#queensofthestoneage — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #queensofthestoneage, aggregated by home.social.
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🔴 LIVE NOW ON VORTEX
📻 Vortex Sessions 🎧 (Indie pop, synth-pop, alternative rock)
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🎵 Queens Of The Stone Age - Easy Street▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE#VortexWave #QueensOfTheStoneAge #StonerRock #AlternativeRock #2000s
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Queens of the Stone Age’s Josh Homme kicked a woman and his ex-wife alleged domestic abuse. Why the cosy makeover?
By Laura SnapesLike Johnny Depp and Chris Brown before him, Homme has got past his chequered history to retain an adoring fanbase. Almost a decade post-#MeToo, audiences no longer seem to care
#JoshHomme #Music #Culture #Popandrock #QueensoftheStoneAge #JohnnyDepp #MeToomovement #TheGuardian #LauraSnapes
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Mastodon – Marrow Deep Review By SaundersAnchored by a somber weight and deep emotional pain impacting the connective tissue binding Mastodon over the decades, Marrow Deep signals a new era for the Atlanta heavyweights. Ninth album, and first since 2021’s bloated and occasionally brilliant double opus, Hushed and Grim arrives on the back of turbulent and traumatic times. Enigmatic founding member, uber-talented axeman/vocalist, and all-round wild man Brent Hinds parted ways in tense circumstances in March twenty-twenty-five, before tragically passing away in a motorcycle accident in August of the same year. The tragedy surrounding Hinds’ premature death hangs heavily over Marrow Deep’s conception. The remaining core trio of bassist/vocalist Troy Sanders, drummer/vocalist Brann Dailor, and guitarist Bill Kelliher composed the album, fleshing out the material with fresh members, guitarist Nick Johnston and keyboardist/synth player João Nogueira. Marrow Deep exorcises tense emotional grief, and like its predecessor, pulls on the heartstrings.
Listeners who tapped out following Crack the Skye will find little here to bring them back into the fold. Following the exhaustive length of Hushed and Grim, cut down to size, Marrow Deep still sports a hefty 65-minute runtime. Peppering their progressive metal and sludge rock core with heady psych and stoner influences, alongside mellower rock and prog fare, Marrow Deep is also frequently direct and punchy. “Your Ghost Again” signals a fitting tribute to their fallen brother, anchored by urgent, driving verses, blossoming into haunting melodies, playful prog and a crushing climax. Fellow singles also fare well, such as the keyboard freakout and effective, minimalist cameo from Josh Homme (Queens of the Stone Age) on “Snakes for Dinner,” or the impressively raw, gut-wrenching Sanders vocal performance on the doomy ” Ruins,” inspired by the personal events of Hurricane Helene.
Dailor’s smooth, though divisive, melodic vocals, alongside the deceptively dynamic bellows and rough vox of Sanders, sound confident, impassioned, and familiar, while the increased integration of keys and synths enlivens the Mastodon formula, adding texture and swirling psychedelia into the sludge rock and progressive metal populating infectious, riff-driven songcraft. Heavier and more energetic than its predecessor Marrow Deep often hits with impact. Featuring a bending, genuinely heavy swagger, opener “Barbarians Blood” eventually unleashes a turbo-charged, thrashy, punk-metal groove that goes hard. Equally potent, “Poisonous Weapons” demonstrates Mastodon can still crush and destroy through dense, riffy sludge with a bitter edge. Upping the aggressive ante, Nate Newton (Converge/Cave In) and Randy Blythe (Lamb of God) lend their vocal talents to the fiery blast of “A Vampire’s Demeanor.” Elsewhere, the legendary Geezer Butler (Black Sabbath) supplies signature, tasty bass licks on the intro to the trippy, psych-leaning odyssey of “The Vanishing,” while Clutch’s Neil Fallon showcases his gruff preaching on jam-infested finale, ‘The Three Fates.” Gears shift on “Golden Spires,” sweetly balancing the album’s melodic sways and heavier surges through towering riffs and striking dynamics.
