Review: Queens Of The Stone Age - '...Like Clockwork'

Tick... tick... tick... like clockwork. Such has been the life of those awaiting the latest outing from desert rock legends Queens Of The Stone Age. Given the 6 year gap between their last album, 2007's somewhat understated Era Vulgaris, fans have been understandably tense in their anticipation of the band's latest effort. A double edged sword of wanting your favourite band back but not wanting them to scupper their so far stellar discography (see my feature on the very topic here). Not that fans were completely deserted. Them Crooked Vultures, singer Josh Homme's side project with Dave Grohl and Led Zeppelin bass god John Paul Jones released a much loved album in 2009 and the band's painfully overlooked first 2 records got the reissues and tours they truly deserved. However, living in the past only worsens the ache for the future and the return of the band with new material is thankfully upon us. The only worry is, is it a future worth stepping into?

If one thing can be said about 6th album ...Like Clockwork, its that the marketing and promotion leading up to the record has been handled fantastically. With teaser letters to music publications across the globe and song trailers featuring animated videos from artist Boneface that combined create a short film. Not to mention the long list of A-list collaborators that was anounced ranging from living legends Elton John and Trent Reznor, long time friends Jake Shears and Alex Turner and past members Nick Oliveri, Mark Lanegan and Dave Grohl. The hype alone made pressing play on this album an experience in itself as I focussed on soaking every second of this album in. I dive in. Album opener "Keep Your Eyes Peeled" introduces you with ominous sounds of smashing glass before a slow pompous drum beat and aggressive bassline begin the journey. Ominous pianos and creepy guitar decoration climbs aboard as Homme's smooth voice (backed up by Scissor Sister Jake Shears) introduces to the mood of the album with the menacing lyric "If life is but a dream... wake me". Tense isn't the word. As the track fades to just spooky cello you are released from the paralysis of this lullaby with the overall sense you're onto a winner. 

The album certainly doesn't shy away from the menacing mood that greeted us as we are immersed further into Homme's darkest and deepest record to date. Lyrically there is an overall sense of doom and gloom that would give the impression that Homme has perhaps recently been left wounded, certainly a departure from the man who got famous writing songs about drug benders. There are some real stand out moments in Homme's poetic ability with lines that stick with you more than ever. The belligerently bombastic "If I Had A Tail" with the line "Tears of pleasure, tears of pain, they trickle down your face the same" is a particular insight as well as the closing verses of "I Appear Missing" revealing a much more delicate side to Homme in particular the line "I never loved anything until I loved you". Its possible that with the fatherhood of his second child with wife/Spinnerette singer Brody Dalle and the complications he encountered during a routine knee operation that lead to death on the operation table, Homme found himself in a state of life contemplation. His apparent bed-ridden depression that came afterward reflects throughout ...Like Clockwork, the tone being summed up by the staggeringly deep title track and album's final sentence that Homme utters softly over a mournful piano accompaniment, "One thing that is hear, its all downhill from here".

That being said, ...Like Clockwork is by no means lacking in any energy. "I Sat By The Ocean", already a fan favourite live is a lively affair that displays the groovier side of Queens fans have come to love on their more recent albums. This as well as "Smooth Sailing" and first single taken from the album "My God Is The Sun" are tantalising examples of the brilliant musicianship involved on the album. Despite 6 years of membership, bass player Michael Shuman and keyboardist/guitarist Dean Fertita make their first full album appearances for QOTSA and deserve a mention for the impressive musicianship they display, in particular Shuman's contribution to "I Sat By The Ocean", grooviest bass line of the year me thinks. Long time member Troy Van Leeuwen also deserves credit for some truly impressive guitar work, namely the guitar solo duel with Homme during the end of "I Appear Missing", both guitarists producing some of their best instrumentality yet. 

Contributors are also in impressive swing most noticeably from Trent Reznor's vocal contribution on the crunchy choruses of "Kalopsia" and Elton John's unexpectedly fantastic piano and backing vocals that push "Fairweather Friends" from a possibly weaker number to a powerful and dramatic highlight of the album. Whilst Alex Turner, Mark Lanegan and Nick Oliveri's contributions aren't obvious ones, they provide to the sense of camaraderie this album entails. Former drummer Joey Castillo and new member Jon Theodore provide usual levels of sophisticated style but its Dave Grohl's drumming on 6 of 10 songs that offers the most forceful contribution that actually knock his work on QOTSA's classic Songs For The Deaf off the top spot of his career with "I Appear Missing" providing air drumming aplenty to many fans. 

