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Thread: Queens of the Stone Age's Josh Homme has many projects in works

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    Cool Queens of the Stone Age's Josh Homme has many projects in works

    Queens of the Stone Age's Josh Homme has many projects in works
    Aug. 11, 2013, Written by Bruce Fessier The Desert Sun

    Josh Homme shared his trials, tribulations and thoughts on his recent Queens of the Stone Age album, “…Like Clockwork,” in an interview before his concert Saturday at the Gibson Amphitheatre.

    Some of the topics the part-time Palm Desert resident addressed:

    The tribulations

    His rock star status:

    “I’ve been doing this a long time and you sort of make a stack as the years go on. The stack gets bigger with the amount of work you do and at some point that stack just pushes your head above water. My way of dealing with any sort of fame-related, red carpet-press junket situations is to put my head down and work. I know I’m not God’s gift to music, so I’d rather just try to make the best stuff I can.”

    Winning his first Grammy in 2011 with Them Crooked Vultures:

    “I didn’t realize the Grammys were on that night. We were just having dinner with the Arctic Monkeys, so it was a real surprise. It felt great, in particular because I just had accepted... it’s strange to think of yourself as winning something like that. I guess I always just think of myself as a desert boy. I don’t know if that means: Desert boys don’t win Grammys? But, I just feel small town.”

    Performing the comedic song, “What What in the Butt” with Samwell on “Tosh.0” in 2010:

    “At that time nobody had really seen that show and, if I like something I just approach somebody and say, ‘Hey!’ I said to Daniel, ‘Come to a Queens show.’ He was like, ‘OK, but would you be on my show?’ It’s a really irreverent show and comedy is so inspiring to me. I saw George Carlin when I was 9 (and) it really changed my life. He had such a wonderful obsession with words and vocabulary and questioning authority and sort of pushing boundaries. Daniel Tosh has a lot of that too.”

    Appearing in the 2012 Glen Campbell video for “A Better Place”:

    “My friend Ki Arens, who I’ve worked with on a number of art endeavors, was directing the video and they needed a shining-type bartender, so he asked me. Glen didn’t know who I was and he was battling Alzheimer’s, but we really had a couple special moments. When we sat and played guitar, he was playing like a young man. It’s funny how the fingers don’t ever forget.”

    Appearing at Palm Desert High School reunion in 2012:

    “Dennis Devlin, who is a teacher over there, hit me in the ego. I went to some of his classes and spoke to some kids, which really helped me more than it helped them, I’m sure. It was a real window into where kids are at 14 and what their generation does and does not know. I didn’t expect any of them to know who I was, but they didn’t know who Dave Grohl was. None of those kids had ever been in a record store. None of them. But yet, music was a big part of what they were.”

    The trials

    How his trademark litigation against former Palm Desert High School classmates and Kyuss bandmates Brant Bjork and John Garcia impacted “…Like Clockwork”:
    “I tried to not focus on the lawsuit because that was just a terrible waste of time and energy and a real shame. No one wants to be in a lawsuit. I’ve never been in a law suit. I also felt I did everything I could to try to avoid that.”

    The album includes the songs “Fairweather Friends” and “Kalopsia,” featuring the line, “Copy cats and cheap suits”:

    “I can’t say that’s directly lawsuit-based. What it is is, you’re always up against something and you sing about what you know. ‘Kalopsia’ is really a devotion and love song to my daughter, and a way to say, ‘Don’t worry about it. It’s OK. Forget all this other stuff’ in the hope that someday she’ll hear that and hear me talking to her. (Alex Turner of Arctic Monkeys) gave me the word. I would text him and say, ‘Give us a word, give us a line.’ He texted it and I texted him back, ‘What the hell is this?’ As soon as I sent mine the definition came in, which was ‘the condition where things appear more beautiful than they actually are.’ I thought, ‘Wow. That’s not an actual problem. That’s a wonderful possibility.’ ”
    The challenge of launching his label, Rekords Rekords, after leaving Interscope when the 2007 QOTSA album, “Era Vulgaris,” didn’t do well commercially or critically:

    “Our relationship with Interscope was one where we would recoup (their investment) right away. (But) their world view at that time was like pop music and hip-hop only. They were afraid to do business with rock ’n’ roll, and being at someone’s mercy like that is frustrating because I’d rather lose my way than win your way.

    “Being without a label gave us a real opportunity to not have to explain ourselves. We got to spend all our time just creating and chasing our ideas. When it came time to find a partner, I have my own label, but I don’t want to spend that much time on selling stuff. I want to make stuff. So, that was our chance to put our money where my mouth was and go with Matador/Beggar’s Banquet, which are a little more music driven.”

    The impact of knee surgery, being bedridden for four months and the accompanying depression:

    “I’ve always used music as a way to express what is a little more difficult. There are tons of examples of me laying it out there, but I do think this is different because of where the record starts from. It starts in a confused, lost place. As the years go on, I know more than ever you just have to just lay it all bare — even when it’s scary. That only means you’re going in the right direction.”

    A coping mechanism:

    “I started doing some Transcendental Meditation, which I really like because it’s not a dogma. That’s about emptying your head and not filling it. It creates kind of a bubble that helps you not to react, but to be a little more impervious to snap reaction... Everyone’s got their own sense of justice and when your sense of justice is used as a door mat, it’s tough not to keep it from invading your sleep and your thoughts. But, that’s life and at the end of the day the real goal is to say, “How do I let this go?” No one should squander their time on stuff they don’t like. You need to deal with stuff, but to use that as the fuel in your tank is a mistake.”

