‘Villuminati’

Cole wastes little time in warning his rivals that they can’t measure up to his talents on this dramatic choir-backed opener which has the gall to pay tribute to the impact Tupac had on his career whilst simultaneously sampling Biggie. Comparing himself to both Shakur and Roc Nation label boss Jay-Z, Cole also pinpoints his ability to flit between the mainstream and the underground with ease before mocking the YouTube MCs who aren’t even fit to lick his favored Air Jordan XI sneakers: [LISTEN]

Sometimes I brag like Hov’, sometimes I’m real like Pac
Sometimes I focus on the flow to show the skills I got
Sometimes I focus on the dough, look at these bills I got
This is a message for some rappers tryna steal my spot
You n*ggas famous on the internet, I’m real life hot

‘Power Trip’

Even when Cole veers into vaguely romantic territory, he can’t quite resist the temptation to brag about his luck with the ladies. An otherwise heartfelt love letter to the girl that he became uncharacteristically bashful around before his rise to fame, this Miguel collaboration also sees him return to reclaim the previously unforgiving hometown club scene that is now apparently littered with women completely bereft at the fact they missed out on being another notch on his bedpost: [LISTEN]

Back home I’m grown now and this city’s my throne now
The same clubs I used to get tossed out
Life got crisscrossed, totally crossed out
Cause now I’m in this bitch and I’m totally bossed out
Old chicks cryin’ cause they know that they lost out

‘She Knows’

Joined by Dirty Projectors vocalist Amber Coffman for one of the record’s many ruminations on infidelity, Cole has little doubt that all the “good Southern bad hoes” in the club know exactly just how much of a superstar he is. Indeed, in a typically egotistical defence that only A-list rappers could even contemplate getting away with, Cole claims that by possessing such a Black Star-meets-Martin Luther King vibe, he’s utterly powerless to avoid succumbing to all the female temptation that comes his way: [LISTEN]

Now I’m sure you done heard about me

A black star, Mos Def, Kweli

Good southern bad hoes try me, they try me
This is Martin Luther King in the club

‘Forbidden Fruit’

Despite the fact that he’d only released a couple of mix-tapes when he shared the front cover of XXL magazine as part of their annual freshman issue back in 2010, Cole claims he was already so legendary that he deserved to have such an honor all to himself. Fader also gets it in the neck for failing to recognize his self-appointed genius, while a desire to show the world he’s a man is also stated as the main reason for moving the record’s release date to compete with Kanye: [LISTEN]

How many records do a nigga gotta sell
Just to get the cover of the double XL or Fader, fuck a magazine hater
When I say that I’m the greatest I ain’t talking about later
I’ma drop the album the same day as Kanye
Just to show the boys the man now like Wanyá
And I don’t mean no disrespect, I praise legends

‘Ain’t That Some Shit (Interlude)’

Having already compared himself to one African-American political icon, Cole also now claims that he’s treated like President Barack Obama whenever he returns from his globe-conquering duties to grace his former hood with his presence. Not only will Cole treat the mothers of Fayetteville with the utmost respect, he’ll also find the time in his itinerary to “snatch” all the “bitches” from every hater who ever questioned his loyalty to his hometown: [LISTEN]

Say I can’t come to the hood, true lie
See I would but I’m out in Dubai
When I get back I’mma roll through that
Snatch yo bitch give yo niggas dap
The hood gon’ ballistic, Cole was here and you missed it
That nigga walk like Obama man
Shake yo momma’s hand and kissed it

Organized by the Inner-City Muslim Action Network (IMAN), the 15th annual Takin’ It the Streets Fest in Chicago is one of the few celebrations where music takes a definitive backseat to social politics.

Across the modest grounds of Marquette Park were areas where prayer was not only permitted, but highly encouraged – with adhans being announced regularly throughout the day – It was clear what mattered most, and it extended deep into the heart of the festival.

Of the headliners it was Malaysian-born singer-songwriter Yuna that held the largest appeal. She’s a mainstay at the Malaysia Music Industry Awards, (the Malaysian equivalent to the Grammys) and her arrival created a palpable buzz. Shouts of “Yuna we love you!” began well before she made her way on stage.

