The 1990s was a transformative decade for rock music. Iconic bands such as Nirvana, Pearl Jam, Alice in Chains, Soundgarden, and the Smashing Pumpkins redefined the genre’s boundaries. While this groundbreaking movement largely originated in the northern states, particularly Washington (Seattle) and Illinois (Chicago), Southern California was also brewing its own potent sound. Here, Kyuss pioneered a seismic shift, routing guitars through bass amps to unleash earth-shattering riffs that would become synonymous with Stoner Rock.
Often overlooked in mainstream narratives, stoner rock emerged concurrently with grunge, carving its own distinct niche in the rock landscape. In the aftermath of Kyuss’s breakup, Queens of the Stone Age and Clutch rose to prominence, initially appearing to be deeply rooted in the stoner rock vein. However, both bands soon embarked on sonic journeys that transcended genre confines. Despite ongoing debates, and as we’ve extensively discussed at Monster Riff, neither band definitively fits the stoner rock label today – although their early work undeniably left an indelible mark and continues to influence the genre.
Why Clutch Isn’t Pure Stoner Rock (But Remains Massively Influential)
Clutch has consistently defied easy categorization. Their sound underwent dramatic transformations with each album release between 1993’s Transnational Speedway League: Anthems, Anecdotes, and Undeniable Truths and 2005’s Robot Hive/Exodus. While we’ve previously lauded “Willie Nelson” as featuring one of the quintessential riffs in stoner rock, labeling Clutch as a stoner rock band is inaccurate – and arguably, they were rarely ever truly within its confines.
Transnational Speedway is emphatically not stoner rock. Its sonic density is simply too heavy. While the bass presence and distortion are undeniable, the sonic waves don’t engulf you in the characteristic stoner rock wash of sound. Neil Fallon’s vocals are at their most aggressively gritty, diverging from the cleaner, more melodic vocal style typically associated with stoner rock. Transnational Speedway boldly strides into metal territory, regardless of specific subgenre classifications.
Their self-titled album, 1995’s Clutch, presents the band at their closest proximity to stoner rock. The live show staple “Spacegrass” encapsulates classic stoner rock themes – space travel, vintage automobiles, and psychedelic substances – underpinned by an unrelenting bassline. Positioned centrally within the album, “Spacegrass” acts as a peak, but also highlights the album’s inherent stylistic complexities. For instance, the album’s concluding track, “Tim Sult vs. The Greys,” deviates sharply from stoner rock, instead foreshadowing the cleaner guitar tones and organ arrangements found on later albums like Robot Hive/Exodus or From Beale Street to Oblivion. Similarly, “Tight Like That,” appearing just two tracks after “Spacegrass,” is a showcase of funky guitar play, yet its sonic profile is difficult to directly compare to Kyuss’s “Gardenia” and definitively place within the same record store section. The remainder of Clutch oscillates between metal, hard rock, and that uniquely indefinable Clutch sound. The core truth is that many defining elements of stoner rock that fans expect and cherish – the enveloping guitar layers, the straightforward riff structures, the clean vocal delivery – are not consistently present on this album. Clutch shares as much sonic kinship with Corrosion of Conformity’s Deliverance as it does with pure stoner rock.
“Spacegrass” remains a beloved live anthem and arguably Clutch’s most overt nod to stoner rock sensibilities. Clutch’s third album, The Elephant Riders, also flirts with stoner rock aesthetics, but ultimately stops short of fully embracing the genre. Much like “Spacegrass” on Clutch, “The Soapmakers” represents the closest point of convergence on The Elephant Riders. It’s undeniably a powerful track, built upon a hypnotic, repetitive riff, Neil Fallon’s signature raspy vocals, and Clutch’s distinctive narrative songwriting. However, beyond this track, the album expands into diverse territories of Clutch-style hard rock. While “Elephant Riders” approaches stoner rock in moments, its overall delivery leans more towards conventional hard rock structures and dynamics.
By 2001, with the release of Pure Rock Fury, Clutch’s stoner rock inclinations – if they ever truly existed in full form – had largely dissipated. The guitars retained their distorted edge, but the song structures became looser, the guitar work ventured into more experimental realms in places, and certain tracks – like the title track – possessed a tempo too rapid to align with the typically languid pace of stoner rock.
Since this period, Clutch has largely solidified its identity as a straightforward hard rock band, incorporating diverse influences into their evolving sound.
The Enduring Influence of Clutch
In the late 1990s, Clutch seemed poised to ascend to the heights of the alternative rock scene alongside bands like TOOL, but mainstream platinum success eluded them. Instead of achieving widespread commercial fame, Clutch cultivated an intensely loyal cult following (this author included), which has proven to be a sustainable and fulfilling path. The band continues to perform and record with undiminished energy two decades later.
This dedicated fanbase includes a significant number of musicians and fellow bands (a topic deserving of further exploration). A concise sampling of stoner rock bands demonstrably influenced by Clutch includes Sasquatch, The Heavy Eyes, and Lionize.
