Mini Mansions – Mini Mansions

(Ipecac Recordings/Rekords Rekords, 2010)

On the face of it Mini Mansions is a modern take on playful pop music of the 60’s and 70’s. However, it has some creepy and sinister undertones making it delightfully compelling.

Queens of the Stone Age’s Michael Shuman is the brainchild behind this project, and along with Zach Dawes and Tyler Parkford, they produce a sound which most have compared to The Beatles. The album also contains a psychedelic element reminiscent of Pink Floyd, an artful playfulness reminiscent of David Bowie, and a modern touch reminiscent of Arcade Fire; putting it somewhere towards the back end of The Beatles existence, possibly even a indication of what The Beatles would have gone on to become.

Right from the first track, Kiddie Hypnogogia, the tone of the album is set with a lighthearted and upbeat opening quickly giving in to slow melancholic chords which create a sense of mystery and fear of the unknown. The Room Outside introduces a Beatles-esque tone and with lyrics about astro-psychical realms points more towards their progressive side. Majik Marker later continues this and is possibly the strongest track on the album, providing a wonderful throwback into the world of 1960’s psychedelics.

Mini Mansions maintains a strong piano element throughout which give tunes like Crime of the Season and Girls and lighthearted and at the same time worryingly dark feel. Monk stands out as the creepiest track on this chilling album. Lyrics such as “If I promise that my hands don’t move, you wanna tuck me in? No touching or feelin’ anything / If I promise that my lips stand still, you wanna run your mouth? No touching or feelin’ anything” stand in stark contrast to the catchy beat and vocal harmony of the song.

Wunderbars is slow and brooding, Seven Sons is upbeat and uplifting, and mixed in throughout are Vignette #’s 1, 2, and 3 creating a range of moods and emotions and a something quite unique from what is around right now and what has come before.

Mondo Generator – A Drug Problem That Never Existed

(Ipecac/Rekords Rekords, 2003)

Nick Oliveri has a penchant for pissing people off. This is clearly evident on A Drug Problem That Never Existed which was inspired by Oliveri’s divorce, substance abuses, and the death of his father. The opening track Meth I Hear You Calling sets the tone for the album and is filled with abusive messages from a fuming (ex) girlfriend, before Here We Come (“We’re coming to get you!”) signals Oliveri’s intentions with his signature screams.

So High, So Low displays a collection of feelings ranging from love to regret, and was later re-produced for the 2006 Dead Planet album but became over polished and radio friendly which nullified the raw emotion seen here. Do The Headright is my pick off this album, it chugs along violently with Oliveri screaming throughout but a bouncy, fun vibe comes across.

Mondo Generator is largely Oliveri’s work; however he does call up some big name friends to help him out. Josh Homme features on Detroit and gives it a real laid back Queens of the Stone Age feel, a welcome respite from Oliveri’s screaming. Brant Bjork, Dave Catching, Josh Freese, and Alain Johannes also make an appearance or two and Mark Lanegan puts his stamp all over Four Corners, a slow, retrospective way to wind down the album.

Jr. High Love is a fun track from the past coming off Volumes 3 & 4 of the Desert Sessions while Girls Like Christ is the reworking of an old Dwarves track and, although interesting, does not really fit in with the rest of the album.

All I Can Do and Day I Die are sombre acoustic numbers and a prelude to later years when Oliveri undertook an acoustic tour. When I saw him in 2009 he seemed appreciative and humbled that the small crowd had come along to hear him, just happy to be playing music; a far cry from the intense and, at times, brutal delivery of A Drug Problem That Never Existed.