The dark, cohesive psychedelia of "… Like Clockwork" is unmatched by any of QOTSA’s five previous recordings.
Queens of the Stone Age
... Like Clockwork
Matador Records
Josh Homme and company are back from the dead. During the band’s six-year hiatus, Homme clinically died on an operating table during knee surgery. Rising from the ashes of personal turmoil and creative stagnation, the dark, cohesive psychedelia of … Like Clockwork is unmatched by any of QOTSA’s five previous recordings.
This is a grower, not a shower. It’s more akin to the Songs for the Deaf’s “The Mosquito Song” than Queens of the Stone Age’s desert-rock “Avon” and Rated R’s burner, “The Feel Good Hit of the Summer.” The brooding complexity of “Keep Your Eyes Peeled” and “Kalopsia” demonstrates Homme’s musical maturation. On … Like Clockwork, QOTSA broadened its orchestration with maracas, synthesizers, piano, slide guitar, octave pedals, and even shattered glass. Homme’s restrained, cabaret-inspired guitar propels “If I Had a Tail” and “Smooth Sailing,” while “Fairweather Friends” and “The Vampyre of Time and Memory” have a late-’60s Beatles feel. While the album is largely subdued, “My God is the Sun” lands a familiar punch of scraping fuzz.
Homme initially worried if anyone would want to hear QOTSA’s new direction. His wife told him not to care and just write. Thankfully he did, creating a masterpiece that every rock fan should experience. —Chris Kies
Must-hear track: “Fairweather Friends”
AiC is back with a slower-paced, but still hard-hitting album that features some of Jerry Cantrell's most masterful playing yet.
Alice in Chains
The Devil Put Dinosaurs Here
Virgin/EMI
It could be argued that Alice in Chains' greatest strength has always been the sense of movement within the group’s songwriting. From the 1990 landmark album, Facelift, to their 2009 comeback Black Gives Way to Blue, Jerry Cantrell's sinewy and melodic riffs heave and tug their songs back and forth with a moody heaviness that's been copped by many and matched by few. The Devil Put Dinosaurs Here is chock-full of the powerful, seasickness-inducing riffs that the band is known for exploring, and this album delivers them with a slower and more lumbering punch than its 2009 predecessor.
The slower approach works in the favor of this collection of songs, giving both William DuVall's and Cantrell's gloomy vocals room to breathe and provide hair-raising contrast against the music—especially on the tracks "Hollow," "Lab Monkey," and "Stone." Cantrell also supplies some of the most masterful guitar work of his career—his carefully crafted leads during "Scalpel" and "Stone" highlighting his criminally underrated, almost Gilmour-like restraint.
The album's major barn burners—"Hollow," "Stone," and "Phantom Limb"—serve as bookends for its decidedly less intense, yet comfortably-paced and enjoyable middle. Overall, the album doesn't match the ferocity of Dirt or Facelift, but it wasn't written that way. Instead, The Devil Put Dinosaurs Here heroically experiments with a stylistic culmination of the band's more than two-decades of making music. While it doesn't pack as many earworms as Black Gives Way to Blue, it's still a fantastic album with plenty of breathtaking moments.
Must-hear tracks: "Stone," "Scalpel," "Phantom Limb"
Leroy Justice treads carefully into jam-band territory.
Leroy Justice
Above the Weather
Elm City Music
Leroy Justice treads carefully into jam-band territory, owing to a musicianship and tightness that can turn out 8-minute listening experiences and 34-second guitar solos that are complex and fast-traveling without flying away to Noodleville.
The band self-describes as “guitar-driven,” which is accurate if not too simply put. Collectively, the dual guitars are the “frontman,” with singer Jason Gallagher holding down rhythm while vocally channeling Shannon Hoon. Meanwhile, the revolving tones (delays, country twang, esoteric reverb, jangly Jazzmaster, psychedelic ’70s riffs, crunchy blues) of lead guitarist Justin Mazer (who also plays with MiZ) are controlled and pronounced, leading the rest of the band to pockets and bounties of grooves. “Before I Die” goes from subtle to sprawling, each pick stroke working for position, no laurels to rest on in a song layered with at least 10 (I lost count) different 6-string parts of varying technique.
This is a band on the move, and while the slower ballads build and break out nicely, the players shine during blues rompin’ and longer, instrumental-on-steroid arrangements. Through earbuds, Above the Weather is a collective of heartfelt, seriously rockin’ tunes. The more promising thought, however, is imagining it live, vis-á-vis.
Must-hear tracks: “Watch Him Fall,” “Two Trees”