Loaded with technical and progressive flair listeners have come to expect, performances are super tight. Johnston fills the Hinds void admirably, without simply replicating his admired predecessor. A hugely competent shredder, Johnston puts his own stamp on Marrow Deep, getting a particular opportunity to exhibit his classy soloing on Marrow Deep’s more exploratory, psych and stoner heavy tunes (“The Vanishing,” “Moth and Bone,” and monolithic closer “The Three Fates”). Dailor’s drumming is as intricate and creative as ever, without overplaying his hand, and the Dailor/Sanders vocal combo sounds confident and assured. Unfortunately, Marrow Deep is saddled with a crunchy but overly clean production and compressed mastering job sapping some of the album’s sonic power. Concerning self-editing issues also surface, and while most the material lands, there are occasional lulls and plods suggesting some shrewder editing may have been required.
For all of Marrow Deep’s strengths and fresh designs, the absence of Hinds is strongly felt. Whether through his songwriting contributions or unique guitar style, which cleverly incorporated outside influences, such as bluegrass and southern rock twang, into Mastodon’s progressive sludge formula. Meanwhile, his hugely expressive, soulful soloing and unmistakable vocals feel odd to be missing; moments occur where you half expect a Hinds vocal to pop up. Gripes aside, Marrow Deep is a better album than expected considering the massive hole left by Hinds’. Credit to the remaining members and new blood for forging ahead with optimism, crafting an entertaining opus. Time will tell where Marrow Deep fits in the greater Mastodon canon. As it stands, Marrow Deep marks a rejuvenated, cathartic, nerve-poking transitional turn from Mastodon.
Rating: 3.5/5.0
#2026 #35 #AmericanMetal #BlackSabbath #CaveIn #Clutch #Converge #HeavyRock #LornaVistaRecordings #MarrowDeep #Mastodon #ProgressiveMetal #QueensOfTheStoneAge #Review #Reviews #Sludge
DR: N/A | Format Reviewed: Lousy Stream
Label: Lorna Vista Recordings
Websites: mastodonrocks.com | Bandcamp
Releases Worldwide: August 28th, 2026 -
Queens of the Stone Age ►Insignificant Other
Desert-rock architects Queens of the Stone Age have officially announced the details of their highly anticipated ninth studio full-length, Perfecth, set for release on October 30 via Matador Records. The album serves as the direct follow-up to their 2023 acclaimed LP, In Times New Roman…. Album Concept and Production: Co-produced by frontman Josh Homme and bassist Michael Shuman, and recorded across New Orleans and Los Angeles, Perfecth comprises nine tracks centered around a cohesive […]https://musicwayatx.com/2026/08/28/queens-of-the-stone-age-%e2%96%bainsignificant-other/
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Songs For The Deaf
#queensofthestoneage #songsforthedeaf #rock #stonerrock #alternativerock #heavymetal #hardrock #desertrock #alternativemetal #davegrohl #rock #rockmusic #music #musicsky #musiciansky #joshhomme QOTSA release their 3rd album on August 27, 2002 featuring a damn powerhouse lineup -- Dave Grohl on drums, front-man Josh Homme, bassist Nick Oliveri and Mark Lanegan on vocals. Both the critics and fans loved the album -- a conceptual road trip from Los…
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AMG’s Unsigned Band Rodeö: Beware of Gods – Upon Whom The Last Light Descends III: Behead The Oracle By Kenstrosity
“AMG’s Unsigned Band Rodeö” is a time-honored tradition to showcase the most underground of the underground—the unsigned and unpromoted. This collective review treatment continues to exist to unite our writers in boot or bolster of the bands who remind us that, for better or worse, the metal underground exists as an important part of the global metal scene. The Rodeö rides on.”
