I put in my ear plugs to deafen some of the noise, choosing to preserve the quality of my hearing for the main attraction. Explosions in the Sky is an instrumental band, consisting of three guitarists, a bassists, and a drummer. Their music was beautiful, songs were gapless, band members seemed deeply concentrated, and audience members were less then enthused. I understood that Explosions wasn’t a bad band by any means, but I felt the boredom and frustration that some Nine Inch Nails fans voiced. “Sing some words!” One shouted.

Explosions in the Sky disappear, and a big black curtain is raised in front of the stage. The music played during the intermission between bands is creepy, most notably John Carpenter’s Halloween Theme. I wondered for a moment if bands had control over what songs were played during their intermission, as I wouldn’t put it past Trent Reznor to choose unsettling music in order to reinforce the tour’s “Tension 2013” name.

The big black curtain falls, revealing deceivingly simple series of 3×3 grids. They dangle not far overhead of the band members as they make their way onstage, and shine a bright white light down upon them. The opening song, “Copy of a” pulses moodily at first, building momentum and energy. The 3×3 light grids show off their capabilities, tilting the light focused on the band into the audience. The individual squares of the grids can rotate independently, and the illusion of a dome is created when the series coordinate elevation, tilt, and rotation.  This is already a far more complex light show than I’ve previously seen Nine Inch Nails use on their NIN/JA and Wave Goodbye Tours, and the best has yet to come.

After I belt out the final words to “Terrible Lie,” the third song of the set, I can feel my voice already going. I was expecting a bit more kinetic energy in the crowd though, three songs in and I have yet to be pushed, shoved or… oh wait… those drums… “March of the Pigs” was coming, and I braced myself. Pushed body to body, we held on to one another, in the space between mosh pits, and in the direction of the crowd rush. I used to hate this type of energy, but now I wouldn’t want to experience some concerts without it.

“Piggy” gave me some time to catch my breath, and was followed by “All Time Low,” one of my favorites from Nine Inch Nails’ new album, Hesitation Marks (2013). During “All Time Low,” they pulled out the big guns, visually. Curtains made of thousands of LEDs descended from above, shrouding the band in images of Aurora Borealis as Trent Reznor was joined by two chorus signers in a beautifully delivered chorus. “Stretch across the sky…” took on a new meaning as the rainbow colors of northern lights literally stretched across the stage. While the LED curtains displayed pretty imagery during “All Time Low” they showed their true ability during another song from Hesitation Marks, “Disappointments.”  The club-like drum machine of the track was complimented by green bars that pulsed across the screens (screens, plural). One LED curtain hanged in front of the band, one behind it, and another in between the two. The resulting effect was an incredible 3D light show, thematically in tune with the track. “Disappointed, disappear” Trent sings, as all LED curtains go bright at once, hiding the band from sight. The green pulsating bars return after each “disappear” noisier and distorted, eventually forming the shape of a rectangular prism that rotated around the band. It’s hard to describe, but this LED curtain was visually compelling stuff.

At some point during “Satellite,” another track from Hesitation Marks that I absolutely love, two men breakdance in a pit that looks cleared for moshing. The song has a deep pumping bass, with very a very moving drum track, so this break dancing isn’t entirely without rhythmic merit – though at odds with the privacy paranoia themes of the song. One girl appropriately exclaims “I can’t believe I just saw that happen at a Nine Inch Nails concert!”

After the very soothing “A Warm Place,” Nine Inch Nails went full throttle with the last four tracks in the setlist proper. “Somewhat Damaged,” one of the few songs I’m familiar with from the band’s 1999 release, The Fragile, started this last burst of energy on the right foot. “Broken, bruised, forgotten, sore, Too fucked up to care anymore!” I went red screaming to this chorus. It was the first song I heard on their Wave Goodbye tour, and I had loved the song since. “Wish” renewed the type of moshing, crowd rushing energy last seen during “March of the Pigs,” and you better believe everybody shouted “Fist fuck!” right on time.

“The Hand That Feeds” and “Head Like a Hole” went back to back, the pair of god-damning songs reminded me exactly why I belonged there. “God Money let’s go dancing on the backs of the bruised.” Nine Inch Nails is the ultimate venue to vent all of these pent up feelings about faith, a therapeutic “fuck you, God” that we can all use once in a while.

The band disappears, and the LED curtains display a giant “NIN” logo. A few people start to leave, and I wonder if they’ve ever been to a concert before… “There’s going to be an encore!” I want to say. Sure enough, the band comes back and plays a song that, I personally don’t know, but drives some people absolutely insane. This song turned out to be “The Day the World Went Away,” a song not been played on this tour yet, and apparently a fairly rare song to hear live. I was more excited for “While I’m Still Here” and “Black Noise,” the final songs of Hesitation Marks. I’m sure there were some old-school fans upset to hear so much new material, but I was incredibly into it. “While I’m Still Here” is my favorite song on the album; slow, groovy, and diverse. The floating slides of a telecaster, the noise of broken electronics, pulsing beats, rumbling basses, and my favorite of all, a tenor sax; all the elements from the album track translated perfectly to the stage.

“Hurt” closes the show with haunting imagery, and acoustic instruments (a rarity in my experience with Nine Inch Nails concerts). When “Hurt” came to an end, and the house lights came on, I was incredibly, utterly fulfilled, overflowing with happiness, in awe. I wandered home, probably grinning like an idiot, and my legs were sore. Each of them cramped that night around 2-3AM.

Nine Inch Nails is a great band. I can listen to most of their albums without having to get in the mindset for it, they’ve got something that’s appropriate for however I’m feeling, and if I’m not feeling anything, they’ll give me something to feel. When this diverse, spanning emotional range is condensed into the better part of a two-hour concert, it’s very cathartic. And that’s what makes Nine Inch Nails an even better live band.


Mew’s “Triumph For Man” (1997)

I saw Nine Inch Nails twice in 2009; once at the Jones Beach Amphitheater, and another time at Terminal 5. Mew opened for Nine Inch Nails at the Terminal 5 show, and they were an entirely enjoyable opening band if not a strange warm-up for Nine Inch Nails. I had no idea who Mew was, and I still don’t know much about them – but apparently they were around in the 90’s and so I’m going to go see what their debut album “Triumph For Man” (1997) is all about.

At first, Mew was not doing much for me. Lead singer Jonas Bjerre has a lovely, soft-spoken voice that is muffled out in the first three songs on the album by guitar parts that weren’t blowing me away. I was starting to wonder what the deal with Mew was, until the fourth track “Panda” started to show the band’s true colors. Bjerre’s voice starts to sound high-pitched and childlike in a way that I can really get behind, and the guitar parts divert a bit from their strictly alt-rock ways about halfway through the song, becoming dissonant and stress-inducing. From “Panda” until the closing track “Coffee Break”, Mew’s “Triumph For Man” continues to be an interesting listen.

“Then I Run” got a little scream-ier than I thought Mew would get, “No Shadow Kick” is a funky little track with gibberish lyrics (no, that’s not Danish), “Snowflake” has beautiful string and piano arrangements, and “Pink Monster” is forty-nine seconds of accordion. Tracks four through fourteen entirely make up for any of the first three songs’ shortcomings; and tracks like “I Should Have Been A Tsin-Tsi For You” and “Web” prove that Mew has what it takes to make memorable tracks out of formulaic alt-rock ingredients.

“Triumph For Man” is a pretty solid album, judging from my first-listen gut-feeling. If you can find this album somewhere, it’s worth listening to.