4.5 out of 5 stars
Finding a rock record today that can hold your interest for more than three songs is touted as a revelation. With countless subpar and unnecessary reunions (Creed, Blink 182, Limp Bizkit) and more than a few subpar records (Muse, Green Day, U2), 2009 has not been a kind year to fans of true rock and roll.
Until now.
Enter Them Crooked Vultures; a collection of rock music’s past (John Paul Jones of Led Zeppelin), present (Dave Grohl of Nirvana and Foo Fighters fame), and future (Josh Homme of Queens of the Stone Age).
Operating in the dark for several months, this “super-group” (unfortunate classification) has managed to create a hype that a full out international media campaign couldn’t touch. Revealing 10-second audio clips and performing their first shows unannounced at festivals in North America and Europe created immense web hype in August. They really seem to adhere to the basic rules of supply and demand. When people can’t see your band live or listen to any recordings (and your band is comprised of three uncompromising and genuine rock stars), they will crave your work all the more.
The band kept their secret global assault alive through September by declining interviews and having fan made YouTube video’s removed from the streaming video site. YouTube even had a handy little message stating, “the video you are trying to access has been removed by Joshua Homme”.
So after months of gossip and speculation, the product of three generations of rock icons is available at a record store, digital retailer, or P2P near you. Here is a track-by-track breakdown:
1. No One Loves Me & Neither Do I
The sweet vocal swagger of Homme is nestled between a simple crunching riff shadowed by the deep bass of JPJ (best experienced through high watt sub). It then explodes into a chugging slide guitar beast, going through countless tempo and meter changes. Through several unexpected twists and turns. We have entered the black hole; time to find out is on the other side.
2. Mind Eraser
Balls out rock tune of the record. We enter into the new realm with Grohl’s charley horse vocals jumping in at the chorus followed by sporadic soloing that is reminiscent of Queens of the Stone Age’s self titled LP. The drums sound vibrant and alive as Grohl continues to play out his dream of being John Bonham.
3. New Fang
The smooth single that hit the airwaves a few weeks back is among the weaker tracks of the album. Homme sounds like he’s singing at the end of an empty high school hallway.
4. Dead End Friends
Enter the righteous rock and roll guitar. Much like Kurt Cobain and Rivers Cuomo, Homme is a master of contorting straightforward riffs into monstrous hooks. Upon several listens, it becomes evident that John Paul Jones is dressing this one up with some real fancy bass fills. It becomes a challenge (a fun one) to find these fills amongst this loaded musical pallet.
5. Elephants
Enter a searing bluesy riff. Is that Jimmy Page? Doubtful, but the Zeppelin influence is starting to seep through Homme’s record here. Before long we are transplanted into a mid-tempo groove with emphasis on the offbeat. Grohl is riding the high-hat until we are returned with a vengeance to the starting riff.
6. Scumbag Blues
Another example of Homme’s melodic brilliance is flaunted with a simple yet hauntingly unsettling guitar part at the chorus. This one’s got everything kids: guitar/clavinet battle in which I’m fairly sure the clav comes out on top, swift falsetto vocals and some damn fine drum fills if I do say so myself.
7. Bandoliers
Much like No One Love Me, this one really doesn’t find its feet until a mid song progression. But when it finds its feet it starts kicking ass. The climax ends up being worth the wait; this one’s for the head bangers.
8. Reptiles
Wait a minute. Did The Crunge just start playing? Nope, but we are back on the Zep theme again. Along with dueling guitar parts (panning one full out to the left and one to the right, a la QOTSA), this song really does represent the ultimate genesis of the members of this band. It was apparently the first song the group wrote together and is among the best on the record.
9. Interlude With Ludes
It’s all in the title people. This is the odd one out on the record, but mysteriously it seems to fit. Homme is crooning about “sleep deprivation, LSD, and bloody rags”, over what sounds like a record of the rest of the band playing in the studio next door; but they are slowly getting closer. Creepy.
10. Warsaw Or The First Breath You Take After You Give Up
A seven-minute track that would’ve been great if it faded in at 3:30, when the tempo increases and John Paul Jones plays the role of melody maker. A piercing guitar cuts through the immense depth in the latter half of this track. I think I’ve become a sharp guitar tone masochist.
11. Caligulove
Nothing to write home about here. JPJ seems to be doing his best impression of Ray Manzarek on the organ.
12. Gunman
This one was originally released online with a promotional video featuring dancing skeletons for Halloween. I think the skeletons had the right idea. With the pulsing drums, wah guitar and spacy vocal delays, you may look down and notice your hips are shaking without even knowing it. Homme has often reiterated to his fans that he wants to “make music to dance to”. Mission accomplished.
13. Spinning In Daffodils
An elegant yet dark piano intro’s the epic of the record. I can’t help but assume parts of this song were written when QOTSA released Rated R; as it screams out “Better Living Through Chemistry”. Again, a very intricate and melodic bass line is almost buried and you really have to challenge yourself to discover its brilliance. After a very gradual fade-out leaving the guitar all alone, we are transplanted into a crooked ¾ time waltz to conclude this fantastic record.
To Conclude:
There is no doubt in my mind that this is a musicians album, and that musicians will likely appreciate its subtleties more than the rest of the mob. Though this album really has something for everybody. The three iconic rock figures seem to dabble into their collective past while progressing forward in the same breath. They care about the music they are making and it shows.