Flying well under the radar, Minneapolis-based psychedelic sludge/doom metal duo Beware of Gods would’ve released their third installment in their Upon Whom the Last Descends series, entitled Behead the Oracle in such complete obscurity that even Metallum doesn’t know about it yet. But thanks to our resident sludge expert Cherd, Behead the Oracle entered our consciousness just in time for an assortment of ne’er-do-wells to offer their entirely unearned judgment of its mettle. Little do the Gods know that when they enter the realm of dogs, there be risk of piles. Good luck out there, and may your souls be spared. –Kenstrosity
Beware of Gods // Upon Whom The Last Descends III: Behead The Oracle [July 10th, 2026]
Grin Reaper: Beware of Gods throws a lot of labels into their description of Upon Whom the Last Light Descends III: Behead the Oracle,1 all of which are apt. Cinematic, progressive, doom-laden metal toeing the line between sludge and post furnishes a rich backdrop where Beware of Gods details a dystopian narrative with elements like machine messiahs and the illusion of free will. Conceptually, this environment will feel familiar to fans of Fear Factory and The Matrix, but musically Behead the Oracle lands in an industrial-tinged sludge trudge that often reminds me of a doomy Nine Inch Nails (“Secondary Drowning,” “Disenchanted Enchanter”), even down to The Archetype’s Reznor-like croon. Instrumentally, Beware of Gods delivers convincing performances in service to Behead the Oracle’s story, where guitars and bass swell and groove in a deftly-mixed soundscape. Unfortunately, Behead the Oracle suffers a fatal flaw when it comes to length, compounded by a few tracks that can be challenging to listen to over repeated spins. “The Ghost of a One-Armed Comedian” draws my biggest complaint, as it’s a six-minute plod featuring a meandering voice-over that would be more effective if chopped in half or cut altogether. Meanwhile, closer “Starve My Eyes That I May See” drags an already overlong album on for another ten minutes. Ultimately, Beware of Gods delivers good ingredients undercut by an unsavory length and a few skippable tracks, but exhibits enough talent and intriguing ideas that I’ll check out whatever divine warning they offer next. Mixed.
Spicie Forrest: The concept album strikes again! Centered around protagonist I, Nomad, Beware of Gods’ third LP, Upon Whom the Light Descends III: Behead the Oracle travels through an industrial, post-collapse hellscape. The album’s cinematic trappings of remind me of IPs like Mad Max, Fallout, and Casshern Sins, making Descends III feel more like the soundtrack to an unwritten movie than a typical album. Primary creative force The Archetype weaves riotous, stimpak-fueled sludge (“Tectonic Boogie with the Grief Eater”), the hard-boiled spoken word of seedy, smoke-filled hideouts (“The Ghost of a One Armed Comedian”), and 90s nu-metal (“Behead the Oracle”) into a surprisingly singular vision. While there are a lot of styles on display here, they’re stitched together well, with theatrical threading embodying the irreverence necessary to survive such a hopeless world. And for such a range of metallic styles, The Archetype’s pipes rise to each occasion and complement the music suitably well. I particularly enjoyed my nerves patiently fraying at the atonal hammering of “Disenchanted Enchanter” and “Starve My Eyes That I May See,” but those two are the longest tracks on the album, and they—along with a couple others—struggle to support their own weight. And while I can understand the narrative demands of Beware of Gods’ vision, getting through Descends III in one sitting proved a struggle, largely due to having three interludes (“Conflict Code_Cursed Blessed,” “Dead Radio Daylight,” “Correction Code_Pre-emptive Strikes Against Prophecy”). Nevertheless, of 56 minutes, there’s about 40-45 minutes of solid material here. 2.5/5.0
Sentynel: I know it’s a cliché for this sort of stoner-psych music, but wow, Behead the Oracle has a problem with songs that don’t go anywhere. I was misled by Beware of Gods’ promise of “cinematic sci-fi doom/post-metal,” but make no mistake: under the Scooby-Doo mask is but a meandering stoner album with a slight industrial edge to its sound palette. It sounds like it wants to be Isis (“Conflict Code_Cursed Blessed”) by way of Mutoid Man (“Tectonic Boogie With the Grief Eater”), with a reference here or there to Kyuss/QotSA (“Dead Radio Daylight”). But we’ve hit the fourth track (“Ocean of Teeth”) before we get a song with any trajectory at all. And that’s only if you survive the six minute spoken word plod of third track “The Ghost of a One Armed Comedian,” which will certainly haunt me. The rest of the album serves up an interlude and a repetitive Monster Magnet offcut for every additional track with any interest at all (“Disenchanted Enchanter,” “Dethroning the Delusion”). There’s lots of things I should like here, and when I put this on in the background it was very easy to tune in occasionally and hear something vaguely interesting. Actually sitting down and listening to the whole record, on the other hand, was a slog. Bad.
