It's been a long time since I heard a straight rock album and didn't have to skirt around the looming sense of co-opted, pre-packaged culture to like it.
I'm not willing to venture into that debate of what makes a sell-out.
Queens of the Stone Age's new album Songs for the Deaf doesn't even raise the question. Brazen rock - the album makes no apologies for what it is. It's been a long time since a band has seemed so comfortable in its own skin.
But confident is only one way to think of this album. Just because Queens of the Stone Age hasn't combined two genres to come up with a new sub-head in the pop spectra, doesn't mean the album is wanting for innovation.
Never so pop it's cheese, but not shoe-gazer friendly, Songs for the Deaf is well-crafted and thoughtful. But Queens of the Stone Age has a good sense of perspective and this is not the work of a band that takes itself way too seriously.
The band first emerged from the rubble of Kyuss, a former stoner-rock icon. The first official Queens of the Stone Age album was the self-titled debut released in 1998. The band's second album R was released in 2000.
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Though the band has had a somewhat revolving-door policy with the individual musicians, the latest release features singer/guitarist Josh Homme, Nick Oliveri on bass, Foo-Fighters frontman Dave Grohl on drums and ex-Screaming Trees vocalist Mark Lanegan.
Songs for the Deaf was released Aug. 27 to much acclaim. Striking a balance between experimentation and realizing limitations, the album is consistently good. The songs are substantial - not the one-trick-ponies birthed from what has come to be considered modern rock.
The overall sound of the album is warm. "Song for the Dead" is one of the most tightly woven tracks on the album. Simple background vocals keep the song interesting, without ever drawing attention to themselves. Constructed on melodically simple but rhythmically complex riffs, this song is one idea that evolves rather than the awkward jamming together of phrases.
"God is in the Radio" works with a similar concept. In this song the band displays its compositional chops by fully utilizing space and pause. Again, this song unfolds in a completely natural way.
All of the songs are built largely on catchy, solid and circular riffs. The genius of this album is the tension created by layering these riffs on top of each other. The band members smoothly maneuver the changes without disrupting the flow of the music and nothing seems contrived or imposed. Still, they manage to create effective chorus/verse patterns.
The "hidden track" - is a track still hidden if it's noted on the track listing? - "Mosquito Song" is almost a throwback to bands like Rush or Queen in its epic nature and semi-operatic style. Still, "Mosquito Song" exhibits some excellent guitar work.
Grohl's drum work is impressive and melds well with Queens of the Stone Age's sound. Though the beats are characteristically Grohl, stylistically he appears on this album with a more mature sound. Not subtle, but rarely overplayed, Grohl's rhythms add a necessary element to this already tight and concise band.
Songs for the Deaf is one of the best rock albums of the year.
