|Hold It In|
The Melvins — Hold It In
≠Ξ≠ Pacific Northwest doom~grunge gods who were legendarily Kurt Cobain’s favorite band.
≠Ξ≠ Ve své podstatě sada Double Door se neodchýlila hodně od Melvins skriptu. Přišli, dobyli a nechali fanoušky, aby řešili Sonic~kocovinu. Ale v souvislosti s 30. výročím kapely, jinak typická Melvins sada měla podobu něčeho ZNOVUPOTVRZUJÍCÍHO. Více než hlasitě, s úctou a inspirujícím setem s laskavým svolením nejkrutějších ztracených existencí rock and rollu, ale plivali by do tváře každému, kdo by někdy nesměle a přikrčeně jen pípl o představě, že jsou už příliš staří na to něco udělat. A nová deska je břitevní, no uznej. Vrcholem alba je The Bunk Up (7:36 min. miniopus)..., a všechno, co po ní následuje.
Formed: 1985 in Aberdeen, WA
Location: Los Angeles, California
Album release: October 14, 2014
Record Label: Ipecac
01 Bride of Crankenstein 2:49
02 You Can Make Me Wait 2:49
03 Brass Cupcake 3:25
04 Barcelonian Horseshoe Pit 4:22
05 Onions Make the Milk Taste Bad 5:01
06 Eyes On You 3:24
07 Sesame Street Meat 3:28
08 Nine Yards 2:30
09 The Bunk Up 7:36
10 I Get Along (Hollow Moon) 2:35
11 Piss Pisstopherson 2:58
12 House of Gasoline 12:11
≠Ξ≠ King Buzzo / Dale Crover / J.D. Pinkus 1, 3, 5, 7, 8, 9, 11, 12
≠Ξ≠ Paul Leary 2, 6, 10
≠Ξ≠ Dale Crover Composer, Drums
≠Ξ≠ Brian Gardner Mastering
≠Ξ≠ John Golden Mastering
≠Ξ≠ Stephen Haas Engineer
≠Ξ≠ Toshi Kasai Engineer
≠Ξ≠ King Buzzo Composer, Drums
≠Ξ≠ Paul Leary Composer, Engineer, Guitar
≠Ξ≠ Mackie Osborne Design, Voice, Guitars
≠Ξ≠ J.D. Pinkus Composer, Bass
≠Ξ≠ The new CD was recorded in both Los Angeles and Austin earlier this year.
Joining Buzz Osborne and Dale Crover for the 12~song outing are Butthole Surfers’ guitar player Paul Leary and bass player JD Pinkus.
≠Ξ≠ “‘Hold It in’ is a refreshing piece of fiction in a boring world of fact and bullshit,” said Osborne (via Blabbermouth).
≠Ξ≠ “Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride.
≠Ξ≠ “I can’t believe this actually happened. I’m thrilled.”
≠Ξ≠ “It’s very rare you get a chance to work with three folks from the ‘Break a Wish’ foundation, all at the same time,” said Pinkus. “I believe they’ll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S).”
≠Ξ≠ The Melvins kick off a round of US tour dates on October 15 in Sacramento at Assembly, which also includes a performance at this year’s Voodoo Experience in New Orleans. Osborne, Crover and Pinkus will be the touring lineup for this run of dates.
By Sam Shepherd | posted on 7 Oct 2014 | Score: ****½
≠Ξ≠ No matter what’s going on in the world, the Melvins can always be relied upon to come up with the goods regardless of which incarnation of the band happens to be operating at the time. In the past there’s been a sludge version, a full on punk version, a drone and feedback nightmare Melvins, a “Classic Rock” sound, and any number of other variations.