Lionize’s “Dr. Livingston” undeniably incorporates reggae elements, but closer examination reveals deeper Clutch influences: the lyrical style echoes Neil Fallon’s distinctive narrative voice, and the guitar work bears a striking resemblance to Tim Sult’s signature style. Clutch’s profound influence within the stoner rock community stems primarily from two key factors:
- Their mastery of crafting incredibly catchy and substantial riffs.
- Their consistent ability to write memorable hooks.
While numerous elements contribute to Clutch’s enduring appeal (unwavering commitment to live performance, Neil Fallon’s charismatic stage presence, relentless touring schedules, etc.), these two aspects are paramount. In many respects, stoner rock itself celebrates the captivating power of a catchy riff, saturated in fuzz and distortion, delivered with raw intensity. This is precisely what Clutch consistently provides across their entire discography. While mainstream fame may have remained elusive, they have undeniably become a “musician’s band,” inspiring a multitude of imitators spanning continents.
Why Queens of the Stone Age Isn’t Pure Stoner Rock (But Is Hugely Influential)
Queens of the Stone Age presents a particularly intriguing case, largely because it is the brainchild of Josh Homme, who, along with Nick Oliveri, founded the band after the dissolution of stoner rock pioneers Kyuss. When QOTSA released their self-titled debut album in 1998, many of the defining hallmarks of stoner rock were readily apparent: fuzz-laden guitars, a pronounced groove, prominent basslines, and even the softer, melodic vocals favored by many bands within the genre to counterbalance the heavier sonic textures.
“Regular John” (the album’s opening track), “If Only,” and “Give the Mule What He Wants” are textbook examples of stoner rock tracks, and a significant portion of the album adheres to this established formula. Of course, the album also showcases moments that venture into more experimental and atmospheric territories (“These Aren’t the Droids You’re Looking For” and “Spiders and Vinegaroons” are prime examples). Despite these stylistic diversions, Queens of the Stone Age remains a foundational stoner rock classic overall.
“Regular John” stands as a quintessential stoner rock anthem. However, despite the merits of Queens of the Stone Age, it is often overshadowed by QOTSA’s breakthrough album, Songs for the Deaf. “You Think I Ain’t Worth a Dollar, But I Feel Like a Millionaire” rightfully earned a place on our list of best stoner rock riffs, and tracks like “Song for the Dead” and “Gonna Leave You” are now considered cornerstones of the stoner rock canon.
While Songs for the Deaf marked a return to QOTSA’s stoner rock roots after the more experimental Rated R (2000), it also provided glimpses into their evolving future sound. The hit single “No One Knows” demonstrated a radio-friendly rock sensibility, foreshadowing the direction of Lullabies to Paralyze‘s “Little Sister.” Indeed, much of Lullabies to Paralyze adopted a similar sonic approach: lighter, more pop-infused, and more accessible than the heavier tracks of QOTSA’s earlier work.
Queens of the Stone Age has progressively embraced a more radio-oriented sound with each subsequent album. 2017’s Villains opens with “Feet Don’t Fail Me” – a track that seamlessly blends dance club rhythms with QOTSA’s signature rock edge.
It wouldn’t be surprising to encounter a club remix of “Feet Don’t Fail Me,” further underscoring their genre-bending trajectory.
The Widespread Influence of Queens of the Stone Age
We’ve previously dedicated an entire article to highlighting bands that sound remarkably similar to QOTSA, but haven’t fully explored why bands are so drawn to emulate QOTSA’s sound.
Part of their influence undoubtedly stems from their widespread popularity – which is attributable to several factors. Firstly, their admirable evolution from stoner rock purists to Gold-certified artists (for Songs for the Deaf) demonstrated a pathway for genre evolution and mainstream appeal. Secondly, the band has consistently attracted high-caliber talent, including Dave Grohl of Nirvana and Foo Fighters, Mark Lanegan of Screaming Trees, and Julian Casablancas of The Strokes. Finally, Josh Homme himself, a relentlessly creative frontman, has collaborated with artists ranging from Lady Gaga to John Paul Jones, expanding his and the band’s reach across musical boundaries.
However, these factors primarily explain their popularity, not necessarily the inclination of other musicians to replicate QOTSA’s sonic style. What’s most compelling about QOTSA’s influence is that, at their core, they function as an alternative pop-rock act. Villains and …Like Clockwork most overtly showcase their pop sensibilities, but these elements are also discernible in the distortion-drenched tracks of Era Vulgaris (“Make It Wit Chu” and “3’s & 7’s”), Lullabies to Paralyze (“Little Sister” and “In My Head”), and Rated R (“The Lost Art of Keeping a Secret” and “In The Fade” – both echoing the quiet-loud-quiet-loud dynamic of grunge).
With such a diverse and hook-laden body of work, the emergence of imitators is almost inevitable.
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