Alekhines Gun – Utilizing a flair for concept and story telling usually found in post-hardcore, Beware of Gods has emerged with a djenty, doomy, ethereal release. Fusing slabs of Conan heft with post-metalisms and a fantastically varied vocal approach from “The Archetype”, Upon Whom the Last Light Descends III: Behead the Oracle is a real mixed bag of a listen. The vocals do a good job at selling the story, as our Archetype bounces from the expected howls and yowls to full on cleans and spoken-word passages, conveying a narrative to suit the ever-shifting soundscape. Upon Whom is definitely a journey, and an engaging one, though how gripping you find it depends entirely on what you’re looking for. It’s rather light on real riffs or songs of memorability, in the traditional sense, though some real might rears its head in the grin-inducingly titled “Tectonic Boogie with the Grief Eater”, and particularly in “Ocean of Teeth (Haunted by the Glimpse of a White Light)”, the highlight of the album. But what it might lack in the brutz it makes up for in sheer personality and charm, inviting one to listen in on the bizarre and inscrutable exploits of one armed comedians one minute, only to hear the bluesy laments of a “Disenchanted Enchanter” the next, with just enough curb stompage to keep boredom from setting in. Worth a few listens, but not casual ones; really lock in and let this light descend all around you. 3.0/5.0
Kenstrosity: I wasn’t sure what to expect from Beware of Gods when they were brought to my table. Despite a fair bit of lead time, it took a while for me to wrap my head around what Behead the Oracle meant to be, what it meant to achieve. An unexpectedly fluid mix of NIN-esque industrial with Mastodonic sludge and Psychonautic post-metal, slowed down to a doomed crawl and enriched with bouts of poetic spoken word, Behead the Oracle hypnotizes as often as it confuses. With hooky tracks like “Tectonic Boogie with the Grief Eater,” “Ocean of Teeth,” and “Secondary Drowning,” Beware of Gods makes a compelling showing in the style. Competent and varied vocals blend with trippy riffs and eerie melodies in these stronger cuts to create a kaleidoscopic, but dense and dark, bluesy shroud that envelops the senses. In other areas, like the spoken word “The Ghost of a One Armed Comedian” or the overlong “Disenchanted Enchanter” and meandering closer “Starve My Eyes That I May See,” Beware of Gods loses traction as muddy storytelling and abstract character development obfuscate the record’s message in flowery language, repetitive songwriting, and lack of propulsion. Over time, though, I found myself growing more curious to understand this enigmatic record, and found substantial enjoyment in the way it flows despite its lumbering pace and occasionally monotonous sequences. It’s possible that Behead the Oracle is a bit too smart or abstract for its own good, which makes connecting more deeply with its story a challenge. Nonetheless, it’s a curious and layered affair that deserves a spin or two even if it never finds permanent residence in your rotation. Mixed.
#2026 #AmericanMetal #AMGSUnsignedBandRodeo #AMGSUnsignedBandRodeo2026 #BewareOfGods #Conan #DoomMetal #FearFactory #IndustrialMetal #Jul26 #Kyuss #Mastodon #MonsterMagnet #MutoidMan #NIN #NineInchNails #PostMetal #Psychonaut #QueensOfTheStoneAge #Review #Reviews #SludgeMetal #Tool #UponWhomTheLastDescendsIIIBeheadTheOracle -
"It's only falling in love because you hit the ground"
- I Appear Missing by Queens of the Stone Age
#QueensOfTheStoneAge #IAppearMissing #FallingInLove #love #music #song