She greeted the crowd with a warm smile and jumped right into familiar waters. “Bad Idea” elicited a gentle roar with young teenagers singing in perfect unison: [LISTEN]

Her voice was sweet and gentle all the way through despite the mass crowd that had slowly accumulated. She didn’t try and overpower a song like “Lullabies,” instead staying in her lane and letting the quality of the writing do the work for her – just as good if not better than contemporaries like Au Revoir Simone or Regina Spektor: [LISTEN]

The banter with the crowd was unfortunately held to a minimum due in large part to poor planning on the festival’s behalf. Her performance was short, real short. Six songs in total which must have been a bit of a disappointment, especially for Yuna who had announced that she had flown all the way from Malaysia to be there.

Still her form didn’t waver at all, keeping intact a Sade level of grace at all times. What was most important – aside from the performance itself – was the way she embraced the crowd, radiating a genuine love and appreciation. She acknowledging them wholeheartedly, a fan base who shared the same dedication and faith as she did - a strong showing of the transcendent power of well written, quality pop music, giving her performance and a song like “Live Your Life” extra meaning: [LISTEN]

By now the gospel according to Yeezus has spread to every corner of popular culture, its value measured as one of the most ambitious projects rap has ever encountered. But the evolution is not in the content, that much is clear. It’s the same old Kanye massaging his ego in ways that fall right in line with other like-minded projects of the avant-garde variety. The only difference being the breakneck tension he laces each narrative with – which is nothing new, especially when a lyricist of his caliber approaches the apex of his career. There’s an underlining sense of irony to it all, but not nearly enough to make it a groundbreaking enterprise. Not by a long shot. And certainly not enough to live up to the hype of the album, which Kanye crafted in eye-rolling secrecy as if it were the Manhattan Project.

The only step forward – or to the left rather – that Kanye makes here is on the production tip, which is spearheaded by Daft Punk among others. The minimally crafted, industrial playground gives ‘Ye enough freedom to loosen the chains his uber-celebrity status has forged. He’s looking to firmly plant his feet back on solid ground. Sink his teeth into something real as to elicit a visceral reaction from his fans. It’s the same level of emotion that had him tirelessly slangin’ beat tapes as a young producer at Columbia College. But at ten songs that sort of venture is fleeting. He’ll need to release another album, perhaps a sequel to Yeezus that’ll counter what he’s doing here because as of right now it’s just another highly processed gumball churned out by the ever ubiquitous hype machine.

‘On Sight‘

Kanye opens the door to his sixth studio album with his fists clenched and dick swinging. Same old story. The only thing different is the beat, making this more a sonic evolution than a lyrical one. Give him credit though for name dropping Johnnie Cochran. His role as a rap punchline forever lives on: [LISTEN]

‘Black Skinhead‘

Kanye’s peeved. Maybe angry or even confused, so what better way to express it than crying mercilessly over an abominable war drum, declaring himself a black skinhead. It’s a little endearing, like an adolescent parading around their new identity, but it’s still incredibly transparent even for Kanye: [LISTEN]

‘I Am a God‘

After brushing the dust off his jacket ‘Ye declares himself the king of kings, the alpha and the omega – God. No big deal. He’s parodying the bourgeoisie culture. But he’s way too invested in it for it to resonate. He’s a wannabe art house goon who thinks irony alone can fuel a movement: [LISTEN]

‘New Slaves‘

Do you remember where you were when you saw this video? Were you in the streets of Berlin or in Chicago? How about Paris or London. Or was it where a majority of the world saw it. At home glued in front of a computer. “New Slaves” is right. Kanye knocks it out the park in one swing: [LISTEN]

‘Hold My Liquor‘

Here it is, the official anthem for every drunk baboon trying to drive home after a night of partying. The shame is that it’ll be easy to overlook a silly confessional of sorts via his girl’s aunt who apparently is a walking twig. Chief Keef is around, but apparently with one foot out the door: [LISTEN]

‘I’m in It‘

Kanye’s expressing his repentant soul only as he knows how, in a shameless outpouring of emotional diarrhea. No more chasing random ass and losing focus. He’s in for a big surprise though because that same lifestyle he’s admonishing is the same life that fueled his insatiable hunger: [LISTEN]

‘Blood on the Leaves‘

Leave it to Kanye to take a song as revolutionary as “Strange Fruit” covered by one of soul music’s most gifted singers Nina Simone, and butcher it into a bedpan for one of his failed conquests. Controversial and stimulating? About as much as his crumby fashion line: [LISTEN]

