Queens of the Stone Age: Paralyzed by Darkness, Beauty and Desire

Songs for the Deaf renewed my faith in rock n’ roll. In 2002, the whole scene was well on its way to taking a permanent nose dive into oblivion. When all star outfit Queens of the Stone Age released their outstanding third album I was reminded of what I loved in music. Intense, excited, creative, and fabulously entertaining it was the kind of thing that couldn’t be ignored. With faith renewed in rock, I couldn’t help but engage in idle chatter about the band. QOTSA was on the tip of my mind and tongue whenever somebody expressed their distaste for the industry.

It’s been nearly three years since the band last graced us with their presence and handed over new music. They had a lot to live up to. 2000’s R and their self-titled 1997 debut rounded out a trilogy of outstanding releases. I thought is quite impossible that the band could do it again. 2005’s Lullabies to Paralyze is a pleasant surprise to say the least. Nick Oliveri’s departure prior to heading to the studio was disconcerting. The bassist, I believed, brought something special to the band. That left guitarist, vocalist and songwriter Josh Homme at the helm to prove for once and for all that he is indeed the real master of puppets of QOTSA. However, I want to also make it clear that percussionist Joey Castillo, guitarist/keyboardist Troy Van Leeuwen, and bassist Alain Johannes on bass and the band’s many contributors help to make this album and the three others something truly exceptional.

On this go-round, Queens of the Stone Age call upon long-time vocal and writing collaborator Mark Lanegan (Screaming Trees) in addition to the likes of Shirley Manson (Garbage), Dean Ween (Ween), Brody Dalle (The Distillers), Billy Gibbons (ZZ Top), Dave Catching and others to occasionally round out their diversely talented lineup. Each time the band releases an album I think to myself that their luck is bound to run out. It’s not uncommon for the vision to far outweigh the actual artisanship. Fortunately, this is one band that has yet to really disappoint. Lullabies to Paralyze fortifies my hope that rock is indeed not dead. Really excellent, artistic, and heavy rock lives on in the guitars and vocals and melodies of QOTSA.

Exquisitely haunting, This Lullaby features the deep-voiced Lanegan on vocals and Homme’s lightly plucked guitar. Brief, somber, and gorgeous it sets the tone for the album that will follow. It’s in such great contrast to the song that follows (Medication) that one can only assume it is a kind of mood-setting introduction to what in the end is an effectively spooky album. The fast-paced and hard hitting second song smacks of the pointed energy QOTSA has always exhibited but it is Everybody Knows that you are Insane that returns most specifically to the direction of music on Songs for the Deaf. It is also here that I as a listener can hear the loss of Oliveri. The rich, loud, dark bass guitar isn’t as obvious. However, this isn’t a bad thing—rather it’s merely a different thing. Different is good in this case.

The chunky, dramatic Tangled up in Plaid also is something of a return to the stylings of the prior release. It’s a strange, creatively free song that with the keyboards and occasional ding of a triangle ranks among my best songs on Lullabies to Paralyze. Burn the Witch is undoubtedly one of my favorites. Heavy on guitars and drums but still concentrating on melody it features a vocal duet between Homme and Lanegan. I am once again reminded of how much I adore Lanegan’s style. When paired with Homme’s odd tenor it works wonderfully. Add in Billy Gibbons’ guitar not to mention a steel guitar from Van Leeuwen and the resulting piece is nothing less than exceptional. Burn the Witch represents musically everything in rock n’ roll I adore. As the album continues I’m struck time and time again by its immediately enjoyable elements. What’s most interesting however is the fact that QOTSA never sacrifices mainstream appeal for musicianship. Somehow, Homme and company manage to make music that can be appreciated on many levels and not just the standard mind-numbingly boring radio landscape.

The first single off of Lullabies to Paralyze is Little Sister. A rather stark rock track, it is marked by Homme’s incredible vocal performance not to mention an incredible attention to detail. I think where so many “rock” bands fail today is in the actual musical part of making an album. They think that if you’ve got a catchy melody, memorable lyrics, and a charismatic frontman you don’t really need to concentrate that heavily on making the percussion and guitars sound great. QOTSA does not subscribe to this ridiculous belief. Guitar solos, cowbells, and chanting help set Little Sister well ahead of the unfortunate gob of sound-alikes that currently pollute radio.

I Never Came is a good and immediately listenable song, but it pales in comparison to the song that follows. Someone’s in the Wolf is easily on of the strangest and most foreboding songs I’ve heard in a long time. An adventure unto itself, this song makes me uneasy. There are so many interwoven elements and unexpected—even horrific—twists that I can’t help but be drawn into the dark web of desire that the band has woven. It’s a dense and amazingly alluring rock song that toward the end trickles off into even spookier territory with sharpening knives and various other weird sounds.

Marked by an apparent “circus guitar” played by Dave Cushing according to the notes, The Blood is Love picks up where Someone’s in the Wolf left off. It’s certainly not a favorite song, but like everything else on this album it is impossible to skip. This is a complete, moody vision. Skin on Skin is a droning, strange offering also and once again somewhat less impressive than other songs but still better than most anything that is currently “popular.” Blood Box is definitely worth hearing with keys, a fabulous guitar lick, and Homme’s great vocal attitude. It’s clear that this is a band that definitely talent, vision, and the intelligence to actually execute it all seamlessly.

”You Got a Killer Scene There, Man…” is one of the most star studded affairs and features layers of vocals provided by Shirley Manson, Brody Dalle, Mark Lanegan, Chris Goss, and (of course) Homme. As strange as it may sound, but this is smoky and low-key affair. The central instruments are the guitar and hand claps. The bluesy, dusky delivery makes this song different and special. Even album ender Long Slow Goodbye is pleasing. It features the most delicate, restrained, evocative delivery on the entire album from Homme.

Lullabies to Paralyze is more than I could have possibly expected from Queens of the Stone Age. Of course I’d hoped it would be this striking, but I couldn’t have imagined just how impressed I would be with the band’s fourth album. This is the kind of disc you can pop into the stereo and listen to without reaching for the skip button. It’s also the kind of album that is so good that it goes by much too quickly. Listen to songs This Lullaby, Burn the Witch, Tangled up in Plaid, Little Sister, and Someone’s in the Wolf for the most impressive offerings, but don’t neglect the nine other tracks—QOTSA makes great album-oriented rock that is best served in that context rather than as radio hits or singles. This is easily one of the best (most creative, most original, etc…) bands in modern rock and roll.

One more time, all together now—Queens of the Stone Age rocks!

Rating: 5/5 stars

Track Listing:
01. This Lullaby
02. Medication
03. Everybody Knows that you are Insane
04. Tangled up in Plaid
05. Burn the Witch
06. In My Head
07. Little Sister
08. I Never Came
09. Someone’s in the Wolf
10. The Blood is Love
11. Skin on Skin
12. Broken Box
13. “You Got a Killer Scene There, Man…”
14. Long Slow Goodbye

Queens of the Stone Age – Songs for the Deaf (2002)
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