Queens Of The Stone Age: “In Times New Roman” – Ironic Game (Review & Stream)

There are only nuances in which the last albums of Queens Of The Stone Age differ. The eighth track also has enough weird electronics to hear, synths, strings, beats and again and again the notoriously alienated guitars that sound like caricatures. Ultimately, Josh Homme does the same thing here as he does with his voice, when he sillyly theatrically disguises it or regularly tilts it into his curious head voice. Here, too, you get the impression that he can’t really be serious, although there are always nice pop moments.

It’s an ironic game, because you can no longer perform the wide-legged rock theater without a wink

It’s an ironic game, because you can no longer perform the wide-legged rock theater without a wink. Then there are his various puns and his cryptic lyrical jokes, not all of which have an immediate meaning (“What The Peephole Say”). On the other hand, various songs, such as “Emotion Sickness” or “Negative Space”, can be related quite well to the separation from his wife, Brody Dalle, and the subsequent custody battle. There is a lot of scolding here.

Maybe that’s the reason why “In Times New Roman…” accentuates the band’s hard Stoner-Rock foundation a little bit more. Already the prelude “Obscenery”, a sarcastic complaint about the moral decline of contemporary society, which certainly includes himself (“I don’t give up, I give in/ There ain’t nothing to win/ I’m making music for all stereotypes”), is right. And “Paper Machete” rages on, as if the lyrics weren’t just about simulation and talk, but about real danger. Anyway, the song is a weapon.

When Homme indulges in exaggerated operetta-likeness, as in “Carnavoyeur”, he also sounds like Bowie with Tin Machine or in the nine-minute suite “Straight Jacket Fitting” like a crooning Iggy. Not the worst references. But unnecessary. When he pulls out a few more really dirty stoner riffs, that’s the best way to believe him.

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