≠Ξ≠ Hold It In finds the band in fairly playful mood and with a line~up that is positively mouthwatering. Alongside stalwarts Buzz Osbourne and Dale Crover are Butthole Surfers members Jeff Pinkus (bass) and Paul Leary (guitar). The result is one of the band’s most rewarding and varied albums to date. They lend the Melvins a slightly poppier sound in places and, although Leary’s swirls of psyche~guitar lunacy make an occasional appearance, this is most definitely a Melvins album and not some kind of bizarre hybrid. This is all the more surprising given Buzz’s admission that this is the first time in Melvins’ 30 album history where he hasn’t written the majority of the material. Leary and Pinkus are, it would seem, natural Melvins.
≠Ξ≠ It’s the full on grunge Melvins that kicks the album off. The thundering lope of Bride Of Crankenstein is a stark reminder that they can be utterly brutal and still manage to possess huge choruses. The peculiar vocoder pop~rock of You Can Make Me Wait follows, and marks Paul Leary’s first contribution to the album. It’s basically straight up ‘80s radio rock with an edge. In another band’s hands hand it might seem ludicrous, but The Melvins make it work, due in part to their ability to adopt musical styles with non~ironic aplomb (their recent covers album Everybody Loves Sausages offers several examples of this). In a similar vein is the big dumb glam~rock stomp of Eyes On You, a song that on the face of it is nothing more than a throwaway earworm, but on closer inspection is an amusing and intelligent take on government surveillance and the NSA. Brass Cupcake provides yet more evidence of The Melvins’ penchant for ‘70s American rock by marrying great big hooks to inspired off~the~wall vocal shrieking. It’s the sound of a band that’s clearly having a blast.
≠Ξ≠ There are moments when Leary’s presence brings the Buttholes feel to things. Onions Make The Milk Taste Bad for example sets of with ramped up Melvins riffing, but around the mid~point it drifts off into unfocussed, but utterly compelling sections of psychedelia. Only once does the album fully indulge in such ambient and peculiar sounds, Barcelonian Horseshoe Pit’s clicks, wobbles and electronic noises are intriguing, but little more than a soft focus distraction.
≠Ξ≠ If all that sounds a little intense, then there’s always the laid back ‘50s rock hop of I Get Along, a song that’s augmented with the occasional classic sci~fi blaster sound, because, that’s exactly what you’d expect from a ‘50s rockabilly tune. If that weren’t enough, the quite brilliantly named Piss Pisstoferson swaggers with a classic rock sensibility and throws down some damn fine vocal harmonies too.
≠Ξ≠ For those who fear that there’s not quite enough straight up Melvins on display, it should be noted that every one of these songs is blessed with that special something that the band impress on their songs. There are of course moments when they lay it down plain and simple too. House Of Guillotine for example is a disturbing and engrossing morass of low slung riffs and sound effects (and is possibly the finest song here), and although The Bunk Up is apparently introduced by a Clanger, it soon settles into a dizzying and dynamic riff/drum trade off. Sesame Street Meat is another example of the band just laying down pulverising riffs and doing what comes naturally, and yet it is far from autopilot Melvins. If anything, they sound energised and totally focused. It is heartening to find a band still on form after all these years and still seeking to push the boundaries and themselves. Long may it continue.
Artist Biography by Stephen Thomas Erlewine
≠Ξ≠ The Melvins were the first post~punk band to revel in the slow, sludgy sounds of Black Sabbath. Their music is oppressively slow and heavy, only without any of the silly mystical lyrics or the indulgent guitar solos; it’s just one massive, oozing pile of dark slime. The Melvins’ first record was released in 1987; they’ve released many albums since then, but it wasn’t until 1993 that they went to a major label, thanks to their protégé, Kurt Cobain. While some may find The Melvins dull and repetitious, their place in rock history is interesting, even if considered to be just a footnote.
