Queens of the stone age is a group that I wanted to shoot on stage for a long time. This was the case in 2014 in Montpellier. You can find some photos of this concert in my book "  A MOMENT SUSPENDED IN TIME". A memorable concert by Queens of the stone age for the ears, for the eyes, and more precisely the eyes of a concert photographer...

But for now, here is a little postponement of this concert which is above all an opportunity to come back to the group visuals, artwork and video clip that make a sublime setting for this group. You will find below the visuals for the album "villains"


Queens of the stone age - Artwork

Queens of the stone age - Artwork


Queens of the stone age: a look back at a memorable concert.

On June 1, 2014, at the Zénith Sud, in Montpellier, the group Queens of the Stone Age offered 3,500 fans in a trance, an hour and a half of pure rock and roll. Selection of titles, interpretation, atmosphere… an excellent concert by Queens of the Stone Age whose electric glow has not yet disappeared from my brain!

I have not seen Stooges to Detroit in 1969, neither the Who in Leeds in 1970 nor Black Sabbath in Los Angeles in 1972, ZZ Top in 1977 in Austin, Television in New York in 1981, Nirvana in Reading in 1992 .. But I saw saw Queens Of The Stone Age, their heir, an equal in Montpellier in 2014, on Sunday June 1. Don't laugh, the concert was at that level.


Queens of the stone age - Artwork

Queens of the stone age - Artwork

A ... powerful concert

From the start, the might of Queens of the Stone Age caught the ears and smiles of 3,500 fans who attended such an early concert (announced at 7:00 pm, started at 8:05 pm) on a Sunday… You Think I Ain't Worth A Dollar soothes those who were afraid of the replacement of Joey Castillo, fired from the drums: Jon Theodore (former hitter of Mars Volta, all the same) does the job.

In other words, with the exception of Keith Moon, apologetic for the bit, and Danny Carey, currently used elsewhere (Tools), there is nothing better. Josh Homme connects the devastating riffs of No One Knows, a strong rhythm, a cascade of breaks. The crowd goes crazy when the boss releases his first solos.


Queens of the stone age -

Queens of the stone age - Artwork

Queens of the stone age - Artwork

Queens of the stone age - Artwork


The last My God Is The Sun continues in the same style intoxicated, distorted, crazy melody. The ensuing miracle, "Burn The Witch" is hard to beat, which plunges the Zenith into the heart of the ominous and malicious voodoo ritual.

Queens continues: "Smooth Sailing", "über funky", on the sexy kick from the last album, then takes over the magnificent Sick Sick Sick, which is one of his most oppressive songs, and emphasizes "In My Head ”, which Josh Homme decorates with wonderful speeches.

Then, the sumptuous ballad, which stoner rock fans who follow the group appreciate as Clockwork, will give the opportunity to sublimate Josh's vocals.

An hour and a half of rock'n'roll , a group in a state of grace. A monumental and surreal spectacle such as is rarely seen at the Zénith Sud (never?).

3,500 people can testify to this. The legend will do the rest


Queens of the stone age - Artwork

Queens of the stone age - Artwork

Who is queens of the stone age

Born in 1995 from the ashes of the legendary Kyuss group, the Queens of the Stone Age quickly became famous in the stoner world.

With two former kings of the desert at the forefront, in the person of Josh Homme and Nick Olivieri, completed by a training with variable geometry which will be completed by many talented musicians such as Alfredo Hernandez (former Kyuss) Matt Cameron (Soundgarden) , Mike Johnson (Dinosaur Jr), Mark Lanegan (Screaming Trees).

The Queens Of The Stone Age will succeed from the first title album, which provides a lighter stoner than we can find in Kyuss, faster but lighter, transferring their music to a universe that is more akin to rock.

Then they will go on tour with groups like Bad Religion, Rage Against The Machine, Hole or The Smashing Pumpkins.