‘Guilt Trip‘

Kanye’s purging here, exorcising those pesky demons that keep whispering in his ear. But did he not know that comes with the territory? If he’s trying to reclaim some lost innocence good luck. He’s got too much plastic running through his veins to turn back now: [LISTEN]

‘Send it Up‘

There’s plenty of Chicago connections on this album. Lyrically it’s a bit inept, steeped heavily in midnight creepings of the grimiest variety, but what it does offer up is a deep dish slice of Chicago’s burgeoning, often controversial rap scene – a vision nurtured by Kanye: [LISTEN]

‘Bound 2‘

Kanye’s lone throwback song is an homage to his more innocent days, when he was a hungry young producer trying to break into the big time. He’s looking to relive that same passion, or perhaps sow the seeds for another project – one that’ll counter the grit of this one and add punctuation: [LISTEN]

Washed Out – ‘It All Feels Right‘

A companion piece to 2009′s summer jammy jam, “Feel It All Around,” as usurped by the city that young people go to retire,  Ernest Greene goes for easy, breezy gold again with this kaleidoscopic de-flowering of the season’s first blooming of that beautifully inexplicable sentiment of “the feeling when it all works out,” that just wouldn’t be the same without this rose-colored vid:

Call your friends, I’ll call mine
We’ll head out for a long ride
Sun is coming out now
It all feels right

The Polyphonic Spree – ‘You Don’t Know Me‘

Another effective use of the Hollywood b-roll footage from an unspecified frightening clown kids film probably meant to teach a lesson about bullying, but in this case is used to credit-splay a message about keeping your head up high, consequently casting an entertaining light on these horrifying children form a bygone era in face-paint:

Keep yourself high
Don’t keep yourself low
It’s easy to forget what you came here for when you get old

Jack Johnson – ‘I Got You‘

Whirling across a time-lapse shot of various layers of clouds one would encounter on an over-water plane ride, the King of Surfer Folk disseminates on the shaky weather that comes with that special someone being worth it for the glory of merely having that special someone, as some handwritten sentiments punctuate the cirrus and the cumulous. Quite charming, that Jack:

I got you
I got everything
I’ve got you
I don’t need nothing more than you
I got everything
I’ve got you

Dawes – ‘From the Right Angle‘

Laurel Canyon hopefuls gather ’round the fire and attempt to channel Americana everlasting with a move about a girl, hesitating, and thus probably dropping the ball, but nevertheless splay a cinematic setting here with a simple, but striking sense of movement with flames, aside an old thin, gothic font:

From the right angle, in the right light
I might seem like I could take care of you
For a brief moment, for a few nights
Until the changing world has tumbled back into view

Ciara feat. Nicki Minaj – ‘I’m Out‘

Despite Minaj’s brat-trash stab at some variation of post-breakup feminist empowerment, and Ciara’s disappointing backseat, this video is pretty damn intoxicating, with its typographic narration of the proverbial lady’s night. Every 15 seconds there’s another golden t-shirt opportunity:

Man fuck you and your lady
Gun butt you ’cause you shady
Now which bitch want it
‘Cause that bitch get it

Arching back to a pre-Osbournes era in which Ozzy still had some flex on his metal legacy, getting the band back together for reunion mantle tour, Ozzfest, circa 1997, 13 is a roughly 13-years-in-the-making glory days push, channeling – and predominately tuning in – to the apocalyptic thrash the original four Sabbath dudes from Birmingham spawned some odd five decades ago, before and after Ozzy’s descent into drug zombie-ism. Except four became three with the pulse swap of founding drummer Bill Ward for Rage Against the Machine‘s Brad Wilk, and the reunion is actually 35-years-in-the-making, as the last record the dark lord-saluting metal ambassadors cut was 1978′s Never Say Die!

Rife with bending declarations of affinities for God or the devil – they can’t seem to decide – armchair philosophies about isolation and individualism, a quintessential metal fist aimed at society’s need for truth, and an odd curtin-calling knock at the atrocities the Catholic church has been capable of in recent years, the forefathers of painted-black rock mantra that production guru Rick Rubin helped them achieve is fittingly grandiose, but the sermon is convoluted. At one point, Ozzy babbles quizzically to himself, “I may be dreaming or whatever.” Then again, the church of Sabbath was not built on poetry, and 13 is evidence that even a wavering alliance to the dark lord won’t kill you, if not giving forever strength for those about to rock pushing into their twilight years. So goes our salute to some of your finer sentiments, Black Sabbath.

