After proving himself in Kyuss, John Homme was walking through several projects and bands, profiling himself into a rock icon that does seem like an obsolete cliche in the 21st century. Three albums soaked in alcohol, cigarettes and valium gave birth to epic Era Vulgaris, after which they started experimenting again with praised Like Clockwork that raised a bar they set for themselves. I am still not sure whether they can overcome it, both creatively and commercially.
After Homme's perpetual midlife crisis, new album Villains presents itself as a parody of band's previous image. Both album cover and album title suggest some past times when all we knew about QOTSA was that those are some four guys in cabrio with Californian desert behind them. If Like Clockwork was perfectly bruised and tailored handwatch, an upgrade of the old school rock, then Villains is corruption of those values. This is most obvious in the absence of Mark Lanegan and Dave Grohl who were replaced by superstar producer Mark Ronson who is known for his works with Amy Winehouse and Bruno Mars. Ronson is missing rock accreditation, which is probably what attracted him to collaborate with QOTSA.
The opening number Feet Don't Fail Me embodies that corruption with its slow vibe, pathetic screams of lead singer. Recognizable guitar is last to be heard here. Villains is redefining what QOTSA mean in this day and age. Guitars are still important, though, it's just that they are in interplay with synths, cosmic intros and prolonged pauses. Head Like A Haunted House sounds like they are back in shape and it is also the shortest track on the album. It comes as material that was rejected by Eagles Of Death Metal, but not due to its quality, rather because its velocity and neuroticism. It reminded me of Songs For The Deaf or some Dessert Sessions tunes by The Gun Club or Cramps.
Promotional single The Evil Has Landed raises up the second half of the album and it is the best representative of QOTSA we fell in love with way back when. Pulsating, repetitive riffs surround what we have just heard - Homme's return after crisis and sickness - his second attempt. Ain't gonna miss my chance/ Near life experience.
Part of the album is playful, funky, invites you to dance, while the other part takes itself too seriously with long prog introductions, dreamy vocals and industrial drum which should sound more impressive as Jon Theodore from Mars Volta was sitting behind it.
After few listens, I wasn't completely hooked on the record. I would rather just play Fortress or The Way You Used To do. I must admit I give them a round of applause for courageous collab with Ronson and few disco elements, but these nine songs are simply lacking coherence.