    On '…Like Clockwork'

    The songwriting process:

    “I’ve never made demos before because I think they’re a dangerous way to steal the emotion out of recording a song. I also think they can close the door on ideas because you’ve kind of gotten married to the ideas you’ve put down. But, (‘…Like Clockwork’) required me doing a couple demos for the first time in order to get started. After three or four demos it became apparent that the best thing was to just know in your head a direction for a song so that people could put something down and better it — surprise you and subtly change the course of it. So I probably won’t do demos ever again.”

    Collaborations on his very personal material:

    “This has always been a group that has done things by consensus. Early on, one of the puzzle pieces that became clear in trying to figure out what record this was is that it was a vocal-driven record, which is a little different for us. We all knew instantly this empty space between the instruments was vital. That economy you can’t teach to somebody. That egoless move is why, even though the record was difficult to make, the whole time we were laughing. We’re saying, ‘Wow! I don’t know if this is the row boat to hell or not, but it sure is fun until we get there.’ ”

    Building a song with architectural layers:

    “To be honest, after years and years of jamming, crafting a song is jamming a song now. That landscape-oriented song arrangement is really important to me where the chance to do something for no apparent reason, like put a cello for one round at the end of a song like “Keep Your Eyes Peeled.” It’s just for right now — a gratuitous cello by underusing it. That’s my science experiment now.”

    His desert influences

    “My God Is the Sun,” the first single from “…Like Clockwork,” contains the line “Far beyond the desert road,” echoing how Homme identified the high desert to Anthony Bourdain on his Travel Channel show, “No Reservations” in 2011:

    “I said to Bourdain, ‘Some people believe the desert is where people dump their trash. That’s not really the case. It’s where the good stuff really ends up. Where do a bunch of table saws from a trade school that went out of business go? They go to the desert. They find this place and sort of re-emerge and are re-used and re-distributed.’ I always look at it as a treasure trove for things — and like an emotional recharging station. I have a daughter and a son and teaching them simple things like, without the sun none of this would be here. If there is an embodiment of God that you could see, definitely it would be the sun.”

    Surrounding himself with desert characters:

    “We have this kind of family of artists that really are real individuals, like (guitarist-producer Chris) Goss and Hutch (his live sound engineer), Dave Catching (owner of Rancho de la Luna studio in Joshua Tree) and Alain (Johannes a ‘…Like Clockwork’ engineer). When you’re surrounded by those sorts of people, it brings out the best in you.
    “All those people moved to the desert. They didn’t grow up there, but they understand that special thing. So I like to think that other people sort of mystify and romanticize the desert, but don’t you just think of it as home?”

    His return to the desert:

    “When you’re born there everyone gets the hometown blues, where they have to go see if it’s the right spot for them. But it’s funny how pretty much everyone ends up coming back. It’s a place I know I’m going to come back to when it’s time. I’m there all the time, but I don’t live there or put my kids to school there. But boy if I don’t always every year go, ‘Maybe we should.’ ”

    http://www.mydesert.com/article/2013...-many-projects
    Quote Originally Posted by SepaGroove View Post
    You shouldn't feel uncool for not going to EDC, you should feel uncool because you are uncool.

  2. #2
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    Default Re: Queens of the Stone Age's Josh Homme has many projects in works

    It's been very quiet with Eagles of Death Metal.

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    Default Re: Queens of the Stone Age's Josh Homme has many projects in works

    Any word if there's an opener for the Gibson show?
    Quote Originally Posted by TomAz View Post
    Hey here's an idea. You know those people who are desperately poor, down on their luck, uneducated, abused, and generally ill-equipped for life? Let's make fun of them.

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    Coachella Junkie nathanfairchild's Avatar
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    Default Re: Queens of the Stone Age's Josh Homme has many projects in works

    Savages are opening for them at the one I'm going to on October 5th.
    July 29 - Boris
    August 1 - Black Label Society
    August 14 - Nine Inch Nails/Soundgarden/DEP
    August 27 - Röyksopp & Robyn
    August 30 - Sleep
    August 31 - Sleep
    September 5 - Seth Troxler
    September 14 - Lily Allen
    September 16 - Earth
    September 20 - Skeletonwitch
    September 21 - Nails
    October 3-5 - Austin City Limits
    October 10 - Bonobo
    October 12 - Austin City Limits: Day 3
    October 23 - 26 - Housecore Horror Metal Festival
    November 7-9 - Fun Fun Fun Fest
    November 23 - Caribou

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    Member FEELS's Avatar
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    Default Re: Queens of the Stone Age's Josh Homme has many projects in works

    I wish he came and spoke to my class when I graduated from Palm Desert High..

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    Lurker Bella Elena's Avatar
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    Default Re: Queens of the Stone Age's Josh Homme has many projects in works

    Quote Originally Posted by xuclarockerx View Post
    Any word if there's an opener for the Gibson show?
    Nothing is listed on Pollstar. Savages are still in Europe this week. Too bad, their set at Coachella was one of my favorites. Maybe they will have something sort of random like at the Wiltern show?

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    Coachella Junkie getbetter's Avatar
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    Default Re: Queens of the Stone Age's Josh Homme has many projects in works

    I thought it was deap valley
    Translation


    Rufus Wainwright @ Stern Grove 07/27/14
    Xiu Xiu @ BoTH 08/01/14
    FYF @ LA Sport Area 08/23 - 08/24/14
    Swans @ The Independent 08/08/14
    Decibel Festival @ Seattle 09/24 - 09/28/14
    War on Drugs @ Fillmore 10/05/14
    Death From Above 1979 @ The Independent 11/17/14


    Last.fm





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