Sweethead – Sweethead
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During the course of the past decade Queens of the Stone Age have splintered off into a myriad of intriguing incarnations. Having curiously morphed from be-grizzled desert sessioned stonefreaks to a legitimate stadium slaughtering supergroup, the core base of QOTSA can seemingly pull in any number of versatile voices to assist their relentless sludge metal. With ‘Sweethead’, their latest offshoot, Queen’s axe grinder Troy Van Leeuwen has shunned the esteemed staple collaborators such as Dave Grohl and Billy Gibbons opting to pluck a fresh talent from relative obscurity. Apart from her gig as a bit-part, background crooner on the last Queen’s LP ‘Eva Vulgaris’ Serrina Sims has an extremely vague curriculum vitae. On the surface this may indicate a welcome diversion from the otherwise trademark thrash that has worn a tad thin over the last couple of projects any member of QOTSA has dabbled in, giving way to a left of the centre release. The reality however is yet another slice of distorted excess, stylishly strutting through the sweltering heat of a Mexican high noon sunrise, heading for the border to escape Mafia druglords on the tail of the lifted blow locked in the boot of it’s blood-red convertible.
‘Sweethead’ is by no means a patchy effort, this debut offering is a cohesive collection that registers every alternative rock requirement. ‘Amazing Vanishing Conquest’ saunters along a rolling riff before ushering in an extremely mellow breakdown that centres around a simple clicking rhythm. Similarly ‘A.W.O.L.’ hinges off a straddling beat, emphasising the tequila soaked tone spewed from Sims’ seductively stained lips, her vocals reminiscent of Karen O’s sleazy squeal. Alas, as proceedings progress we are steadily introduced to the very same gear-head formulae that dominates the desert. ‘Turned Our Backs’ utilizes a muddy bassline before employing a corkscrew sonic assault and ‘opener The Sting’ is heartlessly ‘going with the flow’. Almost every track criminally summons the spirit of Queens minus Josh Homme who was probably too busy knocking back Jim Beam at a strip club in Vegas.
‘Sweethead’ is a very tempting proposition, shamelessly hopped up on cigarettes, alcohol and liquor store sunglasses whilst flicking two fingers to the highway patrol. You must wonder though, how many times this template can be flogged before even the staunchest of supporters cries fowl. That said, perhaps ‘Songs For The Deaf’ was less an album title and actually a social commentary on the QOTSA legion guaranteeing ever more instalments in this seemingly never-ending series.
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