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As account of Queens of the Stone Age’s new album, …Like Clockwork, has trickled out over the accomplished few months, it’s been abstraction up to be the star-studded bedrock accident of the year, back it bears the affiance of bedfellow appearances from Dave Grohl, Elton John, Trent Reznor, Alex Turner and abounding more. But the affection of Queens will consistently be vocalist-guitarist Josh Homme, who has consistently exuded abiding cool, whether arena guitar with seminal California stoner rockers Kyuss or arena bandage baton to Grohl and Led Zeppelin’s John Paul Jones in Them Crooked Vultures. Over the accomplished two decades, Homme has acquired from an overdrive-loving blues-metal bohemian into a hard-rock innovator, and his guitar access has afflicted appropriate forth with him, as he’s accounting some of the best memorable riffs in contempo bedrock history. To bless Homme’s role as a songwriter and riff-meister bar none in apprehension of …Like Clockwork’s release, we’ve combed the arid abaft his home for his 10 best riffs so far.
1. Queens of the Stone Age, “No One Knows” (2002)
The capital riff to “No One Knows” is so tasteful, so crisp, so smooth, so absolute that, accompanying with Homme’s own cucumber-cool vocals, it bankrupt the bandage into the mainstream. Its abiding motion is arresting and the way it seamlessly flows into a chunky, Sabbath-aping arch riff after sacrificing an ounce of appearance is what makes it Homme’s finest work. It’s perfect.
2. Kyuss, “Demon Cleaner” (1994)
On an anthology loaded with memorable riffs (Welcome to Sky Valley), the heavy, distinct “Demon Cleaner” and its snake-like riff stands out. To accompaniment bagman Brant Bjork’s banausic affiliated beat, Homme plays a able-bodied mix of fluid, bass-heavy streams of addendum that he occasionally break into a bleating higher, improv. It’s hypnotizing.
3. Queens of the Stone Age, “Feel Good Hit of the Summer” (2000)
For all the manic, adroit guitar riffs that accompany rhythmically acrimonious lyrics like “Nicotine, Valium, Vicodin, marijuana, beatitude and alcohol,” Homme’s aperture riff for Queens’ Rated R is by far the best. Although then-bassist Nick Oliveri’s leads the charge, Homme’s brittle double-time guitar ambush gives the song the bend to accomplish it feel like the afraid breakdown the lyrics allude to (something he underscored with his angel-dust freak-out guitar solos).
4. Queens of the Stone Age, “Little Sister” (2005)
To go with the breeze of Queens’ “more cowbell” moment on Lullabies to Paralyze, Homme address into his strings for a three-at-a-time punk-chord admixture that sounds poppy after pandering to pop production. And back he adds some anfractuous top addendum to the top, and alike drops out the capital riff against the end, it makes for one of the best blunt moments in erect another bedrock back the canicule of Urge Overkill.
5. Kyuss, “Green Machine” (1992)
Before any drums bang in, Homme leads “Green Machine” with a chunky, bluesy riff that alone picks up back aggregate hits at once. Simple, to the point and propulsive, the garage-rock track’s capital riff adumbrated the taut, economical arena Homme would hone in Queens and is a highlight on Kyuss’ breakthrough, Dejection for the Red Sun. Plus, it fucking rocks.
6. Queens of the Stone Age, “Go With the Flow” (2002)
Part freewheeling Stooges steamroller, allotment hard-rock etude in harmonic experimentalism, the capital riff in “Go With the Flow” never changes, added than for a few variations on the activity (drawn-out chords in the chorus, whining overtones hither and thither). Its machine-like drive and almighty adaptable anatomy fabricated the song one of Songs for the Deaf’s defining moments.
7. Kyuss, “Son of a Bitch” (1991)
Kyuss’ admission Wretch is abundantly a messy, august affair, article akin, guitar-wise, to the Venn diagram bury of Tony Iommi’s bluesy Sabbath riffs and the antic free-for-alls of Skynyrd. The styles adhere best on the ailing “Son of a Bitch,” which finds Homme arena bit-by-bit riff that slip-slides up and bottomward the guitar neck, depending on diva John Garcia’s howls at the time.
8. Kyuss, “N.O.” (1994)
After a crisp, agitated solo-guitar intro, Homme leads his Kyuss bandmates on a bouncy, abundant dejection riff that epitomizes the arid stoner-rock complete afore scuffling into a faster, punk-influenced riff. But it’s that first, accepted activity that all-overs into the song actuality and there that makes it abundant because, like Homme’s best acknowledged riffs, it’s the little turns at the end of the melody that accomplish it absorbing … and in “N.O.,” it’s never boring.
9. Them Crooked Vultures, “Mind Eraser, No Chaser” (2009)
How do you accumulate up with a affiliate of Led Zeppelin and the Foo Fighter who played in Nirvana? Play a riff that’s according genitalia mid-era Led Zep and a abundant booty on Devo’s arbitrary “Girl U Want.” It’s herky-jerky, but aboveboard abundant to sit in the abridged of one of the arch accent sections anytime recorded.
10. Queens of the Stone Age, “Never Say Never” (2000)
New-wave accumulation Romeo Void’s 1982 acknowledgment of women’s animal lib articulate in-your-face, chargeless and fun back it came out, but in Josh Homme’s hands, it’s the brittle hard-rock riff Thin Lizzy never wrote. Highlighted by some plinky piano-like harmonies, it lightens the actuality that Homme is carrying the affliction affectionate of awkward compliment.
Queens of the Stone Age’s …Like Clockwork is out June 3 on Matador.
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