Word: rockingly
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...Fighters), and John Paul Jones (Led Zeppelin), they form a formidable lineup of rock’s elder statesmen both past and present. Despite the impressive breadth of the band’s talent, however, it is Homme who controls the group. Dominated by aggressive and fast-paced hard rock, the band’s self-titled debut feels very much like a continuation of Homme’s prolific career, and that is precisely why it is such a triumph...
Homme’s Queens of the Stone Age, once viewed as the band who would save hard rock in the 21st Century, have continued to produce impressive albums. His other projects, from leading the satirical Eagles of Death Metal to producing the most recent Arctic Monkeys album, have all sought to bring out the dark side of rock music. Grohl, meanwhile, has never managed to reattain the heights he reached in the early 90s with grunge legends Nirvana, contenting himself with creating Foo Fighters’ radio-friendly rock. Grohl’s greatest success this decade may have...
...sees its guitars set about slowly and heavily crushing what melody there is. Proceeding at a restrained pace for a while before shifting into an incredible stomp for its final two minutes, the unrelenting assault of the opener proves that TCV have no intention of making shiny guitar rock like Foo Fighters or the classic heavy metal of Led Zeppelin. This is very much QOTSA-style, furiously aggressive hard rock...
...with Homme’s sophisticated sneer, and fortunately most of the album sees Grohl consigned to his natural place, behind the drum kit, providing successfully muscular, if surpisingly understated, beats. The other clear choice for a single, “New Fang,” tells a typical rock story of youthful indulgence and masculine indiscretions—“Sometimes you break a finger on the other hand / Think you got me confused for a better man.” Set to a relatively jaunty riff, the song shows the album is willing to compromise a little...
...aggressive spirit into well-crafted tracks. However, the album’s biggest weakness is the band’s tendency towards indulging themselves a little too much. Containing three songs close to or longer than seven minutes, and at over an hour of consistently hard and loud rock music, the album can get a little tiring. The appropriately titled “Interlude with Ludes” is a particularly wasteful use of four minutes, while closer “Spinning in Daffodils” is over-extended after its beautiful piano intro by Jones. Like Grohl?...