Queens of the Stone Age’s “In Times New Roman” and Overcoming Tragedy
The stoner rockers deliver yet again, with one of the most profound and impactful records of the 20s
For some time, I have referred to Queens of the Stone Age as the “Christopher Nolan of rock bands”. In the sense that every project each has worked on, respectfully, has either been good, great, or an absolute masterpiece. This analogy seems especially fitting when you consider that both have been around for 25 years – give or take, and that both ‘Queens’ and Nolan both released their most recent projects within a few weeks of each other.
“In Times New Roman” is the latest record from the band - their eighth overall. Through all the changes, both stylistically and within the makeup of the band itself, lead singer and guitarist Joshua Homme remains the captain of the ship. The themes of this album reflect on his personal turmoil during the last six years since the band’s last album, titled “Villains”. During that time period, Homme lost two of his close personal friends, acclaimed personal chef Anthony Bourdain, and Foo Fighters drummer Taylor Hawkins, which he talked about on Neal Brennan’s “The Blocks Podcast”. He also went through a tumultuous divorce, having surgery to remove cancer, and just like the rest of us – a global pandemic.
When asked why he and the band waited so long to release another record, especially considering this one was basically complete some time ago, Homme said in an interview with NME:
“I think when you're dealing with the extreme ups and downs of life, you don't stop and go: 'I should really make a record.' Those things don't exist in that moment. If your roof is flooding, you don't say: 'We should make a record about this!' You have to stop yourself drowning in a flood. We recorded it probably two-and-a-half years ago, but it just sat there waiting to be finished. I didn't sing it until last November. I wasn't done living. Honestly, I was probably afraid. I wasn't ready. You need the flood to be over, and then you can decide whether you can accept the flood. I think with this being a record about acceptance, you need to actually get there yourself."
As a result of waiting to release this record until now, it makes the album even more powerful than it probably would’ve been if it came out during some of the peak days of the pandemic. The “flood” he refers to in that quote is something everyone can identify with in regards to covid. And with the band putting out this record now, it now serves as an appropriate reminder and bookend to how we were able to overcome the tragedy of that pandemic, as well as the personal issues that came about during that time.
While I still consider their album “Like Clockwork…” to be perhaps the best record of the last decade, “In Times New Roman” is nipping at its heels. It’s a dark, personal, and gritty masterpiece. One of its singles, titled “Paper Machete”, is easily the best band’s work in a decade. It’s a direct middle finger at Homme’s now ex-wife – a seething, extremely well written and balanced banger that packs a heavy punch when you consider the details of their messy divorce. I’ve probably listened to it well over 100 times at this point. It’s so incredibly catchy and weirdly enough – super fun to listen to despite the subject material.
Like ‘Machete’, a lot of the tracks are a play on words, or an added syllable or letter thrown in there just to screw around and keep things loose and fun to help offset the record’s darker themes. Songs like “Obscenery”, “Time & Place”, “Carnavoyeur”, and “What the Peephole Say”, all have a certain “F you” vibe that is the very backbone of the band. Despite how dire things can sound thematically on the album at times, Queens still possesses a sarcastic sense of humor that flares up at just the right places to keep things light.
They finish off this album with the longest recorded track they’ve ever done, called “Straight Jacket Fitting” (the second-best song on the album next to ‘Machete’). It’s the perfect closer, and a harrowing reminder about overcoming demons and seeking some sense of peace and healing.
Homme’s writing and delivery on this record is exceptional. He knows when to deliver his signature sarcastic howls, and when to keep his foot on the gas pedal and go for the jugular. Jon Theodore’s drumming is phenomenal, and Michael Schuman (affectionately referred to as “Mikey Shoes”), Troy Van Leeuwan, and Dean Fertita all deliver when it’s their time to shine.
I had the privilege of seeing the band live a couple of weeks ago in Philly at The Mann Pavilion. The coolest part of the show came around the halfway point, when Homme invited everyone to “come on down” and get as close as possible. My friend and I quickly rushed near the front and were within 50 feet or so of the band. It made the night even more epic and memorable. Homme’s invitation for the crowd to gather closer seemed oddly appropriate given the theme of the album, and a fitting reminder that whatever personal struggles or tragedies occur in our lives, we can help each other overcome these things together.
Album Rating: ***1/2 out of ****