Queens of the stone age - Rated R

Between two Desert sessions, Queens of the Stone Age devotes time to the recording of the enormous Rated R, first released in September 2000, then the second time in the vinyl edition (2001).

It is a musical turning point for Queens of the Stone Age, because it is on this album that the "sound" of the Queens of the Stone Age really takes shape which moves away from Stoner, who we knew with Kyuss or Monster Magnet.

About a year later, they return with Dave Grohl on drums for Song For The Deaf, which will be the group's first big hit, thanks to which they will really start internationally and crown him as one of the best. American rock groups. In 2004, Josh Homme parted ways with Nick Olivieri, tired of the excess bassist who was arrested for performing naked on stage. Josh Homme replaces him with Alain Johannes, guitarist of the rock group Eleven, recruiting in the process the keyboardist Natasha Schneider of the same group.


Queens of the stone age - Artwork

Queens of the stone age - Artwork

Queens of the stone age - Lullabies to paralyze

The expected successor to Song For The Deaf was released in 2005, titled Lullabies To Paralyze, marked by a return to Mark Lanegan and Troy Van Leeuwen, guitarist of A perfect Circle, who previously participated in Song For The Deaf.

The album, QOTSA's new hit, is to critical acclaim. Josh Homme is not left out, taking a break from his schedule to participate in the project Eagles of Death Metal of his friend Jesse Hugues, with whom he gives concerts (notably by playing the drums).

He also finds time to marry singer The Distillers and have a child, but there, of course, he needs to calm down a bit, and Queens of the Stone Age will take the opportunity to publish a live album and a DVD. correspondent, Over the years and through the forest. However, for men, paternity leave will be short ...



Queens of the stone age - Era Vulgaris

In 2007 Queens of the Stone Age returned to the stage with the album “Era Vulgaris”, for which Homme called on new bassists Michael Schuman and Dean Fertita as keyboardists.

Era Vulgaris is less successful than the usual voice of Stone Age queens. Josh Homme learned this lesson and returned to more robust music for… like clockwork. Queens of the Stone Age's sixth album was released in June 2013 and its guests included Trent Reznor or Elton John.


Queens of the stone age - Villains

Queens Of The Stone Age “Villains” is produced by Mark Ronson, whose name is more often associated with satiny pop idols than heavy leather rock bands. RMark Onson, fan of Queens, is above all a producer capable of getting the best out of anyone: Amy Winehouse for the legendary “Back To Black”, the Black Lips for their best album, “Arabia Mountain”. The science of the English studio is well established. He makes a brilliant display of it here.


Queens of the stone age - Artwork

Queens of the stone age - Artwork


Current Queens of the Stone Age Members

  • Josh Homme - vocals, guitar, bass, piano, keyboards, drums, percussions (since 1997)
  • Troy Van Leeuwen - guitar, backing vocals, keyboards, bass, percussion (since 2002)
  • Dean Fertita - keyboards, guitars, backing vocals, piano (since 2007)
  • Michael Shuman - bass, backing vocals, guitars, keyboards, percussion (since 2007)
  • Jon Theodore - drums, percussion, sampler (since 2013)


Former members of Queens of the Stone Age 

  • Alfredo Hernández - drums, percussion (1998–1999)
  • Nick Oliveri - bass, backing vocals (1998–2004)
  • Dave Catching - guitar, keyboards, lap steel (1998–2000)
  • Gene Trautmann - drums, percussion (1999–2001)
  • Brendon McNichol - guitar, keyboards, lap steel (2000–2002)
  • Mark Lanegan - vocals, backing vocals (2001–2005), keyboards (2005)
  • Dave Grohl - drums, percussion (2001-2002, 2012-2013)
  • Joey Castillo - drums, percussion (2002–2012)
  • Dan Druff - bass, backing vocals (2005)
  • Alain Johannes - bass, backing vocals, guitar (2005–2007)
  • Natasha Shneider - keyboards, backing vocals (2005–2006)


Full concert of the “Vilains” tour @ Montreux Festival 2018 [FULL CONCERT] HD



Eric CANTO Photographer: Concert photos, portraits, album covers.

