Queens Of The Stone Age have never been shy about unsettling their audience, but the new video for From The Cliff takes a particularly gruesome route. Set against one of the quietest recordings on their ninth studio album, Perfecth, the visual plays out like a compact domestic nightmare. Frontman Josh Homme co-wrote the treatment with Canadian filmmaker Nathalia Pizarro, who also directed and edited the project. The release arrives on the heels of Perfecth landing at number one on the UK album charts after its October 30 arrival, continuing an ambitious, narrative-heavy visual campaign that has defined this chapter of the band.
Working out of an apartment setting, Pizarro frames an intimate scenario that swiftly rots into unvarnished brutality. The film begins with topless bedroom scenes between Homme and a partner, yet any sense of standard romance dissolves when the camera reveals an older man tied to a chair in the neighboring room. The tension breaks into explicit bloodshed as the woman repeatedly stabs the captive, leaving bloody handprints and smeared footprints across the floorboards. Alongside Homme, the production features performances from Steve Olson, Natalia Safran, and Kaiman Kazazian. Together, they pull the piece far away from the predictable rhythms of a standard promotional music clip, anchoring it firmly in psychological thriller territory.
The visual also deepens an ongoing creative alliance between Homme and Pizarro. The Los Angeles based director has already cast the singer in her debut feature film, Illomen, an upcoming production that includes Booboo Stewart, Sol Rodriguez, and Lou Lou Safran. That film is slated to begin making the rounds on the festival circuit in the spring of 2027. Within the world of Queens Of The Stone Age, From The Cliff joins previous narrative pieces for Easy Street and Where The Goth Girls At, further rounding out the cinematic identity constructed around Perfecth.
What makes the clip especially jarring is the sonic restraint beneath the carnage. In the studio, the track relies on gentle fingerpicked guitar and the soft, steady lilt of a lullaby, establishing an eerie contrast with the slaughter taking place on screen. Homme has spoken candidly about treating this period of the band as a deliberate turn toward vulnerability. He views the material as an inquiry into love across all its dimensions, extending beyond standard romance to encompass friendships, family bonds, and the bruising residue of heartbreak. In Homme's telling, love operates simultaneously as a volatile emotional trial and a crucial route back to hope. He has described this phase as the opening of a third act for Queens Of The Stone Age, shaped by a search for peace after decades spent living through confrontation and chaos.
That altered outlook will soon reach the stage as the group prepares for an extensive calendar of live dates. Prior to launching a broader world tour in 2027, the band will perform across Japan, Singapore, Hong Kong, Australia, and New Zealand. They also have a major co-headlining show scheduled alongside Interpol in Mexico City. Tickets for European dates in 2027 are currently on sale, with further dates in the UK and continental Europe still to be announced. Concertgoers can also expect a genuine break from the band's traditional stage production. Homme has indicated that upcoming concerts will draw heavily from the traditions of magic and vaudeville theatre, bringing a strange new dimension to their live show.
