So what is this? Not a lot actually. For the most part, this is a confused songwriter jamming with friends, and creating something bland until he figures out what he needs to be doing. Still, that isn’t to say there aren’t some great moments to be had. ‘Medication’ is a delightful romp, as it introduced the general sound the rest of the album experiences. Having a similar style to self titled opener 'Regular John', based basically around one chord, and then with some variations, but still done different enough to accept in a new way. Those who doubted this album get a few seconds of hope. And it continues to the next track. 'Everybody knows you’re insane' shows Homme’s personality and charisma perfectly. It starts of a bit slow, a lot like an old blues tune, but by the time the chorus kicks in, we have a full-throttle, sing along, full of the dry, ironic wit that Josh has famed himself for, and the fact that, this song is about the send off of Nick, well it makes it all the more perfect.

Shame that’s about all I can say about the album then isn’t it? After these first three tracks, suddenly, we’re isolated in the desert this was spawned from, and we can’t get out, because every where the listener turns, they are bound to find the same riff or slightly studio effect ridden voice of Josh Homme, or lacklustre song as a whole. I'm sure those who doubted 'Little Sister' since watching the video before this album will be happy to know that, it is actually a highlight of the album, and you feel a bit refreshed when you meet a friendly face. But ‘Little Sister’ sits, very cleverly, in the middle of the album, to keep those who were drifting off a bit more interested. But with the remaining 7 tracks, most of them your mind will wonder, and you will ask, “How long does this go on for?” And it quickly comes to mind the question, “How the hell did such a talented song writer go to this?” And of course, the answer is simple. Yes, Nick had to leave the band, there’s no question. But it seems without his input in his slightly more angry style of writing a good pop song, well, you feel the tension has gone, and that it was needed.

Yes, Josh and Nick were at their throats. It wouldn’t be the first time. Back in Kyuss it happened, and then after Nick finally went, Josh and John Garcia, went on to define Desert Rock. But you see there is the difference. Josh AND John. This time, there is no other personality to challenge Homme’s ego; there are no other core members to belt anger out through music anymore. It’s just Josh and some friends who can play for him. And in the end, all it does is exposes Homme’s fragility. Yes, in the 15 plus years he has been making rock music, he has always had someone to do with him, now he’s on his own, he just sounds a bit scared and uninspired. So, Josh can bring in as many guest appearances as he likes, but as long as he knows that he’s in total control and he doesn’t want to change that, he may as well call it a day now. Brody Dalle and Shirley Manson’s input is so pointless that it doesn’t matter, by the time you get to 'You Got A Killer Scene' the penultimate track, you are past caring. The only slight redemption Homme makes is on the final track 'Long Slow Goodbye' another, apparently, Nick inspired song. So by the end of the first listen, you just feel a bit empty. No, we weren’t looking for another 'Songs for the Deaf' or 'Rated R' but we were looking for something a bit more challenging. It’s not all doom and gloom though. Give it a few more listens, and you do notice a few nice moments on this record, but from a man who within the last five years has orchestrated two of the most important rock albums written, it seems a bit disheartening listening to this. And you also realise after a couple of listens that, all the best songs on this album, are written about or with the other core, ex, members of the band. Hint, hint Mr.Homme.

Adam Turner-Heffer