Josh Homme is a man of many musical facets. Sure, he may be best known as the frontman for desert rock band Queens of the Stone Age, but Homme is also in Them Crooked Vultures (with Foo Fighters’ Dave Grohl and Led Zeppelin’s John Paul Jones) and Eagles of Death Metal, not to mention his early days in Kyuss, and he’s constantly putting out new jams.
Below we’ve gathered some quotes from Homme from his recent press run on everything from fatherhood to waiting six years between Queens of the Stone Age albums.
On how his connection to the desert has influenced his music, as told to Jam Base:
“What I love about the desert is what I love about any situation. The best way to put it is you're not in a hurry in the desert. You get the chance to make a completed thought. Which is why I think, more accidentally than anything else, Queens' records are kind of the amalgam of an idea in total. It's not really a delivered concept record but they end up being a completed thought, or a certain examination of a certain thing. That's why it's never like 2112 [by Rush]. The desert is more like getting a chance to really look at something without the hurried pressure lots of cities have. When you're in the city you've got to get it on or get swallowed. I don't feel like that time pressure is the same in the desert.”
On needing chaos when making music, as told to the U.K.’s The Skinny:
“I would say that chaos needs to be at the forefront of what happens here. I’m not a control freak, I don’t want it to be perfect, I don’t want it to be my way, I want it to be the way that’s on the verge of explosion. After all these years, we’ve gotten to this place where it’s us now. I think it’s OK to transition that. There was a time I really wasn’t all that comfortable singing, I was like, ‘What if we had three singers?’ … You chase down the best ideas you have in the moment you have them and you don’t apologize, you just move.”
On not knowing what was next when Queens of the Stone Age were ready to release their current album, …Like Clockwork, as told to Straight.com:
“This is the record that, more than all the others, we had no clue what was going to happen when it came out. We’re trying to do this thing where we don’t make the same record twice. But then you get into this situation where there isn’t a song that happens twice, in its mood and the way it moves. So you start saying to yourself, ‘Is this too much of a musical salad bar?’ But I think it’s important to push those kind of ‘What if’ questions out the door, because they aren’t really answerable and they don’t really amount to anything. It’s better to end up replacing those questions with ‘Is this real? Is this real enough to be on here?’ That’s got a real answer, and has a real gravitas to it. In the end, you’re going, ‘I don’t know if anyone is going to like this, or how it’s going to go, but we’re all really proud of it.’ And, somehow, that’s more than enough.”
On whether six years between Queens of the Stone Age albums was a long time, as told to SPIN:
“Objectively, yes, but also not at all. I look at my career as a body of work, not just Queens of the Stone Age records. I'm in Eagles of Death Metal, I'm in Them Crooked Vultures, I make records with other people. Six years only looks funny on paper. If I was just in one band I would have a problem with the amount of time between records, because I don't want to wave one flag. I just want to be part of something cool. Because that's what this is, and it's … nuts, man. Six records? How am I still doing this? I'm in New York City and I'm putting out a record. It's so bizarre.”
On his best recent fashion purchase, as told to the U.K.’s GQ:
“I have this coat that I got in a nefarious deal years ago. It's a Johnny Carson coat and I've had it remade three times. It's mine all the time. Carson was a real man and I thought ‘Coats for real men by real men? I'm in.’”
On letting bass player Nick Oliveri go following Queens of the Stone Age’s 2002 album “Songs for the Deaf,” as told to The Guardian:
“By the time you get to your sixth record, some of the benefits of being in a band are grander than ever, but some of the obstacles are just massive. You deal with these lateral subjects and all that is left is the elephant in the room. Some people think I must be a jerk because I fired my best friend, but the truth is I went to his house, stared him in the face and I told him how I felt. Can you do that?”
On listening to new music, as told to SPIN:
“The truth is I stopped listening to a lot of music. I want to like as much as I can, but there's not a lot out there. The goal would be to find the good in everything. People who say they like everything don't have the sand to tell you what they really like. I love the Metronomy recordThe English Riviera. … It sounds like the bleak coast of England. I like the Savages record [Silence Yourself] for how it drags what was forward. I'd like to like lots more music, but I almost feel like it isn't up to me. I try, but what's a girl to do?”
On the strangest place he’s heard his own music, as told to the U.K.’s GQ:
“I was being detained by an officer and the car that pulled up next to us was blasting our music. That was not as comfortable as it would seem. The officer was talking about letting me go but I thought, ‘This isn't the right place for me to be noticed…’”
On ducking out of the spotlight for a bit, as told to Straight.com:
“I think one of the coolest things you can do is disappear for a while, because it gives you the chance to re-emerge,” he says. “To sort of pounce out of the jungle.”
On fatherhood, as told to The Guardian:
“It hasn't mellowed me. It's stolen me. It's captivated me. I've always been someone who likes to get in the mud and the blood and the dirt, y'know? Now I'm around people that want me to do that. It's what I'm good at.”
Photo credit: Nora Lezano.