In regards to comparisons with the band's already monumental discography, ...Like Clockwork sits comfortably with the previous efforts and in a sense brings the former efforts closer than ever. Elements from the band's classic Songs For The Deaf are clear with waltzing rhythms and of course the contributions of band members from that time but the dark dancier elements of Era Vulgaris and Lullabies To Paralyze are clear as well as the raw and crunchy energy of Rated R and the band's self titled debut. In this respect its a triumph for Homme who expressed interest in revisiting the styles of his previous work whilst creating an originality about it, a success I myself didn't truly expect despite my adoration for the band. At just under 46 minutes, its the band's shortest effort since 2000's Rated R but it does not suffer for it. The continuity of the songs is paramount on this album with delicate moments like "The Vampyre Of Time And Memory" blending seamlessly with rollocking ferocity of "My God Is The Sun". For someone whose expectations were far from low I find myself not only pleasantly satisfied but startlingly impressed by what I can only described as a worthy comeback. Homme suffered for this album and it shows but the suffering ends with him, for the rest of us its a handsome bounty. All those years we waited, ...Like Clockwork was worth it.

...Like Clockwork is available to buy June 4th on Matador Records. If you can't wait however, you can head over to itunes.com/qotsa to stream the album in full.

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Delectable Discographies: Vol 1 - Queens Of The Stone Age

Allo, allo, allo. Another new feature. Yes I know, I could be reviewing albums and new singles like a normal (successful) blogger but hey, I don't feel like it today. I feel like doing this, its an idea I had. You know what I hate on a lot of music websites? "Rate the albums" articles. Albums are so interchangeable for each listener, one man's masterpiece is another man's overrated crap sandwich. SO, I decided to talk about band's who have those kind of discographies that faults are hard to pick at and generally just give a background to each outing and why they might be enjoyed, not why the others are better or worse. A perfect run of albums is incredibly rare and deserves much more commending than a band with that "one classic" *coughFRANZFERDINANDcough*.

But yeah, kicking this series of articles into gear are a band most (apart from the painfully ignorant) can't help but be in love with, Queens Of The Stone Age. Josh Homme's desert stoner rockers are a force like no other, instantly recognisable and immediately (and widely) adored. Formed from the remains of 90s stoner rock/metal quartet Kyuss (if you're unaware check them out, easily one of the most exciting 90s alt bands), Queens of The Stone Age came to life with Homme who released the EP Gamma Ray before recruiting past Kyuss drummer Alfredo Hernandez in writing a full length LP. And thus, this delectable discography was born.

Queens Of The Stone Age (1998)

The bands debut album is an important album to any QOTSA fan, the seeds sewn by this record were incredibly influential to the growth of both the band and so many musicians of the future, the start of something big. And before the 2011 reissue it was a rare item in any format, only designated to those cheeky enough to torrent it (guilty). The debut from the Cali-stoner rockers is a mean record that saw Josh Homme embrace a groovier side he couldn't carry out in Kyuss. Opening 3 tracks "Regular John", "Avon" and "If Only" are a fearsome force, the perfect introduction to this record. Raw, groovy and sexy, its an album Josh Homme still prides for not being "a bad haircut record", further tracks "Mexicola" and fan favourite "You Can't Quit Me Baby" often still included in QOTSA sets of the present. 

Rated R (2000)

Two years later and Homme was back with the band's sophomore album and their first real breakthrough, particularly in the UK. Rated R, the band's first release on major label Interscope Records, was aptly titled with continuous references to drugs and sex that earned the band their stoner rock tag. Album opener "Feel Good Hit Of The Summer" featured verses listing the narcotics "Nicotine, Valium, Vicodin, Marijuana, Ecstasy and Alcohol" and a repeated chorus of "C-C-C-C-C-Cocaine" and single "Monsters In The Parasol" was influenced by Homme's first experiences with Acid on a cruise ship with his childhood friend. Lead single "The Lost Art Of Telling A Secret" is a particular highlight that in turn provided the band with their first experience of regular airplay. 