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Bonus: Interview with Josh Homme from Queens of the Stone Age by SPIN

After six years, more side projects, and a brushstroke with death, the QOTSA frontman returns with his band's sixth album, the tense, intimate “… Like Clockwork”.

Sitting on a bed in a downtown Manhattan hotel room two days after the release of Queens of the Stone Age's… Like Clockwork (Matador), Josh Homme lights an electronic cigarette and inhales deeply. “I found the right excuse,” he said, “so now I'm looking for it again.”

He's about trying to quit, but waving to something bigger - and scarier. In late 2010, Homme nearly died from complications from knee surgery and was bedridden for three depressing months while he recovered.

Meanwhile, male, 40, and father of two small children with his wife, Spinnerette singer Brody Dalle, struggled to find a reason to continue a career that exploded over 20 years ago with the Kyuss's majestic California desert metal, sailed into hugely popular rhythmic rock from Queens of the Stone Age, refueled in Them Crooked Vultures with friend and musical partner Dave Grohl and former Led Zeppelin bassist John Paul Jones, and himself are relayed to work on production with Arctic Monkeys and his own long-standing and highly collaborative albums Desert Sessions.

Ultimately Josh Homme got back on his feet with the thorny, emotionally intense… Like Clockwork, an album that offers irrefutable proof of both its resilience and its closeness to the edge - which, in fact, was where the future awaited him.

Don't you think six years is a long time between albums?
Josh Homme: Objectively, yes, but not at all. I consider my career to be a work, not just the 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 old only looks funny on paper.

If I was just in a band, I would have a problem with the time between recordings, because I don't want to wave a single flag. I just wanna be a part of something cool. Because it is, and he's fucking crazy, man. Six discs? How do I do this again? I'm in New York and I'm releasing a record. It's so weird.

When you were recovering from your health problems, did you ever think that you wouldn't be making more Queens of the Stone Age music?
Josh Man from Queens of the Stone Age: I spent five or six months waiting for a sign. I like to go ahead and notice things along the way that point to where I need to go.

And so I ended up spending a lot of time just waiting without moving forward, trying to figure out what to do while I was mentally sitting on my own slope. It was helpful because I realized it was the worst thing I could ever do.

What do you want to say?  
Josh Man from Queens of the Stone Age: When you get sick and it's prolonged, you go through all of these mental phases and everyone handles them differently. But what made it difficult was that I was so tired of myself, you know?

I wish I could have separated myself from myself - left myself. The problem is, music is selfish in the sense that you have to create it yourself, in order to be able to give it away, and those two things don't work. I needed to find the right reason to play that had the magic, mystery, and excitement that made me want to play in the first place.

Where did you find this reason?
Josh Man from Queens of the Stone Age: Well, for a moment I thought, “This is so stupid. What is all this? [Gestures around the room] It's so hateful. Then all of a sudden you start to say, “No. The music is beautiful. "

You can make someone cry and you can say things that you would never say otherwise. So why wouldn't you believe it? Why would you choose to be bitter rather than make music? To be bitter is disgusting. It is not worth anything.

Can you tell me a bit more about your recovery? Has it changed your interactions with your family and the people you make music with? What exactly was making you bitter?
Josh Man of the Queens of the Stone Age: I'd rather not say. It's just - I've never been stopped cold before. Obstacles are always, like: "Through it, over, under: what am I going to do?" It's just hard to share certain things.

I'm not the guy who says, "This stuff smells like shit, take a puff." I just think, "It smells like shit." I don't want you to have to feel it too.


Can you tell what happened physically?
Josh Man from Queens of the Stone Age: Well, I've always been pretty hard on myself. So whatever happened to me, I totally deserved it. It's almost like I'm asking. But why focus on things that suck? It's not worth the shot.

