5. Lullabies To Paralyze (2005)
https://www.youtube.com/watch?v=7RBMwelVYn0 Theres always been an occult appeal to QotSAs music, revealed in certain touches of varying perceptibility, from snaky backtracked messages (God is in the Radio) to chant-like choral vocals (Fairweather Friends). Lullabies To Paralyze serves up an hour of these macabre tendencies at their most uninhibited, though not every effort has the same degree of success. While the hooks and guitar tones are as muscular and impressive as ever, there are numerous points at which Lullabies merely sounds like a less gripping sequel to Songs For The Deaf. There is swagger in abundance, but Lullabies lacks the conceptual tautness, the dexterous grasp of variety, and the contagious gang mentality of its predecessor. Nick Oliveri had been ousted from the band by this point, Mark Lanegans contributions are much sparser and sparer, and Dave Grohls sticks were taken up by new mainstay Joey Castillo. As for diversity, there are still shifts in tempo and tone through Lullabies, but somehow, without the whiplash swerves of the albums precursors, the impact of such deviations doesnt quite hit with the same brusque power. When they arrive, the unhurried jams can waver between sleazily entrancing (You Got a Killer Scene There, Man) to gruelling (Someones in the Wolf). What saves Lullabies are its moments where the malevolent glee is dialled up to its full potential, and Homme and co. just relish the chance to cut loose and embrace the theatricality. Single Burn the Witch is an established fan favourite, which is flavoured with just the right amount of ham. The breakneck thrash of Medication is absolutely intoxicating and the circling jig of Broken Box is loose and limber, buddying falsetto croons with some biting choruses from Homme. In moments such as these, QotSA manage to sound at their most vital, and its thankful that its a formula they adhere to for the most part. Highlight: Everybody Knows That You Are Insane Its always a pleasure to hear a tempo change as electrifying as it is surprising. Everybody Knows That Youre Insane starts life as a roiling, wailing dirge, before it plummets into that fierce, frenetic mantra of its title. The band indulge their guitar heroics on this one, but with the brute force of that turning-point and a hair-raisingly powerful solo; its a mesmerising thrill ride all the way through.
Michael Perry
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Film and Literature student, keen bloggist, and aficionado of most things music, film, and TV. I've also been told I should stop quoting pop-culture as often as I do in everyday conversations.
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