Queens of the Stone Age – Like Clockwork

Josh Homme said upon leaving Kyuss, he had an urge to create “sexier sounding music.”  This resulted in the birth of Queens of the Stone Age.  From that point he had a three album plan put in place;

Album 1. Create a new sound.

Album 2. Fan the music out by getting weird and sexy at the same time. 

Album 3. Refer to the first one and take it to places it’s never gone before. 

Judging by this 3-step hard rock manifesto, QOTSA’s sixth and newest album, Like Clockwork, should be taking us on a sexy time-travelling adventure, whilst still retaining their core sensibilities.

California’s very own, hip-shaking ginger Elvis (Homme) has always had an ear for a groove, creating danceable hard rock, with an eye to attracting a gender-inclusive fan base.  He grew up in the desert, in a competitive environment where bands, never dreaming they’d play to anyone outside their town, still strove to out-do each other by creating something better or different to the rest.  This attitude has stuck throughout his career; he keeps people guessing and tries to avoid repetition.  Both on Queen’s records, and the now revered desert sessions, which see Josh invite world-class musicians to the legendary Ranch de la Luna recording studio.  Once there, original songs are written on the spot, recorded in one take, never to be performed again. 

There seems to be something about the barren, sun-scorched landscape, which fuels creativity for its occupants (Arctic Monkeys being the latest group consumed by its mystique, having moved there after recording with Homme). Maybe copious amounts of tequila and the magical powers of mescal aid the process.  Either way, that magic seems to be sprinkled over this album.  Chugging bass lines, from Michael Schuman on Keeping Your Eyes Peeled, a prowling beast of a song, opens proceedings and loudly announces his first recorded contribution with the band, having joined during their last tour.

On the whole this album shares DNA strands more in common with songs like Auto Pilot and In the Fade from Rated R or Make It Wit Chu from last album, Era Vulgaris, than it does with their heavier artillery.  And for the first time, rather than dipping their toes, the band immerses itself in gentler songs.  For instance, Homme’s falsetto is put to good use on mid-tempo, I Sat by the Ocean (I sat by the ocean & drank a potion to erase you/Face down in the Boulevard, yet I couldn't face you.”) Followed by, If I Had a Tail, where Josh remains at his smoothest vocally.  And the sentimental piano-based track, Fairweather Friends, on which Elton John (yes, the same Elton John) guests, unveils Josh at his most vulnerable.

That’s not to say there aren't plenty of crashing cymbals and soaring guitars on show, which add depth to the already sinister vibes underpinning the album.  My God is the Sun is the hardest-hitting song on the album, unsurprisingly with Dave Grohl astride the drum-stool, doing his damnedest to bust through the skins.  Kalopsia utilises keyboards, in a song that has a fantastical quality, with Josh making full use of his vocal range.  There is the gentle side followed by the hard edge, and the music changes in time to suit each.  He sings in someone’s defence, lashing out against their detractors; “Oh why the long face?/You've got it all wrong/Forget the rat in the race/We'll choke chain them all.”

Smooth Sailing catches Josh and Co at their bravado fueled  balls out best with some funk added to the mix, as he sings about blowing his load “over the status quo”, and doing the damage “that needs gettin’ done”, showing he’s still wielding a sharp-edged blade.  It is all rounded off with album title-track, a tender song, and fitting way to end a their most emotionally-charged album to date.

QOTSA take a militant stance against blandness and repetition, continually pushing musical boundaries, whilst always delivering the grooves, because above all else, Homme and his mob of fun-time misfits want their audience to dance and have a good time.  Whereas past albums seemed to reluctantly include lighter moments, for the first time slower, melodic songs have taken centre stage, opening the door to endless possibilities for future albums.  And as we've come to expect from their nuanced sound, sparks and explosions are never far from earshot, this album being no exception, with some finely crafted desert rock shrapnel lodging itself in your ear drums throughout.

https://www.facebook.com/DarkandDirtySounds

By Garrett Hargan