Health issues aside, you're 40 and have two unborn little kids the last time you released a Queens of Stone Age album. Have you reprioritized at all?
Josh Male of the Queens of the Stone Age: Queens have climbed my priority list. Instead of being my buddy, he became my war buddy. And the guys in the band are more important to me now too. When they really wanted to make a record, I said, "Okay, if you want to do that, I'm not in the bigger space."

You have to start in the confusion and I don't know where it's going to go and you won't know either. But it made us so much tighter. We had to trust each other or we would go our separate ways. I think it has something to do with why we lost [the drummer] Joey [Castillo] and had to let him go…

He was having trouble navigating this uncertainty. Even though it was very friendly, it was like, "Damn, why did this have to happen?" But it brought the rest of us closer together.

Were the consequences of Joey's dismissal any different from the consequences where you let [bassist and founding member of QOTSA] Nick Oliveri go after Songs for the Deaf?
Josh Homme from Queens of the Stone Age: Nick and I had some issues that weren't musical. He sings on the new album. But at the time, in 2004 or every time, I felt like instead of being understood for making a difficult decision about someone who was out of control, people were like, “Fuck it. Josh Homme, he just wants to sing more.

What? You must be crazy. I wanted to sing more? After Deaf, the band started to focus more on personalities than music and it didn't feel right. Honestly, people in the music business had already decided on me by the time [2005] of Lullabies to Paralyze came out. We divided everyone in our world and I was like, “Oh, shit. "

But now I realize that all this outside stuff is useless. I'm interested in the long arc of a life of music, in a life of honesty.

Don't you think you've been honest before?
Josh Man of the Queens of the Stone Age: I was stinging and pushing before, but now I want to push and push where it hurts. It's the same idea as the old Queens albums, but pointed in a different direction.

The lyrics to… Like Clockwork are the biggest difference to me from your past stuff. A song like "The Vampyre of Time and Memory" where you sing about feeling unloved and wanting God to come and take you - that's a far cry from "Feel Good Hit of the Summer". Were you trying to be more direct? There's not a lot of sarcasm anymore.

Josh Homme from Queens of the Stone Age: I feel like “Go with the Flow” or [Lullabies to Paralyze 's] “Long Slow Goodbye” are very straightforward songs. But with these records, I could see the end goal before I started. This one started off with no end in sight… it's just different this time for the band.

[Matador founder] Chris Lombardi told me it was the second act of Queens of the Stone Age and I agree with that. Act two started by waking me up in a hospital.

I'm not complaining, but I wish it had started in a different way. I always thought that music was separate from reality, but there is no escaping the reality from where this album started. I had no choice but to take care of it.

If the motivation changed, what was it on, say, [2000] Rated R or Songs for the Deaf? Much of Queens of the Stone Age, from the name to the album covers to the lyrics, seemed like a tongue-in-cheek commentary on being in a hard rock band.
Josh Male of the Queens of the Stone Age: I think that's an accurate judgment. Any band on their first two albums is just trying to follow their inspiration. You get caught up in this tidal wave of big ideas: “What if a band had three singers? No one ever does that!

I was thinking what it would be like if the vocals were intertwined, like you're singing solo, then you sing harmonies, then you barely sing - just a seamless transition the whole time.

It was all about that kind of thing, trying to create something that no one else was doing. And I've always had a sick sense of humor and always wanted it to permeate the music because I don't take myself seriously. I take music seriously, but I know that I am not God's gift to anyone except my mother.

Let's go back to a song like “Feel Good Hit of the Summer”. Or even earlier, when you were at Kyuss, which is one of the great stoner-rock bands of all time - although I know you don't like that term. There was this aura of excess around you and your music.

I mean, your record company threw a party for Songs for the Deaf and you asked that they bring in dwarves and mimes. How much of a “comment” was that and how much did you really appreciate the excess?

