Review Summary: Listeners are challenged to welcome a Queens of the Stone Age we have been accustomed to for years and accept the band’s newest release as nothing more than that.
Acceptance can come from many different moments in life that can test a person’s ability to grasp the reality of existence or challenge them to understand what it means to simply accept. Songwriter and frontman for Queens of the Stone Age, Josh Homme exposes the struggles and adoption of acceptance in the band’s newly released album, In Times New Roman…, and the result lies somewhere between subtle mysticism and predictability. Listeners are challenged to welcome a Queens of the Stone Age we have been accustomed to for years and accept the band’s newest release as nothing more than that.
I think it best not to go into great detail discussing the ins and outs of the group of tracks that present itself in the first half of the record, mostly because these tracks are served on a plate that is neither all that grand or ambitious. Tracks such as opener, “Obscenery,” and the following “Paper Machete,” and “Negative Space” all bring in familiar sounds and grooves that we’ve heard time and time again from Queens and none much more thrilling than the next. “Time and Place” features an interesting off-timing, sputtering guitar line playing against the rhythm pocket, and that in itself acts more as a valuable concept instead of a well executed cadence. “Made to Parade” pays homage to an insider from Homme’s supergroup, Them Crooked Vultures and even a few throwback lines to the bands previous record, Villains, but again, another cut on the album that doesn’t appear too provocative or titillating. This essentially sets the moody and groovy feeling for the entire first half of the record where the band’s tight playing and solid production just doesn’t hold as much weight against the lackluster songwriting experience given. However, after intermission ends, things don’t seem to be all doom and gloom as we enter the second half.
The band really starts to pull it together as they enter into track, “Carnavoyeur”. Added dark strings in unison with Homme’s vocals and dirty driven bass keep this song in line with some of the best rhythm production this album has to offer. “What The Peephole Say” takes on being trapped in a regulated, monotonous lifestyle, (“And the wolf’s on the creep with the sheep on the merry-go-round,”) all while you’ve got on your dance shoes, bouncing along to the drag-style dance beat and groovy instrumentals. “Sicily” has a darker score to settle in an ominous production backdrop with daunting string melodies and Homme’s howling falsettos, supporting the idea of the luxury in being used like a “pound of flesh.” Album single, “Emotional Sickness” is a solid cut throughout with some solid guitar riffs and classic Queens tones. The beauty here lies in the standard performance with the album’s concept which mixes wonderfully to create an elegant array of style and groove. The finale, “Straight Jacket Feeling,” the longest track on this project, represents the act of acceptance in an exceptional performance where Queens deliver themselves over to simplicity and poise all while maintaining their signature sound since the start of this album’s journey. Plenty of emotion to spare but nothing that feels too dull or shallow as the band wraps up this nine-minute number which includes a finishing epilogue of acoustic cowboy theme music in the later half.
In Times New Roman… may not be anything innovative or overly creative by a band that has been so comfortable with their sound for many years, and that’s okay. I’m not upset that we didn’t get to hear new whacky guitar tones or a complete stylistic switch up from the group because, frankly, I’m not sure how well that would have gone in the given context relating to the songwriting. This album is going to be what you expect it to be in certain areas but there is also plenty of space for a musical episode that will deliver itself as a fun and explorative performance to let yourself go to. Maybe there could have been better organizational structure during the songwriting, mostly from the first half, but there are still captivating grooves and sounds that will considerately find their way into your ears. I enjoyed my time listening to In Times New Roman… and while I am slightly disappointed in some areas, I think the songwriting mostly speaks for itself and delivers an awesome sonic adventure from top to bottom.
