The Album That Transformed Josh Homme’s Musical Journey

The Album That Transformed Josh Homme’s Musical Journey
Certain albums hit us at just the right moment, leaving an indelible mark on our lives. They resonate deeply, shaping who we are and how we see the world by the time the final track fades out. For many, these are studio albums that mirror our emotions or live recordings that immortalize unforgettable moments. For Josh Homme, the frontman of Queens of the Stone Age, one such transformative album is an unconventional choice that might surprise fans and critics alike.
While most people wouldn’t list a compilation album as a life-changing record—perhaps to avoid clichés or the perception of indecision—compilations often played a crucial role in the pre-streaming era. Back then, limited access to music, whether due to cost or availability, often meant that compilations were the gateway to discovering an artist’s work. This was particularly true for niche and underground acts like Germany’s Krautrock pioneers, Can, whose official albums were notoriously difficult to find. For Homme, the 1978 Can compilation Cannibalism I became a revelation.
In a 2003 interview with Spin, Homme reflected on his discovery of Can, a band whose experimental, avant-garde sound redefined his understanding of music. “I began writing this angular, robotic guitar stuff, and I started to wonder if anyone had ever done that before, which is how I discovered Can,” he explained. “Their drummer was so straight and so groovy, and they’d play one note for six minutes, which I realised is actually hard to do. It used to be disheartening for me to discover that someone had already done something I was doing, but at this point in my life, I just wanted to do things I liked. So hearing Can revitalised the search. It was like an endorsement.”
The hypnotic and unorthodox tracks on Cannibalism I struck a chord with Homme. Songs like “Father Cannot Yell,” which Homme compared to a more daring and otherworldly version of The Doors, and “Outside My Door,” a frantic, cosmic exploration reminiscent of Marquee Moon, shattered his preconceived notions of what could be achieved in a recording studio. Can’s minimalist yet mesmerizing approach inspired a profound sense of creative liberation in Homme, encouraging him to embrace new directions in his songwriting and playing.
This openness to experimentation extended to other influences as well. Reflecting on Björk’s groundbreaking 1997 album Homogenic, Homme once remarked: “This is where I realised, ‘Wow, in the modern age of music, you can have a 53-piece symphony, someone playing champagne glasses, and a guy playing a nose flute, and you can still sound beautiful. Genres mean nothing.’ It really made us push ourselves in Queens.” Björk and Can served as artistic anchors for Homme, affirming that his boundary-pushing instincts were valid while urging him to push even further.
However, not all of Homme’s pivotal musical experiences were energizing. Some were so overwhelming they caused him to pause and reconsider everything. One such moment came when he encountered Iggy Pop’s Lust for Life. Homme admitted that the album’s brilliance led him to a surprising decision: “I heard Lust for Life, and it actually made me quit Kyuss [his band before Queens of the Stone Age]. I listened to it obsessively for two and a half years, and at the end, I thought, ‘there are just way too many bands out there, and if you want to know what I have to say, just listen to this record. It’s all here.’ I sort of went backwards with Iggy Pop.”
While Lust for Life temporarily drained Homme of his drive, Can’s music reignited his passion and showed him the possibilities that lay within a few carefully chosen notes and a spirit of fearless experimentation. For fans of Queens of the Stone Age, the impact of Can’s bold, unorthodox approach is unmistakable, serving as a reminder that even the most unexpected influences can profoundly shape an artist’s journey.
Responses