Josh Man of the Queens of the Stone Age: It's impossible to know. With the party, I did it because dwarves and mimes scare people. It was a party for us and they were like, “What do you want? And I was like, 'Oh, that's easy: dwarves and mimes. It was the most uncomfortable party ever, but I thought it was great.

Making people uncomfortable is one of my hobbies. I still hope half of people are joking and the other half are joking. But somewhere along the way, especially after the deaf and the explosion - then the implosion with Nick - it became clear that it had to be more about the music.

That sick sense of humor is still there, but I'm not so jaded to spread it everywhere. It should be used in the proper doses, as it would be a shame if this confused the real problem, which is trying to sing about life. I used to view Queens of the Stone Age in an unrealistic way, only as an escape. I don't think that anymore.

What does your family think about the way music has changed for you?
Josh Man from Queens of the Stone Age: I can't really answer that except to say that I've always been close to my family and people I care about and that's all that matters really.

They know things have changed. I'm not trying to make sense of what happened, I just know it happened. I know what I've been through. I don't need to be told to stop and smell the roses because I'm sniffing so hard.

"Sniff so hard. Do you mind if I take this out of context? It would be a good title.
You wouldn't be the first to do this.

Another example?
Josh Homme from Queens of the Stone Age: I once foolishly told an interviewer that the songs were about whatever you wanted them to say, and that was picked up afterwards. “Oh, you say your songs aren't about anything. " It's not that. It's embarrassing to talk about something personal even if I'm singing something personal.

Not that everything was always shrouded in mystery before, but on Lullabies I felt a little bit persecuted because I had fired my best friend and it was really hard and it wasn't about the music. And I didn't say anything, thinking people would respect that decision. But instead, I felt these social rocks hit me.

Instead of saying, “I feel persecuted,” I wrote [from Lullabies] “Burn the witch.” I thought, “Well, it's clear as day” and it's more interesting than to write "What's your problem?" But people didn't get it.

But when the story is clearly so central to the music, it's hard not to be curious about the details rather than just talking about them.

I don't mind circling them, much like something in a toilet bowl. It's just that focusing on the wrong things to explain the right things is weird.

You spoke earlier about the confusion surrounding the creation of the new album. What does this mean in concrete terms? Was there more sitting and looking at each other while waiting for ideas to come up?
Josh Homme from Queens of the Stone Age: What we do in Queens is talk about songs as if they were a person. The person is not meant to be perfect. He is believed to have scars and he is believed to be accurately portrayed. You start to say, “Who is this person? What did this person go through? You start to play this.

And sometimes one of us will say, “It's so close, but it's not fair. You don't always know why. So you are obliged to put things down, to give air to things and to think about them. That's why it took so long for this record. Normally we all hear what the end game is - it should look like this.

When we started making this album, I would have loved to do a bluesy, trance-like rehearsal album James Brown, but it just wasn't meant to be.

It turned out to be a record where the music was meant to support the voice. Visually, it was a hurt voice and she needed the crutch as little music as possible. This was the situation, and when you serve the situation you have to wait for someone to ring the bell before you serve it again.

It's funny that I asked you if you could describe practical differences and you gave me a bunch of elaborate comparisons.
Josh Man from the Queens of the Stone Age: [Laughs] Sorry, man. I wish I could be more concrete for you, but it's all about a mystery and not letting reality take over. Reality and mystery must be of equal size.

What else can I say? I guess you know the phrase, "Something bad is coming this way?" I love this sentence. It's so sexy. It's, “Oh my God, what's on the horizon? I write a lot about it.

When you were lying down, were you listening to something that gave you clues on how to move forward? There is a tradition of post-health alert albums. Bob Dylan's Time Out of Mind was one of them. David Bowie's The Next Day was another. Are you looking for precedents?
Josh Homme from Queens of the Stone Age: The truth is, I stopped listening to a lot of music. I want to love as much as I can, but there isn't much there. The goal would be to find the good in everything. People who say they love everything don't have the sand to tell you what they really like. I love the English Riviera Metronomy record.