‘End of the Beginning‘

The sting felt from Ward’s reunion exit fades quickly with the cave-womp of pinch-drummer Brad Wilk, and the sludgy slither of cancer survivor Iommi gives way to Ozzy – hunched, babbling Ozzy – calling upon the sorcery of Sabbath past to put an end to the beginning in the name of unholy rebirth: [LISTEN]

‘God is Dead?‘

Another Paranoid war-horse, er pig, story goes Ozzy came up with the blasphemous declaration during a daydream about the religious horrors of 9/11, while Geezer Butler tied in a Nietzsche thread to flesh out the backwater sermon in full, masterfully thickened by Rick Rubin and shockingly pro-Big G: [LISTEN]

‘Loner‘

Mayhaps too much Nietzsche on the brain from predecessor “God is Dead?” as Ozzy leads the almost original Sabbath statesmen on another philosophical trip, this time about a loner. Near jam-worthy as “Aqualung,” but for the headbanger set – a cautionary from rockers not ready for twilight years: [LISTEN]

‘Zeitgeist‘

Ah, the Ozzy laugh – the comforting echoes from the mouth of a bat decapitator. Dynamic beast, 13, Rubin’s thumbprint fades perfectly, bridging the last stretch of Side A with black hole acoustic blues balladry, following Ozzy on a djembe-pattered cosmic thinker with an immaculate goodnight kiss: [LISTEN]

‘Age of Reason‘

Igniting Side B comes the gnar chainsaw rev guitar of Iommi, that’s tame compared to its metal-blues contemporaries, but labored enough to warrant some due elder respect, as Ozzy still going strong for five tracks, gets didactic with a lesson on “mass distraction” getting in the way of “truth:” [LISTEN]

‘Live Forever‘

The first bit of rust spotted on this comeback ride has everyone phoning in a cruiser, tailored for some odd teleprompter Ozzy stumble fail, but instead powers in fourth gear on with Wilk riding a kitchen sink cymbal ride so the “prince of darkness” can disseminate he “may be dreaming or whatever:” [LISTEN]

‘Damaged Soul‘

Eased in with a Floydian psych-talk fade, all this talk of God and rational thought goes the way of prime dark lord Sabbath yore, the prog blues crude-thick, Wilk finally emoting on the drums again and demonic Ozzie giving in to the dark side like he does best when he stops thinking about Sharon: [LISTEN]

‘Dear Father‘

Didn’t think we’d get a predatory catholicism screed about pedophilia, among other religious atrocities, on the final minutes of Sabbath’s first true record in 35 years. But the thunder matches the lightening and the fury of dark reckoning is vindictive enough to warrant a seven-minute sludgefest: [LISTEN]

‘Hangover’

Co-written with Rancid’s Tim Armstrong, the space-age carnival of lead single “Hangover” is a fair indication of the madness ahead as Lovefoxx invites a whole host of extra-terrestrial beings to help her drown her sorrows after breaking up with the man she was previously prepared to walk through the gates of hell with. A fine addition to their drinking songs cannon following the equally inebriated singalong of their self-titled debut’s “Alcohol:” [LISTEN]

If you have problems come to me
In Pluto they don’t wait a thing
Let’s get happy drinking Bloody Mary
I don’t want to be your sour cherry

‘Too Hot’

Ignoring the disapproving voice of her mother, this playful venture into mid-90s dream-pop sees a completely smitten Lovefoxx unashamedly announce her lust for the man who leaves her blushing, sweating and exhausted after every hot under the collar encounter. Perhaps a case of too much information, although admittedly, you should never really expect a conventional tale of passion from the band responsible for “Let’s Make Love & Listen to Death From Above:” [LISTEN]

When you touch me so deep

I feel the fire all over me

It makes me burn like red hot chilis

And like the snake I shut my skin

‘Frankie Goes to North Hollywood’

It may not be an homage to the HI-NRG synth-pop of Holly Johnson and co. But this electro-funk love letter to a gay best friend who left his “shitty town” for the bright lights of Los Angeles still has both feet firmly steeped in the 80s. Lovefoxx’s pleads for him to return so they can once again check out basketball players and watch trashy daytime TV is strangely sweet, if slightly desperate. But the fact that he has since changed his name suggests he has little desire to revisit his roots: [LISTEN]

Look inside our closets

See who did come out

Get all the weed off your father’s fridge

Watching bad TV

I know it sounds strange

But that’s what you mean to me

‘The Hangout’

The only track to really embrace the electro-reggae sound they previously explored on La Liberacion, “The Hangout” sees Lovefoxx adopt the persona of a terrifying man-eater whilst on a girls’ night out. Harassing her poor, unsuspecting prey with a series of persistent requests, the man in question doesn’t appear to be that impressed. But after roping in the rest of the group to help with her prolonged attack, it seems unlikely that he’s going to have much say in the matter either way: [LISTEN]

Oh, these are my friends

Carolina, Ana and Luisa

Are you by yourself?