The record was also the first to feature vocals from others than Homme. Bassist Nick Oliveri, former member of Kyuss and QOTSA bassist since the touring of the first record, took vocal duties on the violently vehement numbers "Auto Pilot", "Quick And To The Pointless" and "Tension Head". It was Mark Lanegan of Screaming Trees fame however that stole the show taking vocal duties on "In The Fade", with a hauntingly bass driven track including the spooky delayed guitar effects the band would use extensively throughout their career. The more daring and spooky side of the band came to fruition in the form of the ensnaring darkness of "Better Living Through Chemistry" and album closer "I Think I Lost My Headache",an 8 minute epic (ending in a trumpet orgy) both characterising later sounds of QOTSA records in both length and sinister atmosphere. With Rated R, the band developed the platform they needed to amaze people. If you didn't already know, they used it wisely.

Songs For The Deaf (2002)

Songs For The Deaf, a record everyone must own. If you don't, I'm sorry but I don't have a lot of musical respect for you. It's not only the band's most popular record but by far their biggest statement of a record (so far at least...). The thing most unique about SFTD is the strange concept and theme that is carried out, an album of car radio. We are introduced to album opener "You Think I Ain't Worth A Dollar, But I Feel Like A Millionaire" by a slamming car door and intro from 'KLON Radio' who 'play the songs that sound more like everyone else... than anyone else'. A riff and drums combo sets the atmosphere before the song explodes to life as Oliveri screams your lug holes off. 

Attention came in the form of Foo Fighter's Dave Grohl taking the drum seat for the majority of the album. "A Song For The Dead", "First It Giveth", "A Song For The Deaf" and the prolific "No One Knows" are examples of Grohl's characteristic ability to make a small drum kit sound like a never ending bombardment. Mark Lanegan once again returned to administer his signature growl on 4 songs, most notably the rollocking brilliance of "God Is On The Radio" and the title track "A Song For The Deaf". Collaborators were in full flow as guitarist Alain Johannes and his keyboardist wife Natasha Shneider made their first appearances on QOTSA records, Johannes even getting co-writing credits on the menacingly rhythmic "Hanging Tree". 

It is of course Homme though who deserves the greatest amount of credit on Songs For The Deaf. Being the main songwriter you have to realise that this album's sound was purely his creation. Whilst the instrumentality is paramount to SFTD's success, Homme's guitar/vocals included, it cant beat the fact that the man penned these songs. The fierce waltz of "The Sky Is Fallin", the Spanish influenced beats of "First It Giveth" and the epic and threatening vibes of "God Is On The Radio" and "A Song For The Deaf". Not forgetting two of the biggest and most popular rock singles of the 21st Century (or EVER) in "Go With The Flow" and the forever loved "No One Knows". The latter of which seemingly exploding overnight, taking Queens Of The Stone Age from the level of "Oh y'know that band with the song about drugs" to full fledged rock royalty. No longer "Ginger Elvis", with Songs For The Deaf, Homme became his own man.

Lullabies To Paralyze (2005)

After a band releases arguably the "masterpiece" album of their career, they must find themselves in a level of musical paralysis. You can't emulate it or you'll lose lots of fans,  you can't stray too far from it or you'll lose lots of fans. However, if QOTSA's fourth outing Lullabies To Paralyze can be credited with something amazing, its a lesson in how to follow your "masterpiece" with style. 

Something that perhaps worked in Homme's favour this time round was the significant change of line-up. In 2004, Nick Oliveri, bassist/screamer/songwriter of 6 years was promptly fired from the band for "disrespect to the group's fans and excessive partying" though Homme later revealed it being because of Oliveri's disturbingly abusive behaviour towards his own girlfriend. This would also prove to be the last album to feature Mark Lanegan (heard on the eery opening number "Lullaby" with backing vocals provided elsewhere) as the singer decided to spend time with his own band. Dave Grohl of course went back to the Foo Fighters leaving the remaining members of the quartet of Songs For The Deaf era left at Homme alone. The replacements drafted in however proved to be of good stock with guitarist Troy Van Leeuwen of A Perfect Circle and ex-Danzig drummer Joey Castillo earning places after their touring of Songs For The Deaf.

