SPILL ALBUM REVIEW: QUEENS OF THE STONE AGE – IN TIMES NEW ROMAN

Queens Of The Stone Age
In Times New Roman
Matador Records

After six years, a messy public custody battle, and a recently revealed cancer diagnosis, Josh Homme has returned triumphantly with In Times New Roman, the first album from Queens Of The Stone Age since 2017’s Villains. With the band alluding to their latest record acting as the conclusion of their thematic trilogy, which started in 2013 with … Like Clockwork, the album follows a successful launch of a trio of singles – “Emotion Sickness”, “Carnavoyeur”, and “Paper Machete”. Puns aside, In Times New Roman is a modern alternative rock gem and among the darkest work Homme has released.

In Times New Roman is an unpredictable album of unprecedented quality. Opening with “Obscenery”, Homme leads the band through a challenging and aggressive number, one that has a conventional structure in the loosest way possible. The song is brilliant and stands as a shockingly dense soundscape that feels intentionally claustrophobic as the five musicians battle for your attention with a vast array of layered pieces. The distorted psychedelic wash is intoxicating and will pull you in without regard for your well-being. The following song, on the other hand, provides immediate balance through a seemingly familiar tone: “Paper Machete” feels like a classic Queens song that you simply forgot about, but with that hook and that solo, how could you ever?

The album continues forward with the most exceptional collection of material the band has perhaps ever released. From the relentless strut of “Negative Space” to the sludge of “Made To Parade” – imagine if Alice In Chains emerged from the desert rather than rainy Seattle – and the polyrhythms of “Time And Place”, In Times New Roman is a masterclass of modern rock performance and songwriting. Homme’s voice remains that of an eternally and effortlessly cool being, nonchalant and yet incredibly demanding of your attention as he cuts through a dense mix of tastefully curated tones. There certainly is an everything plus the kitchen sink attitude to the arrangements and, quite impressively, everything feels entirely necessary. Additional highlights include the acid rock of “Carnavoyeur”, the haunting “Sicily” with a chorus that feels like a twisted take on a Bond theme, and the nine-mins, drunken blues shuffle of the closing track, “Straight Jacket Fitting”.

There is a raw sense of danger on this album, something that is ever present as the band seemingly takes every twist and turn they can, risking it all simply for their own satisfaction. Despite the anger, the tension, the heartache, and the abrasion to tradition, this is where the beauty lies on In Times New Roman. Queens have prioritized experimentation and have explored some of the darkest depths of their collective creative wells to deliver a truly remarkable album that bares its teeth. Even their most swaggering moments feel deadly – you would be a fool to fuck with this gang of scoundrels at your local dive bar. In Times New Roman feels like a juxtaposition. Somehow, Homme has found a way for his latest album to sound like the culmination of the creative direction that he embarked on through the 2010’s – a refined and sleek approach to alternative rock – while returning to the strange, mysterious, and sinister tone of the band’s early work into an unimaginable synthesis. In Times New Roman is a wildly unpredictable album that defies all convention and expectations; ultimately seeing Queens Of The Stone Age return to their role as pioneers of alternative rock for a new generation with a career defining album that is unlike anything you’ve ever heard or will hear again.

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