Not any more

‘Teenage Tiger Cat’

Kicking off with a similar thudding intro to New Order’s “Blue Monday,” before some woozy robotic vocals and rowdy post-punk guitars are thrown into the mix, “Teenage Tiger Cat” was inspired by producer Dave Sitek’s pet, who turned from a cutesy kitten to a troublesome adult-sized cat over the course of the album’s recording sessions. But despite its playful intentions, it fails to recapture the amusement that such a transformation obviously caused in the studio: [LISTEN]

Pole-dancing polar bears

House of dogs and cats

Chinese stars from the zodiac sign

Wild animals dance

Doesn’t matter what their kind

AWOLNATION – ‘THISKIDSNOTALRIGHT‘

Plucked from a video game soundtrack, LA’s resident pop-blues crew, AWOLNATION, went the way of Problem Child with this one-off song about a kid that’s just “not alright,” in which the little cowboy lights a clown on fire, beats a piñata way more than it needs to be beaten and cow cowboy serif text makes everything that much more entertaining. Ace work, dudes:

I’ve been sleeping with these thoughts man

I’ve been contemplating singing them

Stand up, catch fire, with me

You can follow them to hell

Nyle – ‘Chicken Leg’

Please note: It “don’t mean that she a chickenhead/Just ‘cuz she do the chicken leg.” Once you understand this, you will likely proceed to enjoy the brand of Adult Swim-esque oddball hip-hop humor that makes this dude Nyle so special, cartoon block letters and all. Why are there only some odd 43 views?

Humpin’ like we have to bone
Freakin’ out your chaperones
Don’t you have some dignity
No, we left all that at home

TheOffer – ‘Recomeçar’

So many questions for you, dear Brazilian Blink 182. Why is there a toilet next to a toilet that is not a urinal? What did this poor man eat? And most importantly, how did you write lyrics on a full roll of toilet paper and not think about what kind of metaphor you stumbled upon. All said, however, we’re still thoroughly entertained at what kind of new “dia,” “historia” and “chance” happens after this bowel movement:

Um novo dia

Uma novo historia

Uma nova chance

Pra, vivir agora

Megan & Liz – ‘Release You’

As much as we’d like to spare you from disposable saccharine pop injections like so, these two Katy Perry hopefuls sought fan contributions to create this, although entirely cheesy, video strewn from the personal pictures and media of America’s youth, and also, although entirely played out, is moderately endearing, radio edit and all. Besides, pop star daughters grow up to be mothers, and a healthy concept of how relationships work never did any mind damage:

‘Cuz all day and night
I would take all your shhhhhh
Your what?
Yeah all day and all night
But I’m over it

The Coppertone – ‘Young Blood‘

At some point in recent lyric video history a smart musician or label or somebody decided it would be a good idea to snake some b-roll footage from old fair-use films splay some lyrics in a kind of credit-roll flow. We have yet to encounter a heart that does this in poor taste, this spaghetti country-blues howler about that youthful American pastime when all was “reckless” and “used,” notwithstanding:

Breaking bread with my ghost
I’m going to make things right
Find love in my heart
Shed some light

‘Modern Jesus’

Showcasing their ability to give the darkest of subject matters an almost celebratory feel, the rousing synth-pop of “Modern Jesus” appears pretty harmless at first until you realize that its joyous singalong chorus and initial help of redemption is simply masking the kind of mass cult suicide intentions that gave fellow psych-rockers The Brian Jonestown Massacre their name, with drinks and heaven’s cakes the apparent incentive for anyone willing to swallow a fatal pill: [LISTEN]

Come on in
Take a seat next to me
You know we got
We got what you need
We may be liars 
Preachin’ to choirs
But we can, we can sell your dreams