The change in line up certainly affected the sound of the group creating a darker, spookier sound than the band's previous outings with gothic artwork to boot. Lead single "Little Sister" created a suitably sinister atmosphere with a snarling bassy guitar riff and continuous jam block driven drums (NOT A COWBELL - as any drummer will tell you) making it an instant hit in the rock charts. Further single "In My Head" was another chart friendly rock hit ensnaring listeners with a driving guitar line that came from Homme's infamous "Desert Sessions". Singles aside, the pairing of "Medication" and "Everybody Knows That You're Insane" is an insanely intense experience whilst hauntingly epic numbers the band had made their trademark were not lost in the burning fury of "Someone's In The Wolf" and "The Blood Is Love". Though the album was met with a less warm reception than Songs For The Deaf, it is a fantastic record and a favourite of many fans. Homme stated relating to the former album "it would have been easy to make Songs for the Deaf 2, which is basically all I heard in my own head. But I can't do that. You've got to shake all that shit away". Lullabies is certainly a different beast to its predecessor, but as dedicated fans know, its still a monster to be reckoned with.

Era Vulgaris (2007)

2 years on from Lullabies To Paralyze and Queens Of The Stone Age found themselves somewhere they'd not been in a while, out of the limelight. Indeed, I myself (15 years old at the time of release) was for reasons unknown shocked to see the band were back. There had been no hype surrounding the band's fifth album Era Vulgaris and it showed as opening week sales in the US were the lowest they'd been since Rated R. Johannes and Shneider were replaced by bassist Michael Shuman and keyboardist Dean Fertita (who had filled those roles on tour), due to the latter's diagnosis with cancer that tragically took her life in 2008. Though Shuman and Fertita appeared to be part of the new line up, they did not feature on the record that was once again primarily the work of Homme, Van Leeuwen and Castillo. The album was a concept that, like Songs For The Deaf, was influenced by a drive in Homme's car. Whilst SFTD was a desert record, Era Vulgaris portrayed the darkly enjoyable sides of modern lifestyles Homme had witnessed in the city of Los Angeles, primarily in Hollywood. The result came in a more crunchy and electronic influenced album (though still instrumental) that Homme would later describe as "Robot Rock".

Album opener "Turning Of The Screw" set the scene with viciously corroding percussion and a sharp, unruly guitar riff turning Homme from a roots rock purist to the role of a mad scientist, his voice drenched in echoey spookiness. This was expanded further on tracks like the groovy "I'm Designer", the turbulent booming of "Misfit Love" and the orgy of industrial noise that is "River In The Road". Lead single "Sick, Sick, Sick" was equally volatile with a monotonous riff paired with robotic synth guitar (supplied by Julian Casablancas of Strokes fame) and Homme's harsh vocal and lusty lyrics "A lick of the lips and a grip on your hips". Further singles "3's and 7's" and "Make It Wit Chu" were well received, the former providing a more charmingly classic QOTSA-esque riff and the latter being possibly the sexiest song ever written (move over Marvin Gaye) that also initially came from Homme's celebrated "Desert Sessions". 

Critically and commercially the album was semi-successful compared to past efforts with some believing the band to be 'past their best'. This, at least in my opinion, was certainly not the case and it was a shame to see the press and some fans not appreciate the progression of the group. Era Vulgaris was and is an excellently unique album that has won more appreciation in time than any of QOTSA's previous efforts.

Those 6 years & ...Like Clockwork

So there we have it, Queens Of The Stone Age's fantastic and forever adored back catalogue... or at least so far. Yes this post is timed specifically well (or badly, depending on your outlook) as the band set to release their long awaited 6th album ...Like Clockwork. There being a six year gap between it and Era Vulgaris, people once again seem to be buzzing with excitement. Not that Homme hasn't been busy, with supergroup Them Crooked Vultures in 2009, he was tested to new realms of genre and style and with the backing members of Dave Grohl and Nirvana's John Paul Jones, its easy to see why Homme was eager to spend time away from QOTSA to try something new. Homme again worked with Grohl on the latter's Sound City: Real To Reel soundtrack. Further new experiences came in 2009 when Homme found himself behind the producers chair for Arctic Monkeys' third album Humbug, arguably the Sheffield band's darkest record and a favourite of many. Queens' themselves weren't totally inactive either with reissues of the band's first two records and tours in support of them.

