There isn’t a fine line between bands that get drawn into improv jamming as if Charybdis were beside them and acts that play consummately complex music while following sheet music they spent thousands of hours writing and revising. The line is about three feet thick.
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To the extent that “math rock” suggests playing guitar notes perfectly and usually one note at a time, some weight could be given to the otherwise esoteric term. The repeated usage of it to describe Don Caballero guitarist Ian Williams’ one-handed finger-tapping technique must’ve driven him close to losing his mind.
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“Wake up!” With those two words, the weirdest mainstream-crossover metal song of this century (its video has 1.5 billion views and counting on YouTube) still also stands as the loudest clarion call we’ve heard since Rage Against the Machine. That band’s protégé-ish followers, System of Down, took the baton from Rage and went on to come one of the most important “political” albums of this century: Toxicity.
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After grunge stuck a dagger into the heart of guitar heroics, along came Jack White to defend the value of virtuosity. He laid out his case on Elephant—after all, as only one of two members of the White Stripes, he had to pour every ounce of his creativity into his sole instrument, right? (White later cinematically demonstrated his innovative techniques and “reinvention” of playing guitar in the 2008 documentary It Might Get Loud with U2’s The Edge and Led Zeppelin’s Jimmy Page.)
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Godflesh and Neurosis are heralded as the shamen of post-metal, but heirs to the throne Isis helped evolve the avant garde end of heavy music into a transcendent and even mystical reimagining of the sound. Isis’ Oceanic is almost unanimously regarded as a classic record.
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Elder weren’t exactly elder statesmen in the doom-metal body politic upon releasing their third album. But they were staunchly convinced that a little more of everything was needed. More volume. More melody. More prog-rock passages that’d break up the monotony of the hypnotic riffs.
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In the late aughts, when the majority of the most innovative and provocative punk bands had stepped out of the pool and toweled off, Toronto’s Fucked Up came running across the backyard out of nowhere and cannonballed into the water with such weight that even those standing at a safe distance got soaked.
Breaking the third wall here a bit, if there still is one …
Over the course of my 30 years as a music journalist, Queens of the Stone Age and Foo Fighters are among the top five bands about which I’ve written the most. I still rank QOTSA as my third-favorite band of all time (Nirvana and the Jesus Lizard will probably forever occupy those #1 and #2 spots, respectively). And I continue to regard Dave Grohl as my ultimate rock idol, it gives me no pleasure to report that the new QOTSA record, Perfecth (due October 30), is – from the few spins I’ve given it thus far – not just the worst record in the band’s catalog, by a long shot, it’s utterly perplexing that the band would even put its name on it.
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There’s arguably no Pixies record that could have benefited more from a masterful manicure, which is so well-executed from start to finish that it’s impossible to forget that you’re not listening to the original version. “Rock Music,” which once sounded limp, now lives up to its name as a sub-two-minute banger. This time around, “Velouria” sounds like a fantastical space odyssey presaging the interstellar obsession that Frank Black lacquered over his solo works years later. The brilliance of Dave Lovering’s frenetic drum rolls are crystallized on “Allison” and “Is She Weird,” the latter of which also brings Joey Santiago’s guitar playing and Kim Deal’s bass into shiver-inducing focus.
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Soulful rock trio Alabama Shakes sound like no time has passed at all after a decade-long break between studio records as they reignite their chemistry as a blockbuster unit.
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