‘Purple Yellow Red & Blue’

The likes of Paris Hilton and the Kardashians may be easy targets. But while this trippy mix of emphatic hip-hop beats and thumping piano chords, which also features two of the Haim sisters on vocals, might not be the first biting satire of spoiled little rich girls-turned-trashy reality TV stars, it’s one of the most succinct as the song’s lazy protagonist admits that the lure of fame is far more important than anything such as a strong work ethic or empathy for anyone who doesn’t live in their gold-plated bubble: [LISTEN]

When I grow up I wanna be
A rich-kid born celebrity
It’s not greed, but necessity
Now I don’t focus on the hopeless
When I look out it’s only for me

‘Waves’

The most vociferous of the record’s many anti-war statements, this sprawling and spacey slice of alt-country sees Gourley take on the persona of a cynical and manipulative politician who, with little trace of a conscience or moral compass, is more concerned about selling false hopes to the public and utilising the military budget than the “waves at the bottom of the ocean” who the government are sending out to fight their needless battles: [LISTEN]

All we’re needing is a reason
It don’t need to be clear
Singing songs to the news
It can play to their fears
Someone’s gotta’ die and you don’t have to love him
But the military’s still got more in its budget, oh

‘Creep In A T-Shirt’

Taking the same nature vs. nurture side of the argument as Lady Gaga’s “Born This Way,” whilst also occupying a similar self-proclaimed loser territory as one of Danger Mouse’s previous cohorts, Beck, this wonky piano-pop slacker anthem sees Gourley ignore any attempts to wake him from his perpetual slumber by claiming that as he has always been a “creep in a t-shirt,” he might as well embrace this anti-social personality trait rather than try to fix it: [LISTEN]

I’m sorry Mr. Policeman
If I wanted to talk I would’ve called a friend
Don’t worry when I get back home
I’ll just stay in bed, I’m better off alone

‘Evil Friends‘

This schizophrenic blend of dream-pop and scuzzy garage-rock perhaps explains the lack of genuine friendship that the album spends much of its running time bemoaning. Launching into an egotistical rant which suggests he suffers from one almighty superiority complex, Gourley then informs the poor soul who has had the misfortune to cross his path that he would rather become allies with the devil than spend one more minute in their company: [LISTEN]

It’s not because the light here is brighter

And it’s not that I’m evil

I just don’t like to pretend

That I could ever be your friend

His debut The Golden Age of Apocalypse was a snapshot of what he could do. It was largely instrumental with a thoughtful combination of Herbie Hanckock inspired jazz fusion with a little Musiq Soulchild, Madlib and Ron Carter thrown in for good measure.

It was a project that tapped the potential of a phenom who regularly cites Dragonballl Z and of course Thundercats as driving influences. Thin on lyrics, Golden Age was an avenue in which Bruner could finally step out into the spotlight. Tentative at first, but revealing nonetheless: [LISTEN]

Seasons blow away, but the love is just the same
Each time you go away, but the love won’t let me stay
Each time you go away, but the love won’t hurt today
Seasons blow away, but the love still hurts the same

His newest album Apocalypse (Brainfeeder; June 4) takes his songwriting to another level. It’s much more loose and relaxed, and as the album goes on Bruner’s vocals only get stronger. Unlike before he’s able to give words to ideas and emotions where there once were none. He’s allowing his lyrics to tell the story as opposed to relying solely on his bass: [LISTEN]

Listen with your heart and see through all of your fears
Open up your world
That’s just yours cause life just seems so short
But if you play the game you can win in the end

Bruner also makes it a point not to take himself too seriously. The instrumental “The Life Aquatic” is a sympathetic nod to the tomfoolery of fictional oceanographer Steve Zissou (played by Bill Murray). Bruner also takes a moment to pen a heartfelt love letter to his cat, something he probably couldn’t have done in his debut: [LISTEN]

Don’t you know you rock my world
Don’t you ever leave me Turbo Tron
Don’t ever wonder where I’m going
I always come back to you

What’ll likely garner Bruner the most attention are the dance floor bombers “Oh Sheit It’s X” [LISTEN] and “Lotus and the Jondy.” But on closer inspection it’s the closing track “A Message for Austin/Praise the Lord/Enter the Void“ that speaks to the soul of Thundercat. An homage to friend and bandmate Austin Peralta who died last fall at the age of 22, it sends the resounding message that when it comes to Thundercat love will always be a foundational touchstone:

I know I’ll see you again
In another life
Thank you for sharing your love and your light
Though we say goodbye
We will say hello again

Queens of the Stone Age are considered - by some - one of three genuine ‘rock’ bands that can still top the charts in a decidedly un-rock Top-40 environment; the others being Foo Fighters and The Black Keys. While they may arguably be the least popular of the trio, they’ve also got the most authentic edge. If anyone has the power to “save rock and roll,” it’d be these guys.

