Dean Fertita

REVIEW: Queens of the Stone Age – Villains (2017)

QUEENS OF THE STONE AGE – Villains (2017 Matador double vinyl)

At my heart, I am a skeptic.

I was skeptical that Star Trek: Discovery would be any good, and that it wouldn’t piss all over the fans.  (It was and it didn’t.)  I like to share light doses of my skepticism with social media followers.  One record I have been consistently skeptical about is the new Queens of the Stone Age, Villains.    The first single, “The Way You Used to Do” did little for me.  It sounded more like Eagles of Death Metal than my beloved Queens.  Craig Fee over at 107.5 DaveRocks dubbed it “The Way You Used to Write Good Songs”.

Skepticism remained high, but vocal friends such as the trusted J at Resurrection Songs urged me to be open minded and give it a listen.  Fast forward to September 2017.  While browsing at my local Sunrise Records, one of the new Queens songs came on.  I liked it.

“I’m going to ask her if this is the new Queens,” I said to myself, “and if it is, I’m going to buy it.  On vinyl.”

It was and so that’s what I did.  The song was called “Fortress”.

My fears were assuaged on first listen.  “Mark Ronson’s a pop producer,” I thought.  Ronson has probably never recorded anything as heavy as “Song for the Dead”, but the songs on Villains have their own heaviness.  It comes from a deeper place.  It’s not about the volume of the guitars and the speed of the drums, but the melding of parts in a simmering cauldron.  Even “The Way You Used to Do” has grown on me.  The stuttering guitars are layered brilliantly within that dance beat.

Villains‘ nine songs  are a unique concoction, like Queens meets Faith No More meets David Bowie at the Apple store.  You might miss Nick Oliveri or Mark Lanegan (who doesn’t?), but the current Queens are still lethal.  Be lulled into the pulse and fuzzy landscapes of these new songs, and be slowly drawn to their unmistakable melodies.  They have always been eclectic, and Villains is the latest in that tradition.  With “Un-Reborn Again”, Josh Homme quotes from the Georgia Satellites “Keep Your Hands to Yourself”, on a song that sounds crafted from the leftovers of Van Halen’s “Sunday Afternoon in the Park”.

Why vinyl?  For the gatefold vinyl and the graphic etched fourth side.  Also for the rich sound and included mp3/Flac download.

If you are one of those who has a general “No Josh Homme” rule, this album will not convert you.  If you merely skeptical like I was, then be fearless and delve right in.

4.5/5 stars

REVIEW: Queens of the Stone Age – …Like Clockwork (2013)

QUEENS OF THE STONE AGE – …Like Clockwork (2013 Matador)

Yeah, I’m one of those jaded pricks who “only liked Queens when Nick was in the band.”  I bought the other albums too, but of those only the live CD really did anything for me.  Until now.  I really …Like Clockwork!  It succeeds completely at taking the Queens down a somewhat quieter and more mature road, while maintaining every ounce of their integrity.  They are still sometimes heavy, experimental and haunting.  But now they are almost always melodic, too.

Opener “Keep Your Eyes Closed” starts off somewhat slowly, but morphs into a bizarre Queens-meet-Alice in Chains concoction.  It’s actually the one song on the album that I didn’t like on first listen.  Imagine my delight in finding that I liked the rest of the album much more!

The most immediate song is second:  “I Sat by the Ocean”.  I put it in a category with songs like “If Only Everything”; it’s memorable on first listen.  “The Vampire of Time and Memory” is a space-age blues, but with some Queen-like moments (Queen, not Queens).  Josh’s understated vocals are classy and the keyboards create atmosphere rather than distract.

Next, the strangely-titled “If I Had a Tail” could have been released in 1981, or 1983, some time during the New Wave movement.  If I heard this on the radio, I’d think it was an 80’s band.  Only the occasional blasts of electric guitar remind me that this is 2013.  Here’s the cool thing — this track reunites the Songs For the Deaf lineup in a way.  Homme is joined by Dave Grohl on drums (who appears on several tracks), as well as Mark Lanegan and Nick Oliveri on backing vocals.

“My God is the Sun” is one of the tunes that sound the most like vintage QOTSA, and it is also one of the songs featuring Dave Grohl on drums.  It has some serious heaviness to it, as well as that stuttering, stammering Queens vibe.  All topped by the smoove as glass Joshe Homme vocals.

“Kalopsia” is a weird underwater easy jazz slow dance.  Trent Reznor duets, and suddenly its an explosive Bowie number.  Great tune.  “Fairweather Friends” has piano.  O, it has piano alright — by Elton freakin’ John!  There’s also lots of rich guitar.  It even feels Zeppelin-y at times.  Maybe JPJ rubbed off on Josh a bit?  Then things get funky on “Smooth Sailing”, but it’s a heavy funk with Homme in vocal falsetto.  Fucked-up Disco?  Sure, why not.  The guitar solo is pure noisy heaven, but Grohl’s heavy hitting keeps it in the world of rock.

Soft guitars and a whispery Homme introduce a song called “I Appear Missing”.  It’s hauntingly powerful, and dramatic. The guitar work here is incredible and intense.  It’s also perfect as the penultimate track on a strong album such as this. And when your second last song is as intense as “I Appear Missing”, then it’s often wise to end the album with something quiet.  “Like Clockwork” exists as simply piano and Homme for a couple minutes, Josh using his voice is ways I’ve never heard before.  Instruments build, and it’s a beautiful sunset-stained closer.

I don’t know what Josh was thinking in terms of the packaging.  I know he likes the colour red.  I got that part.  But all you get is a slipcase, a jewel case and a little card cover inside with minimal credits.  It says to go to quotsa.com for “extended credits”.  I paid for a physical copy, you’d think they could at least print the credits.

Musically?  5/5 stars.  With this and Sabbath already upon us, I have two contenders for album of the year so far.

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