However, six years is a long time for any band to go without releasing any new material, even for a highly established act. "...Like Clockwork" has people itching for it's release and this time the fans are definitely eager. With an advertising campaign of promo videos like no other, and the news that Dave Grohl returned to the drum seat for over half the songs much drool has been expended (by myself included). In fact, collaborators come in bunches with confirmed contributions from ex-members Nick Oliveri and Mark Lanegan and further appearances from Trent Reznor, Alex Turner and Sir Elton John... no I'm not kidding! Joey Castillo, though appearing partly on the album, has departed the band replaced by ex-Mars Volta sticksman Jon Theodore (also credited with drumming on the LP) who already is proving to be a worthy replacement (though I will miss the "Sexy Mexy"). Single "My God Is The Sun", a rollocking waltzing track that brings Songs For The Deaf to mind which is promising to any QOTSA fan. With further sessions of songs like "If I Had A Tail" and "I Sat By The Ocean" causing a frenzy of excitement its safe to say ...Like Clockwork will be a definitive record of 2013.

So why didn't I wait until ...Like Clockwork came out before making this discography? Well you didn't think I was going to let myself cram a tiny review on the end of this did you. No, I promise to you (and myself!) a full review will be posted on this blog the week of it's release.

So, if you made it this far, thanks for reading! Its a long post I know but I did enjoy writing it and I hope people will enjoy reading it. Should it be regular? You tell me. Love it? Hate it? Feel free to say. There are a few other artists I could write within the same title so either way you can expect me to repeat it. Now though I'll give your eyes a rest and your ears a treat with a career spanning playlist of 30 of my personal favourite QOTSA tracks from every album. Enjoy and til next time!

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New Choons: Queens Of The Stone Age - 'My God Is The Sun'

There used to be a time when for a band to wait more than 2 years between any of their first 8 or so albums was virtually unheard of. Sadly these days it feels like a forever that we wait for well established groups to record and release their albums and often the years of expectation bring massive disappointment. For Queens Of The Stone Age fans, the wait has been 6 whole years since the band's fifth outing, 2007's "Era Vulgaris" which seemed to divide critics whom either loved or loathed it. Myself being part of the former, found it to be an excitingly refreshing album that really challenged perceptions of the band. Tracks like "Turning Of The Screw", "Misfit Love", bonus title track "Era Vulgaris" as well as particular singles "Sick, Sick, Sick" and "3's and 7's" felt like such a great leap forward to me with groovy drums from Joey Castillo and some of Troy Van Leeuwen and frontman Josh Homme's riffs were incredibly inspired. However many longed for the band at their most popular "Songs For The Deaf" era which while of course was a fantastic album, unfairly over-shadows the compelling former two albums and the excitingly evolving direction of the previous two outings. "My God Is The Sun" would suggest the band aren't completely unaffected by the majority's preference.

Coming with the announcement of their 6th album "...Like Clockwork" (details below), Josh Homme appeared on Zane Lowe's Radio 1 show to debut the song before sharing it on the band's youtube page. With it also came the revelation that "My God Is The Sun" at least features Nirvana drummer/Foo Fighter Dave Grohl behind the drum seat (returning there, after drumming on "Songs For The Deaf" after the confirmation of Joey Castillo's departure, sad news in my opinion). The track begins with rattling percussion and a winding guitar riff before we are thrown into a waltz stoner rock jam that brings to mind SFTD tracks "The Sky Is Falling" and "A Song For The Deaf". Grohl's presence is made known with his signature shuffles thrown in at the climactic end. Homme remains a domineering presence with his smooth yet powerful vocals as charming as always proclaiming "Heal them, like fire from a gun, kneeling, my god is the sun". Whilst stylistically more similar to older albums it does retain a bit of the robotic charm of "Era Vulagris" and even brings back the darker melodies of "Lullabies To Paralyze". To be honest, I personally can see a lot of similarities with Homme and Grohl's side project Them Crooked Vultures, whose self titled album felt, at least to me, slightly lacklustre.  I think I am probably slightly bitter to see the exit of Joey Castillo whose drumming on the previous two albums I had really enjoyed, though apparently he will appear on the album at points. "My God Is The Sun" is however an exciting song, and doesn't make me any less excited for the album. 

"...Like Clockwork" will be released the 3rd of June this year on Matador Records (with some mysterious deluxe editions on offer).

"...Like Clockwork" tracklist

1. Keep Your Eyes Peeled

2. I Sat By The Ocean

3. The Vampyre of Time and Memory

4. If I Had A Tail

5. My God Is The Sun

6. Kalopsia

7. Fairweather Friends

8. Smooth Sailing

9. I Appear Missing

10. ...Like Clockwork

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