Queens of The Stone Age have pleased and teased their fans for the past 14 years now, with records being rubbed out on a nearly bi-annual basis and a lineup that's been practically on shuffle since the group formed that long ago. In recent years, however, they and their jingoistic fans have been forced (not quite the right term) to pass the time between 2007's Era Vulgaris and a new release with each of the band members' side projects. It was hardly an effort, however, with frontman Josh Homme stepping aside to work with former drummer Dave Grohl and the legendary John Paul Jones to form the supergroup Them Crooked Vultures, keyboardist Dean Fertita joining Jack White's project The Dead Weather, and bassist Mikey Shuman co-founding the pop trio Mini Mansions.
But as of the start of this year, the Queens are back in the recording studio. To help celebrate/promote a return to business as usual, the group is re-releasing its 1998 debut eponymous album sometime in March. This is the album that rose from the ashes of desert-rock vanguards Kyuss to bring the genre into a whole new limelight. It was the only one by the band to feature in the reference book 1001 Albums You Must Hear Before You Die. Homme himself credits the record with establishing the band's sound, and what an unorthodox sound at that.
"Regular John" kicks the door open by introducing the "robotic" riff-oriented style that blueprints the remainder of the album. While it doesn't necessarily start off slow, it takes some time to really get things crashing. But it's easy to see how Dave Grohl fit in so well when he joined for 2002's Songs For the Deaf; alongside the relatively uncomplicated, yet habit-forming guitar parts are carpet-bombing symbols and bass kicks. From there, things only get heavier with "Avon," which carries the percussion from the track before it and absolutely pounds it into your skull.
Then things soften up a bit with "If Only," which splits the anxious riffs with sadder, more sentimental wails from Josh. You can feel real emotion in this song, implying a certain authenticity to the group as more than just tattoo junkies using their guitars to whack the cash piñata. Josh confided in an interview once that it wasn't until he was about 25 (the approximate time of the album's release) that he started to think he might be able to turn music into a career, so apparently a lot was riding on this record for him and his gang.
Some other essential tracks include "You Can't Quit Me Baby," a fan favorite and one that definitely puts the band in a class of their own. The song unfolds like a stalker saga, but somehow finds a sweet spot between the sheer creepiness of the vocals and uncannily dance-worthy bass grooves. Just pay attention to the lyrics, and try not to find yourself just a little bit uncomfortable while fighting the urge to nod your head.
The final track on the record is the curiously-named "I Was a Teenage Hand Model." It seems like the band was really out to melt their names in the desert sand with this kind of an ending. How does it stand out? For one: there aren't any guitars in it. Unlike the rest on the album, the song introduces and emphasizes piano and augments/interrupts it with rather strange electronic effects in the background. It's a slow, fading sunset to what is for the most part a highly mercurial debut, but trust me - it somehow fits perfectly.
To aid the memory of their longtime fans and to give more recent fans an education, the band is currently going on tour to play the album in its entirety, and yours truly will be in attendance for their stop in NYC. I'll see about letting you know how it went once I come back, if I make it back.
In the meantime, do yourself a favor and check out this one, for old time's sake if you're a Queens fan, and for christ's sake if you're not yet. But Josh Homme & Co. tell it better than I can.
Recommended tracks:
2 - "Avon"
3 - "If Only"
9 - "You Can't Quit Me Baby"
10 - "Give the Mule What He Wants"
11 - "I Was a Teenage Hand Model"
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