≠Ξ≠ The band formed in Aberdeen, Washington, the same town that produced Nirvana’s Cobain and Krist Novoselic. For Nirvana and many other Seattle~area bands, The Melvins’ sludge was inspirational; the younger bands took the Sabbath~styled heaviness of The Melvins, while adding an equally important pop song structure, which the group tended to lack. While all of their disciples became famous after Nirvana broke big in 1991 (including Mudhoney, which featured former Melvins bassist Matt Lukin), The Melvins only expanded their cult slightly. They did earn a major label contract with Atlantic, but after releasing three records for the label, they were dropped in late 1996 and the group returned to indie status, landing with Amphetamine Reptile for 1998’s Alive at the F*cker Club. The late ‘90s and early 2000s century saw a flurry of releases by the band: The Maggot, The Bootlicker, The Crybaby, Electroretard, The Colossus of Destiny, Hostile Ambient Takeover, Pigs of the Roman Empire, Houdini Live 2005: A Live History of Gluttony and Lust, all of which (except for the fourth one) were issued on Mike Patton’s Ipecac label.
≠Ξ≠ In addition to their Melvins activities, singer/guitarist Buzz Osborne joined Patton (and former Slayer drummer Dave Lombardo and Mr. Bungle bassist Trevor Dunn) for the experimental outfit Fantômas, resulting in a number of releases (1999’s self~titled debut, 2001’s The Director’s Cut, 2002’s Millennium Monsterwork by “the Fantômas Melvins Big Band” (recorded live in San Francisco on New Year’s Eve 2000 but not released until two years later), 2004’s Delirium Cordia, and 2005’s Suspended Animation), while The Melvins’ latest bassist, Kevin Rutmanis, joined Patton in another side project, Tomahawk. In 2006, Big Business bassist Jared Warren and drummer Coady Willis joined The Melvins, appearing on that year’s Senile Animal album. The follow~ups, 2008’s Nude with Boots, 2010’s The Bride Screamed Murder, and a live album titled Sugar Daddy Live, were recorded with the same lineup and released by Ipecac. The band returned in 2012 with a stripped~down lineup, dubbed Melvins Lite, for Freak Puke, which found Crover and Osborne recording without the boys from Big Business, instead adding standup bassist Trevor Dunn to their roster to round out the band’s already formidable bottom~end sound. Mixing things up even further, the band teamed up with a host of guests, including the likes of Jello Biafra and J.G. Thirlwell, for Everybody Loves Sausages, an album of covers that arrived in 2013. Another new album, Tres Cabrones, released in November of that same year, saw them reunited with original drummer Mike Dillard — who had previously appeared only on their early demo tapes — while usual drummer Dale Crover took over on bass duties.
The Bride Screamed Murder Review
Reviewed by: Biafra ‘N’ Buzzo, on december 05, 2011
Sound: “The Bride Screamed Murder”, musically, could sum up the past 15 years of the Melvins, very creative and very heavy. The 2 drummers (Dale Crover and, the 2006 addition to the band, Coady Willis) shine on this album and fit together perfectly at both live performances and on this record. Typically awesome riffs from Buzzo are everywhere throughout this album, and include, without a doubt, some of his best pieces of guitar work! (“The Water Glass” is a good example of how dynamic they are musically). // 9
Lyrics: The lyrics are also very typical of the Melvins, they could be read out as respectable nonsense poems, but if you’re looking for deep meaning, a salvation from depression or a huge political statement then I suggest you look to a different band. The lyrics work well with the music though, they fit in very well, they paint very surreal pictures in the mind and the way they are sang makes it even weirder, with cascading, layered vocals from all members of the band (See “Evil New War God”). // 8
Overall Impression: It’s difficult to compare this to other artists, I suppose the style could be compared to Nomeansno’s album, “WRONG”, but I feel the Melvins' delivery of this experimental style is much tighter. The major let down on this album is their cover of “My Generation”... In my opinion, it sucks. If this album were stolen I would definitely buy it again, definitely among their top 5 albums for me. // 9
Fotografie pořízené v Domě Vans v Brooklynu, NY 31. července 2013.
Words by Ryan Bray / Photos by Rebecca Reed (www.rebeccarphotography.com)
|Hold It In|