Date: March 21st 2005

A fairy tale set sprawls over the stage, boasting dead trees and a backdrop that takes up the whole back wall; a setting for a twisted story where Queens of the Stone Age take over and hypnotise their audience for a short while.

Josh Homme, having recently recovered from a chest infection, delivers a steadfast performance, eyes heavy lidded and head jerking back and forth as if it were on a string. Mark Lanegan sings a deep, raspy counterpoint to Homme’s higher, soothing voice while Natasha Shneider is bent over her keyboard, fingers spasmodically hitting the downward sloping keys, and looking quite witchy with her black hair covering her face. Troy Van Leeuwan looks snazzy in a lilac suit, drifting in and out of the fake fog being churned out onto the stage. The bass thrums strong and deep, unwavering between Van Leeuwen and Alain Johannes, who looks slightly out of place.

During ‘Little Sister’ the crowd gets to experience first hand the fury of a tambourine and wood block being hit repeatedly and savagely. And it is breathtaking to see Homme’s milk-white fingers race over the strings to keep up with Joey Castillo’s manic drumming. ‘Mexicola’ is played to rapturous cheers as it’s very rarely done live – an undeniable treat for the fans. ‘Burn the Witch’ and ‘Tangled Up In Plaid’, wise selections, if only because they’re instantly likeable, showcase more songs from the new album, ‘Lullabies to Paralyze’. As a set closer, ‘Song for the Dead’ is completely mental, giving a few false finishes and unleashing controlled chaos which has each band member thrashing their respective instruments in a frenzy.

The stage looks cluttered and far too small for a band of six, but as far as intimate shows go, this is heady stuff and not only because the ventilation is poor.

Previously published on This Is Fake DIY.

Released: March 14th 2005

‘Little Sister’ – what’s the possibility that it’s a Freudian dig? It’s certainly dubious enough to be Queens of the Stone Age’s new offering.

The absence of bassist Nick Oliveri, who is no longer part of the band, is not too keenly felt and does not seem to reflect on this new material. Unless, of course, you’re a purist.

Starting off innocuously with the ‘knock, knock’ of a cow bell, or perhaps it’s a wood block, before launching a precise noise attack, the guitar whines, and although it’s simple in composition, it is fierce in sound, weaving perfectly in and out with Josh Homme’s soothing croon. The ‘knock, knock, knocking’ persists throughout, setting up for a perfect head-nodding, finger-tapping rhythm.

The debate rages on: cow bell or wood block? Well, does it really matter?

Previously published on This Is Fake DIY.