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Rock - Verschenen op 26 februari 2021 | Ipecac Recordings

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As the years turned into decades, grunge forecasters the Melvins became more and more mercurial in their overall concept of where the band began and ended. Prolifically released albums took the form of wild collaborations with outside guests or lineup switches denoted by variations to their name, like "Melvins Lite" or "Los Melvins." Los Melvins were an incarnation including founding Melvin King Buzzo, longtime mainstay Dale Crover, and original drummer Mike Dillard. Working with God reunites this lineup (also sometimes referred to as "Melvins 1983" due to Dillard and Buzzo's 1983 formation of the band) for an album that includes returns to the band's early, sludgy power as well as some of the goofy juvenilia and lighthearted freakery of their 2010s output. Goofiness kicks things off as the album starts with a foul-mouthed parody of the Beach Boys' oldie "I Get Around," rewritten as "I Fuck Around." Despite the Melvins replacing the original lyrics with F-bombs whenever remotely possible, it's a pretty faithful cover, complete with better-than-expected falsetto background vocals. There are more acid-damaged moments of weirdness, like the demented introduction to "Brian, The Horse-Faced Goon," and the hard rock guitar antics on speedy songs like "Hund" and "Bouncing Rick." The best moments on Working with God are the ones where the Melvins lean into the syrupy, nauseous, downtuned proto-grunge they perfected on albums like Ozma and Bullhead. The slow tempos and simmering tension on tracks like "Caddy Daddy" and the lurking dread on "The Great Good Place" are classic throwback Melvins, but the album is padded out with riled-up outbursts like "Fuck You" and the truly bizarre choice to end with an a cappella cover of the barbershop quartet standard "Goodnight Sweet-Heart." As they approach 40 years of existence, the Melvins are still the masters of their own depraved domain. On Working with God, they flippantly experiment with ridiculous ideas only to effortlessly lay down some songs as heavy as the ones they were making before Nirvana left Sub Pop. With nothing to prove and never having seemed too concerned about impressing anyone, the Melvins continue to take their wild-eyed chaos anywhere they choose -- Working with God goes to some places that are strange and unforeseen even for them. © Fred Thomas /TiVo
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Alternative en Indie - Verschenen op 31 augustus 1993 | Atlantic Records

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Alternative en Indie - Verschenen op 27 september 1994 | Atlantic Records

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Alternative en Indie - Verschenen op 3 mei 1991 | Boner

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Alternative en Indie - Verschenen op 12 juli 1996 | Atlantic - Mammoth

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Punk en New Wave - Verschenen op 5 juli 1989 | Boner

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Rock - Verschenen op 7 maart 2000 | Ipecac Recordings

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Rock - Verschenen op 10 oktober 2006 | Ipecac Recordings

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Rock - Verschenen op 27 april 2018 | Ipecac Recordings

In 2014, the Melvins released Hold It In, an album in which they brought two ringers into their lineup, Paul Leary and Jeff Pinkus of the Butthole Surfers. While the album was a solid and adventurous outing from the band, it didn't seem as if the Melvins were making full use of the Surfers' full legacy of sonic assault in those sessions. Clearly, the band wasn't about to make that same mistake again, and with Pinkus back on board for 2018's Pinkus Abortion Technician, the Melvins are taking the opportunity to remind us all that yes, there is a member of the Butthole Surfers in the room and we're taking advantage of it. In addition to nodding to the Butthole Surfers' 1987 effort Locust Abortion Technician in the title, here the Melvins cover two numbers from their back catalog, "Moving to Florida" (here in a variant version titled "Stop Moving to Florida") and "Graveyard." Pinkus also does his share of songwriting on this set, with writing credits on four original numbers. While the Melvins may be reveling in the opportunity to become America's leading Butthole Surfers tribute band here, Pinkus Abortion Technician also finds them performing another of their experiments in the configuration of a rock band, with Pinkus and Steve McDonald doubling up on bass, while as usual, King Buzzo and Dale Crover handle guitar and drums. The low end certainly rumbles with authority on this material, but for the most part, Pinkus Abortion Technician doesn't really blaze new stylistic trails for the Melvins despite the presence of two bassists. That said, the Melvins have been delivering consistently strong work in the 21st century, and Pinkus Abortion Technician shows they're still a powerful and imaginative band; they can still bring the heavy with muscle and élan, their more melodic moments (most notably McDonald's "Embrace the Rub") confirm they're more agile than they sometimes let on, and the downtuned cover of the Beatles' "I Want to Hold Your Hand" is funny and it works. Nostalgic Butthole Surfers fans will find plenty to like on Pinkus Abortion Technician, but they're hardly the only ones. © Mark Deming /TiVo
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Rock - Verschenen op 1 juni 2015 | Ipecac Recordings

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Rock - Verschenen op 11 december 2020 | Ipecac Recordings

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Rock - Verschenen op 6 juli 2008 | Ipecac Recordings

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Rock - Verschenen op 6 mei 2013 | Ipecac Recordings

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Rock - Verschenen op 14 september 2021 | Ipecac Recordings

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Rock - Verschenen op 11 maart 2003 | Ipecac Recordings

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Rock - Verschijnt op 15 oktober 2021 | Ipecac Recordings

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Rock - Verschenen op 13 november 2020 | Ipecac Recordings

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Rock - Verschenen op 3 juni 2016 | Ipecac Recordings

Like the great American filmmaker William Castle, the Melvins have learned that a gimmick is a big help in getting folks to pay attention to what you're doing. The grunge pioneers have a long, rich tradition of creatively rearranging their membership, and for a band obsessed with a thick and heavy low end, they've taken the logical step and made an album with a rotating lineup of bass players. Basses Loaded feature six different bassists scattered among its 12 tracks, including Steven McDonald (of Redd Kross and OFF!), Jeff Pinkus (from the Butthole Surfers and Honky), Trevor Dunn (Mr. Bungle and Fantômas), Jared Warren (from Big Business), and Krist Novoselic (formerly of Sweet 75, Eyes Adrift, and some band from Aberdeen). The Melvins' longtime drummer Dale Crover even gets into the act, handling the four-strings on four numbers. The Melvins' twin trademarks of thundering heaviness and snarky wit are audible throughout the album. Steven McDonald, the guy with the best-documented pop sensibility of this project, is the one who brings in a Beatles cover, though "I Want to Tell You" ends up referencing "Helter Skelter" once they're done with it. (McDonald also shows off his love for Black Sabbath on "War Pussy.") Trevor Dunn's busy upright bass lines lend a coda of jazz and prog rock to "Planet Distructo"'s metallic assault. And Crover seems to be the go-to guy when the Melvins just want to be silly on covers of "Take Me Out to the Ball Game" and "Shaving Cream" (beware, unlike on Benny Bell's famous recording, these men have no truck with shaving cream), though Novoselic's appearance on "Maybe I Am Amused" is goofy in a truly ambitious manner. Buzz Osborne's trademark guitar style, clever but bludgeoning, gives Basses Loaded its greatest stylistic unity, and Dale Crover's drumming is outstanding throughout. © Mark Deming /TiVo
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Rock - Verschenen op 1 januari 1987 | Ipecac Recordings

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Rock - Verschenen op 1 januari 2021 | Ipecac Recordings

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