Has it really been six years since
Queens of the Stone Age last graced us with their presence? Think
back to music world of 2007 and it is apparent how much things have
changed in that time. Today's chart toppers - like Justin Beiber, and Adele, for
example - were non-entities. Amy Winehouse was still alive and well,
tearing up the world with Back To Black. The Black Keys were
stuck in the limbo of constantly being compared to The White Stripes.
Dubstep was not a thing yet, let alone a best-selling buzzword. Oh,
how the times have changed. In that regard Queens of the Stone Age
are a refreshing constant in a land ruled by delirious progress. This
is in spite of their revolving door line-up. Drummer Joey Castillo is
out and has been replaced by Jon Theodore (ex-Mars Volta), and
touring members Micheal Shuman and Dean Fertita are fully integrated
into the family. When Queens deign to release a new record you know
more or less what to expect: agitated, groovy rock music with a cruel
undercurrent. It represents both the best and worst of humanity
simultaneously and many jaded rock fans have come to rely upon their
workhorse attitude. Their new album Like Clockwork is,
ironically, anything but the result of a mechanical process. It was
wrought from the blood, sweat, and tears of the people responsible
for it. Beneath the layer of muck and sleaze lies another layer of
intoxicating mystery. If you journey even deeper you can find the
beating, bruised heart of the animal within. This is a dark, twisted
voyage into the very soul of a band. Everything has been laid bare,
the very anatomy exposed for all the see.
'Keep Your Eyes Peeled' opens the album
and should leave you in no doubt as to the tone of the piece. Maybe
its the guitars that scythe over the gut bucket bass rumble. Maybe
its the stark contrast between Homme's papery falsetto and the
violent undercurrent of the song. Maybe its the fact that the voice
of chief Scissor Sister Jake Shears is buried somewhere in all the
murk. It was made to overwhelm the senses and it succeeds in doing so
and then some. The more “traditional” rockers are present as well
and manage to have a good time, even if that good time stands in
bleak contrast to the roiling gloom found elsewhere. 'If I Had A
Tail' has the potential to drown in its half-baked motifs of animal
dominance. In the hands of Homme and friends it has the strut and
razor hooks it requires while retaining the viciousness behind the
sentiment. You also get a rather entertaining diversion into
robo-funk on 'Smooth Sailing'. The kicking groove sounds like Beck
meets Talking Heads on a bender, complete with seasick outro. It also
contains such knowingly daft statements as “I blow my load over the
status quo”. Josh Homme is in full, balls swinging,
don't-give-a-fuck mode on this one. It makes for carnal party rock of
the highest order but leaves you entirely unprepared for what comes
next.
In its final pair of songs Like
Clockwork finally opens up to show you the cogs that tick
tirelessly away from prying eyes. First is the album's rotten core
and centerpiece, the foreboding 'I Appear Missing'. It tugs at the
heart as it sickens the mind and putrifies the flesh. A song that can
boast such evil barbs as “its only falling in love because you hit
the ground” was designed to get under your skin and leaves you
scratching. And then there is the heart breaking closing title track
that wraps up the album in style. After a full 40 minutes of raging
libidos and unsheathed imaginations you arrive, at last, upon the
slow burning epitaph. More startling is that it shows a degree of
vulnerability in Queens that we have never seen before. The beast has
shown the battered face that lies under the mask. The lyrics are
poignant and cut right through all the bravado and machismo we have
come to expect. “Most of what you see my dear is purely for show /
because not everything that goes around comes back around, you know”
may prove to be a profound statement of the band's future, but only
time will tell. The air has been let out of the bag. The fun machine
has, finally, taken a shit and died.
The list of guest artists on hand for
this albums seems daunting at first glance. Mark Lanegan, Nick
Oliveri, Dave Grohl, Trent Reznor, Elton John, Jake Shears, Arctic
Monkey's Alex Turner, and UNKLE's James Lavelle. That is an
impressive roster! Fortunately the way that the band handles these
extra sets of hands (and voices) in the kitchen doesn't spoil the
broth but add to the extreme surreality. Many guest appearances will
barely register to the drive-by listener. If you party with Queens
you play by their damned rules! Nine Inch Nails demagogue Trent
Reznor manages to fair better than most here. You are actually able
to discern him among the crowd as he adds an extra level of madness
to the unruly 'Kalopsia'. Queens of the Stone Age have managed to now
make six albums and while they share much in common in terms of
message and style no two of them are exactly the same. Like
Clockwork seems to cherry pick the most harrowing elements from
its predecessors while still forging brazenly ahead. It is excellent
from start to finish but will probably never overthrow Songs For
The Deaf's commercial appeal. Lead single 'My God is the Sun' is
perfectly functional in the role but don't expect it to usurp 'No One
Knows' on your local radio station any time soon. Do not dare mistake
that as a bad thing; the challenging nature of the music speaks
fondly of the artistic minds who forged it. Ultimately this is an
album for someone who wants to go on an odyssey and doesn't mind
getting their hands a little dirty along the way.
Rating: A
Recommended tracks: If I Had A Tail, I
Appear Missing, Like Clockwork
No comments:
Post a Comment