It's fucking amazing. It looks like the dark coast of England. I love the Savages record [Silence Yourself] for the way it drags what was ahead. I would like a lot more music, but I almost feel like it's not up to me. I'm trying, but what can a girl do?

Has music that was once important to you become more important?
Josh Homme from Queens of the Stone Age: I remember listening to the radio and the Bruce Springsteen song "I'm on Fire" started. I've never really been to Springsteen. Not that I didn't like him, I just didn't care.

This song came and I was like, “Holy shit, this is good. I didn't go out and buy a Springsteen album, but I bought this song and started listening to it from a different perspective. I understood some things that I hadn't paid attention to before.

You've said in the past that recording is the funniest part of creating music for you. But is it always fun when the subject is so serious?

Josh Homme from Queens of the Stone Age: Before… clockwork, I didn't think of you as one of those musicians for whom recording is a cathartic, almost masochistic process.
Sometimes I worry about it. The Them Crooked Vultures record, singing and writing the words and putting it all together was very taxing. This new album was very trying.

Is it going to be like this all the time? I pray to the god of rock'n'roll that this is not my new style. Because: No. I've always been able to appreciate what it is and I would hate to lose the key to it. The alternative is for you to become a curmudgeon. I would like to think my last words will be a chuckle.

The new album will debut at # 1, and it's your first album on Matador after four with Interscope. What was different about working with a freelance?
Josh Homme of the Queens of the Stone Age: The big label system was really scared of everything. It's almost like they wake up in the wrong room and say "Oh my god". But risk not getting anything.

And at a time when they should trust their instincts they are doing the opposite, I didn't want to spend time discussing a creative idea with someone who doesn't play music and doesn't know what they're doing. make. re talking. It was a waste of energy. I just wanna make music and make art and make videos and I don't care if it's “for the single”. Who cares? Don't interrupt me. Don't censor me. Don't stop me. Leave me alone.

Did you bang your head against the Interscope wall?
Josh Homme of the Queens of the Stone Age: It was a constant battle. You don't want to do something, say, “I don't want to do it. " I do not care. But don't give a good meeting. This is the time [in music] when if you are just yourself, you can shine.

Some people want to sell headphones and bullshit like that and it's totally cool, but I don't want to be there. I want to set up a model where business people just let us do what we want to do and Matador said, “We're going to help you do that. "

We could have taken more money and taken more this and more that, but that's temporary bullshit. I want to do something classic. If we do this right, we could actually be someone's favorite band of all time. It's fucking rad. How can you beat this shit? A lot of people listen to music on their way to the bank and they don't think about it anymore and that's great. But some people listen to a song 60 times in a row. I make music for them.

At this point in your career, who do you see as a role model?
Josh Male of the Queens of the Stone Age: I love Iggy [Pop]. I always thought of myself as a student of the Iggy world, you know? Just let 'er rip - and maybe it'll rip, and that's okay.

We have talked a lot about difficult times. What's the best time you've spent making music?
Josh Man of the Queens of the Stone Age: For 20 years all I've been looking for is the feeling that I used to play with Kyuss in the desert with generators. You never knew what was going to happen. It was wonderful. I was very lucky because that's what I grew up with. It was a consequence of time and place.

This scene didn't exist because of me, I was just there. And that's where I learned the right way to play. The right way to gamble is not for money or to get famous. You are supposed to avoid something like this. You play for the music and you play because you have no idea what's going to happen, but you know the chances of it being good increase when you're honest about what you're doing.

Do you still have this feeling?
Josh Homme from Queens of the Stone Age: Absolutely, and with the band right now, playing this music so honest and vulnerable, we have a good chance of getting to that fucking feeling. I don't know how to describe it. It's that ball of energy. Someday you might get so close that you get burned.

What if this happens?
What a great way to end it.

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