Though with lineup changes, off-stage issues, and other misfortunes, the Queens have realized that group “victories” are always followed by massive setbacks just …Like Clockwork - a sarcastic yet accurate take on their bad luck. Chief lyricist Josh Homme was even on the verge of quitting music altogether. Consequently this album serves as Homme’s way of facing the band’s curses and their famous-but-failing-to-thrive status, taking listeners into a dark and depraved desert while musically tapping into his stoner-rock roots. To drive the point home, he’s enlisted help from gory comic artist Boneface in the gruesome music video series that takes place mainly in dive bars no earthly being could frequent. Even the uplifting tracks leave the listener with cottonmouth and sunburn.

‘Keep Your Eyes Peeled‘

QotSA jump into the album with a Palm Desert de-tuned bass that dries out all your body’s membranes upon first listen. Be it “underwater,” “behind the wheel,” or even from under a “blue sky,” Homme makes any setting life-threateningly and creepily decayed in a masochistic stoner-rock groove: [LISTEN]

‘I Sat By the Ocean‘

This lumbering, standard slow-surf rock jam backs an episode of Homme taking a handful of “forget-me-nows” to “erase” his tryst with a woman who’s wronged him – even in her friends’ eyes. Still, a more brutal track would have fit better with a message of self-drugging while “face down on the Boulevard:” [LISTEN]

‘The Vampyre of Time and Memory‘

The Queens take a Beatles-esque piano-ballad approach, but spin it 180 degrees as Homme “feels no love.” Coupled with irony (“hooray!”) and a diminished-key outro of utter hopelessness that could last a bit longer, one should give this anti-Beatles track a full listen past the slow intro: [LISTEN]

‘If I Had a Tail‘

Homme embraces his inner “tailed” beast and admits to infantile wishes with his best Bowie impression and references to The Crystals and Patti LaBelle (or the Moulin Rouge OST). His desired appendage wields power over a “city of glass/with no heart” on another sleeper yet danceable wrecking-ball: [LISTEN]

‘My God is the Sun‘

“My God” proves that the Queens are the closest thing to saviors of radio-ready rock and roll (sorry, Fall Out Boy) on this UV-worshipping exultation. The 6/8 spin on punk urgency a la “Go With the Flow” makes for a solid “Hallelujah” for anyone who embraces leathery skin: [LISTEN]

‘Kalopsia‘

If Kalopsia is “a delusion that things are more beautiful than they are,” then the title represents a “rose-tinted,” new-Devendra Banhart, gondola-ride vibe on the verses. But, the chorus’ bitterly rockin’ realism reminds there’s “mindless baboons” and poorly-dressed “copycats” outside: [LISTEN]

‘Fairweather Friends‘

As a rock-star that’s had underground cred in Kyuss as well as mainstream success, and many setbacks along the way – it’s no surprise Homme has a few leech-like “fair-weather friends.” While not a standout track, the humorous, muttered “I don’t give a shit about ‘em” fake-out shows some levity:

‘Smooth Sailing‘

“Smooth Sailing” takes the “wear my scars like the rings on a pimp” philosophy into sludge-funk as Homme plans to “blow his load on the status quo” with a curious Prince-like falsetto. Based on the album’s previous lyrical themes, though, “smooth sailing from here on out” might be naïve to assume:

‘I Appear Missing‘

Homme disappears through a bathtub drain with plenty of unsettling, disease-oriented imagery (“hospital gowns,” inferences to electroshock therapy, etc.). Hoping he’s “someone you’ll miss,” Homme’s lovelorn operatic crescendo reminds of Showbiz era/pre-Twilight-and-dubstep Muse:

‘…Like Clockwork‘

The title track, named after an in-joke that all career and life positives are followed by tragedy or failure “like clockwork,” shows the band as pensive balladeers mourning that karma doesn’t always work. However, the underlying theme of acceptance hints they’ve made reluctant peace with it: