Is Josh Homme a Badass? Yes, he is!

This slideshow requires JavaScript.

If we learned anything from Queens of the Stone Age‘s recent “Smooth Sailing” music video, it’s that Josh Homme is about as badass as his songs make him out to be. But that’s not the only piece of evidence. The QOTSA, Kyuss, and Them Crooked Vultures affiliate is known to speak his mind and has given us some rather epic moments over the years — that is, when he’s not hanging out with Alex Turner of the Arctic Monkeys. Following suit with our recent overview of Dave Grohl through images, check out these photos and GIFs that capture Homme at his very best.

Josh Homme: ‘Fuck Imagine Dragons and fuck the Grammys’

Josh Homme

Josh Homme

Queens Of The Stone Age singer blasts LA band during gig

Queens Of The Stone Age frontman Josh Homme ripped into both Imagine Dragons and the Grammy Awards during a gig in Texas.

LA band Imagine Dragons, who released their debut album ‘Night Visions’ in 2012, took home the gong for Best Rock Performance with their single ‘Radioactive’ at last month’s Grammy Awards (January 26). They beat Queens Of The Stone Age in the category, who were nominated for their track ‘My God Is The Sun’
Homme addressed Imagine Dragons’ victory while performing in Houston, Texas earlier this week (February 9). He introduced their track ‘I Appear Missing’ by joking “This next song is by Imagine Dragons” and, when the crowd heckled, he added: “Fuck everything. Fuck the man. Fuck Imagine Dragons and fuck the Grammys.”

Earlier this week, concert footage of Homme pushing a stage invader off the stage and calling him a “fucking douchebag” also surfaced online. After pushing the man back into the crowd, Homme said to audience cheers: “Don’t do that… I don’t know what you’re trying to do. You’re lucky I didn’t fuck you up, bro. I’m here to play for you, not jerk you off, you fucking douchebag.”

Homme recently said that his band will record the follow-up to 2013’s ‘…Like Clockwork’ later this year. Asked by Rolling Stone if they’d be recording another album soon, Homme commented: “Absolutely. We have more than enough songs. We’re booked ’til September, but after that we plan to jump in the studio and get going.”

Meanwhile, Homme is set to make a guest appearance on American sketch comedy Portlandia when it returns for its fourth season this year. The show, which is written and performed by Sleater-Kinney and Wild Flag singer Carrie Brownstein and ex-Saturday Night Live regular Fred Armisen, takes a satirical look at the hipster scene in Portland, Oregon and the various characters that inhabit the area. Season four of Portlandia will premiere in the US on February 27

Queens Of The Stone Age: Gigs, Tickets and Dates

Queens Of The Stone Age

Queens Of The Stone Age

Queens Of The Stone Age – UK Gigs
The Hydro, Glasgow
Sat, 16 Nov 2013
at 6:30 PM
Call venue for tickets *

Manchester Arena, Manchester
Wed, 20 Nov 2013
at 6:00 PM
View Tickets
Queens Of The Stone Age

National Indoor Arena, Birmingham
Thu, 21 Nov 2013
at 6:30 PM
View Tickets

Wembley Arena, London
Sat, 23 Nov 2013
at 6:30 PM
View Tickets

Queens of the Stone Age Rock Brooklyn

Queens of the Stone Age before taking the stage in Brooklyn, New York. Photo: C. Taylor Crothers

Queens of the Stone Age before taking the stage in Brooklyn, New York.
Photo: C. Taylor Crothers

Josh Homme nearly lost his mind on the way to the year’s heaviest hit LP

June 21, 2013

Queens of the Stone Age are due onstage in Brooklyn any minute now, but frontman Josh Homme is nowhere to be found. Backstage, guitarist Troy Van Leeuwen, keyboardist Dean Fertita, bassist Michael Shuman and drummer Jon Theodore strum unplugged instruments and make stiff drinks. Suddenly, Homme bursts into the room. Everyone turns to look at the six-foot-four singer-guitarist, whose ginger buzz cut, knuckle tattoos and muscled-up frame make him look a little like a Viking warrior. “Fuck it,” Homme announces, ripping up a copy of tonight’s set list with a devilish grin and pouring himself a big shot of tequila. “We’ll do the [new] record start to finish.”

The Queens pummel the audience with the evil riffs and twisted grooves of Like Clockwork – an album that’s been out for less than a week – and the crowd explodes, throwing fists in the air. A few days later, the disc debuts at Number One. It’s an impressive trick for their first album in six years – which is also their first since leaving their longtime major label, Interscope (“Like rats vacating a sinking ship,” says Van Leeuwen), for an indie deal with Matador.

Homme loves this kind of thing – flipping the script, keeping ’em guessing. “The cool thing about disappearing for a while is re-emerging,” he says the day before the show, sitting on a gold, thronelike sofa at his Manhattan hotel. “You show up, tap someone on the shoulder: ‘Boo!’ ”

He takes a long pull off an e-cigarette. “I’m trying to quit,” says the frontman, who turned 40 in May. “It’s a shame to be controlled by something.” Moderation is a relatively new attitude for Homme. Most of the world met him in 2000 as the wild-eyed madman growling the words “Nicotine, Valium, Vicodin, marijuana, Ecstasy and alcohol/C-c-c-cocaine!” over and over on the Queens’ early signature song, “Feel Good Hit of the Summer.” The next few years flew by in a blur of bar fights and feuds with other bands. In 2005, a judge made Homme go to anger management after he allegedly smashed a beer bottle over another musician’s head. “I learned nothing,” Homme defiantly told an interviewer two years later. But today, he is a contented husband and dad to two kids. Does he still party like he used to? “You mean, like it’s 1999?” he says. “But it’s not 1999.”

Still, the old rock & roll animal isn’t entirely gone. His raunchy sense of humor is intact – later tonight, he will entertain his bandmates with a long string of jokes about female anatomy (“Did you know you can see the Great Wall of ‘Gina from space?”). And there’s a brooding, menacing streak not far below the surface. Just ask him how he felt after touring the world in 2010 with Them Crooked Vultures, the band he formed with his old buddy Dave Grohl (who played drums on the Queens’ 2002 breakthrough LP) and Led Zeppelin bassist John Paul Jones. By the end of their run, Homme says, “I was starting to feel exhausted by it all. Musically bankrupt.” His mood didn’t exactly improve when complications from routine knee surgery forced him to stay bedridden in his Palm Springs, California, house for three painful months. “I was very bitter and angry,” he says. “You go, ‘God, I wish I could get rid of myself.’ I hated music for a while. It just seemed like, who cares?”

On the mend, Homme had an idea that he thought he’d find rejuvenating: hitting the road behind a reissue of the Queens’ 1998 debut – which meant teaching the current lineup, who all joined years later, to play the tunes that started it all. “I was hoping that would spark something for me, you know?” says Homme. “But I was still pretty out of it. Just searching in the dark, looking for something to hold on to.”

After the tour, the rest of the guys talked Homme into starting a new album. He thought they could knock something out in six weeks. That didn’t quite happen: The sessions ended up dragging on for five months, long­er than they’d ever spent in the studio. A low point came last November, when Homme shocked his fans and bandmates alike by firing drummer Joey Castillo. “It was hard, but it was done by consensus,” is all he’ll say now. “That was the darkest time,” adds Van Leeuwen with a sigh. “It didn’t make any sense.”

Castillo had been brought on 10 years earlier to replace Grohl. With the band needing another new drummer, Grohl was the first call. He laid down sledgehammer-heavy parts on five tracks, jump-starting the stalled sessions. (Homme eventually recruited Theodore, who used to drum for the Mars Volta, as a longer-term replacement.) A succession of other clutch assists followed, from old pals like Screaming Trees’ Mark Lanegan to marquee names like Trent Reznor and Elton John, who sings and plays piano on the supercharged “Fairweather Friends.” The collaboration was John’s idea – he called Homme to offer his services as “a real queen.”

But for serious Queens fans, the biggest deal is probably the two tracks featuring backing vocals from the band’s demonic-looking former bassist Nick Oliveri, who was fired from the group in 2004 amid allegations of domestic violence and heavy drinking. (He returned to the headlines when a SWAT team raided his Hollywood home during a domestic incident in 2011.) “With all the coming and going in this band, you just never know,” says Van Leeuwen. “I can’t say how many pleasant and horrifying surprises have come into my life through this. It definitely makes you feel like you’re alive.”

After rocking Brooklyn, the band heads out to celebrate at an East Village bar. “I’m kinda beat,” Homme protests to no one in particular around 1 a.m. “I’ve been getting up with my kids at seven in the morning.” OK, fine, twist his arm – he’ll stay out for another drink or two. The rest of the Queens are still going hard well past 3 a.m. But wait, where’s Homme? No one seems to know. Just like that, he’s gone again.

Via Rolling Stone

Stream Queens Of The Stone Age ‘Like Clockwork’

queensoftheStoneAge

Photo: Danny North

Queens of the Stone Age have made their new album . . . Like Clockwork available to stream in its entirety on iTunes a week before it’s June 4th release on Matador.

Queens Of The Stone Age – ‘Like Clockwork’
Album review by Leonie Cooper

Release Date: June 3, 2013
Producer: Josh Homme
Label: Matador

Josh Homme and his all-star pals prove the virtue of taking your sweet time on a record that’s as self-assured as it is damn sexy. Most bands don’t leave their fans waiting six long years for a new album. They don’t then promote said record by getting a creepy robot to leave their fans unsettling voicemails. And they definitely don’t enlist a chef to write the album notes. But Queens Of The Stone Age aren’t most bands. As badass menu maverick Anthony Bourdain says in ‘…Like Clockwork’’s accompanying bumf: “[Josh] Homme has consistently demonstrated a business plan of not giving a shit.” The heroic frontman and kingpin of these desert titans might not care about industry whys and wherefores, but Josh Homme gives every single last fuck when it comes to crafting blow-your-mind-and-incinerate-your-crotch rock’n’roll.

As contemporary hard-as-nails guitar music’s most imposing figure – and not just because he stands at 6 foot 4, has a fondness for triple denim and looks like a pre-Raphaelite, Triumph-straddling Elvis – Josh has earned the right to do what the hell he wants. Thankfully, that’s gathering his world-beating buddies in his Pink Duck studio in LA and laying down an unrelenting juggernaut.

qotsa-260x260Much has been made already of the high-end guests. The core collaborators from QOTSA’s classic ‘Songs For The Deaf’ are scattered across the release, Josh once again motoring across the crest of Dave Grohl’s brutal drums with Mark Lanegan and Nick Oliveri popping up briefly to ride sidecar. Then there’s turns from Arctic Monkey Alex Turner, Scissor Sister Jake Shears, Nine Inch Nail Trent Reznor and, bafflingly, brilliantly, Sir Elton John. Not that you’d know any of this unless you were told. Their restrained assistance means there’s no danger of this turning into a sprawling, unfocused ‘Josh and friends’ record.

Considering their lengthy absence, to return with a double album would have been more than acceptable, but ‘…Like Clockwork’ comes in at a mere 10 tracks. The crap filter has been whacked up to 11 and the groove-o-tron set to interstellar for the band’s slickest offering to date. Al Turner slinks through the saloon doors for ‘If I Had A Tail’, a track predatory enough to warrant a restraining order. “I wanna suck/I wanna lick/
I wanna cry/I wanna spit”, growls Josh, against a grimy strip-bar swagger. It’s the perv-funk sound of drunkenly sinking into sticky leather couches for steamy make-out sessions in dimly lit Hollywood smut-pits.

The same filthy feeling abounds on the ferocious but perfectly polished ‘Smooth Sailing’. “I’m in flagrante/In every way”, confesses Josh, before adding, almost as an afterthought, “I blow my load over the status quo”. Quite. Yet there’s also a more meditative flipside to ‘…Like Clockwork’. ‘The Vampyre Of Time And Memory’ is a startlingly low-key piano hymnal, even with its flashes of Giorgio Moroder synths and cocaine-soul guitar solo. Its confessional lyrics, set against a twisted power ballad melody, come on like an even more fucked-up Fleetwood Mac. “Does anyone ever get this right?/I feel no love”, purrs Josh. ‘Kalopsia’, featuring Reznor, is another haunting slow jam, but pulls a flick-knife chorus on you, amping up the menace with eerie backing vocals that echo the melancholy “sha-bop- sha-bop”s of The Flamingos’ version of skulking doo-wop ode ‘I Only Have Eyes For You’.

‘…Like Clockwork’ closes with the title track, perhaps the least QOTSA-sounding song ever. If MGM are hunting the next Bond movie theme creator, this should swing it for Josh, as he indulges his dexterous falsetto, channelling the sweeping, string-laden ’60s scores of John Barry, with production help with the man from UNKLE, James Lavelle. Last year, Biffy Clyro’s Simon Neil praised Queens Of The Stone Age for their ability to make sexy records. “Which I think is hard to do in a rock band,” he said. That’s because Queens Of The Stone Age aren’t most rock bands – they’re the rock band.

Queens Of The Stone Age – One of the last great rock bands around puts out its best CD yet

This slideshow requires JavaScript.

‘Like Clockwork’: Album review

Rock bands have it hard these days. Barely any acts from that bold genre have scraped the top of the charts in recent times. Some that have only managed to because they’re grandfathered in from richer days, like the reformed Soundgarden, the on-again-off-again Pearl Jam or the graying Green Day. But, if you’re talking about top-charting acts that are close to, or even at their peaks, just three come to mind: the Black Keys, Foo Fighters, and Queens of the Stone Age.

To make the fate of big-time rock worse, six long years have passed since a third of its top triumvirate — the Queens — put out new music. “Like Clockwork” is the California-based band’s first CD since 2007’s “Era Vulgaris.” In the meantime, its members have been waging fleeting sorties into the mainstream under other guises, including Eagles of Death Metal and Them Crooked Vultures.

Their side projects only seem to have stoked Queens lead Josh Homme for the main band’s barreling return. “Clockwork” is the best of the group’s six CDs, graced by their finest balance of melody and menace.

To rally the remaining rock troops, Homme once again roped in longtime friend and collaborator Dave Grohl (of the Foo Fighters) to man many of the drum parts. But the disc also includes guest spots from less-likely stars, like Scissor Sisters’ Jake Shears and Elton John, who supposedly invited himself along with the tease, “you guys should work with a real Queen.”

The left field guests tip off the unpredictable nature of the essential Queens sound. It’s an invigorating mix of grunge, art-pop, and Pink Floyd-style, trippy sound effects (hence the band’s early tag: “stoner rock”). The new disc uses horror movie soundtrack motifs, from shattering glass to threatening winds. It also idealizes the Queens’ extremes, bracketing their sound with their most concussive riffs and finest tunes. In a single track, they’ll mix silken guitar lines that sound like the reincarnation of George Harrison, with riffs as reptilian as the hardest of Soundgarden. Some of the new songs sound like Bowie on late ’70s albums like “Heroes” or “Lodger.” “Smooth Sailing” has the metallic funk of the Bowie smash “Fashion,” along with a cackling guitar solo that could have come off a prime Blue Oyster Cult album.

Much of the music has a hip-shaking sexiness, enhanced by Homme’s Jim Morrison-esque bellow. It’s a harder and stranger sound than the Foos, and a more forward-thinking one than the Black Keys. In the process, it hits a sweet spot, giving rock just the beastly boost it could use.

Queens of the Stone Age in Paris