The beauty and ugliness, the glory and disappointment, of any Melvins record is that each one is so completely different. The unexpected is what is expected from Melvins’ records. There are the ones in succession, that maybe bridge a vibe or sound to trigger expectations. But each one is like opening a gift of complete surprise.
So, with Working With God (again, at their consistent home of Mike Patton’s Ipecac), after a history of rotating bass players, the band is getting as close to the original line up as possible. Hence Melvins 1983. This go-round, they are boasting the original drummer, Mike Dillard; one who is not original, but the second most consistent, Dale Crover (since the 1985 demo; this time paying some drums but mostly bass); and, of course, King Buzzo (Buzz Osborne). The question remains: Will we get the sound and music of 1983 or what the members of those days would now create?
The attraction of Melvins is that sense of uncertainty. Buzzo and Crover have created a maelstrom of output; a cacophony of doom rock since 1985 that has inspired NOLA sludge, grunge, and punk by flippantly churning out gigantic riffs combined with varied noise and electro which have yielded catchy and heavy tracks for decades. Genres, boundaries, expectations are all foolish notions and of zero interest to Buzz and the boys.
Here’s a quick history lesson: There are the early days of the spastic Ozma and Gluey Porch Treatments and Sabbathian, Bullhead; then, experimental but heavy mammoths, Lysol, the major label antithetical Prick, and Honky; which alternated in between the Atlantic years’ releases of Houdini, Stoner Witch, and Stag. (It also saw the longest bassist, Mark Deutram exit after five years). Then, 1999 witnessed the band switch labels to Ipecac to release the trilogy of The Maggot (7 songs in 16 parts), Bootlicker (weird noise shot, an 11minute track, a few quiet subdued ‘songs’), and Crybaby (bastardized covers with guests; incl. 15, 8, 11, 12-minute tracks).
Things got weirder over the next twenty years, watching the Melvins release a wide spectrum of ideas and sounds. Osborne’s attention span or need to have a consistent roster fell by the wayside. They immediately dropped, in 2001, Colossus of Destiny, consisting of one 59 minute track. That was followed by Electroretard and the raucous, Hostile Ambient Takeover. 2004 saw a triumphant outing with Jello Biafra which produced a stellar LP, Never Breathe What You Can’t See and the complimentary EP, Seig Howdy!). Throw in a split album with Lustmord and resurrection of Mangled Demos from 1983 (hey Dillard!) prior to the riff resurgence of (A) Senile Animal (2006), Nude with Boots (2008), and The Bride Screamed Murder (2010). Fantastic, strong albums combing Crover and Buzz with the Jared Warren and Coady Willis (also, Murder City Devils) of Big Business (that’s two drummers!).
Melvins released a multitude of live albums during this period and variations of them. Being vinyl freaks themselves, there are rare, limited versions gone awry. Live recordings from Boston, Minneapolis and many more became official releases. There is their installment of Live at Third Man Records (2013; joining Sleep, Earth, Kid Congo, Fucked Up, and dozens more). Also, check the Sugar Daddy Live Series splits (2010) with amazing bands like Necros, Die Kreuzen, Negative Approach, OFF!, Mudhoney, and more. Also, they did live albums from tours pertaining to entire specific albums; Houdini, Bullhead, Stoner Witch, Lysol.
Adding to the eclectic canon, and proving the Crover/Osborne exponentially amoebic motivation and creativity, the releases continued with the electro remixes on Chicken Switch (2009), the rotation of members on Bases Loaded (2016; named so because it rotates mostly ‘bass’ players – such as Jared Warren, Trevor Dunn, Mike Dillard, Jeffrey Pinkus, Steven McDonald, Krist Novoselic – plus, Buzz is a big baseball fan), and the experimental playing of A Walk with Love & Death, (2017) which is bisected by a studio album – “Death” – and a film score comprised of weird noises and samples- “Love”). Mike & The Melvins was interesting and labor of love; from Mike Kunka of Dead Low Tide and godheadSilo; which began in 1999 and finished in 2015, released in 2016. Butthole Surfers’ Jeff Pinkus jumped on Hold It In (2014) with Butthole Surfers’ Paul Leary and recently, Pinkus Abortion Technician (2018). Trevor Dunn of Mr Bungle, Tomawhawk, Fantamos/Melvins Big Band, etc played double bass on Freak Puke. Everybody Loves Sausage was all cover songs. Lord. We didn’t address Scion A/V Electric Flower remixes EP, Jam in the Van, Melvins Lite, Eggnog, The solo LPs a la Kiss, 26 Songs, or Bulls and the Bees. Point being, Melvins create a lot of songs and enjoy working with a range of artists.
Add a few Buzz solo acoustic albums and Dale Crover’s other myriad endeavors for extended variety, and you see that these dudes hate being idle. Oh, there was also Tres Cabrones in 2013. That was Melvins 1983 with Dillard, which, conveniently brings us back to Working with God.
You could wait each year to be excited or let down. Amusingly, as if trying to keep up, Discogs seems to have differing genre labels for consecutive records (stoner rock, doom metal, art rock, noise rock, grunge rock, electronic, ambient, etc). A career peppered with classics, experiments, misfires and a “total Joke” (Osborne, referring to Prick), Melvins embrace the weird and eccentric.
Melvins 1983 boasts this celebrated trio of Buzzo, Crover and Dillard. They report to have always kept a friendship. The recording of the album was strained due to Dillard living in Washington state (with “a boring day job”) while Buzz and Crover bask in the sunshine reflecting off of plastic surgery disasters in Los Angeles. But efforts were made and the result is Working with God.
Even when lampooned in vulgar and irreverent jest, I loathe the Beach Boys. So, skip track one, which is “I Fuck Around” —as in, instead of “I Get Around”. This seems about the expected maturity level of the original Melvins in 1983. Maybe that is the motivation. Meh.
“Negative No No” properly ignites the record with a gritty rumbling riff over boom-bap drums. This song correctly kicks off exactly how an old fan would want a Melvins album to do. The song centers on a big riff soaked in fuzz, pushing a strong groove. The lo-fi production attacks wonderfully.
Then, “Bouncing Rick” doubles down with a faster, darker, thicker, lower toned riff. Classic Melvins. Weird noises fly through the air, but mostly they just charge forward. “Caddy Daddy” twists and churns slow and creepy. Another banger. It provides thick, climactic, mountainous riffs that rise and crash like Hawaiian waves.
The audience knows to expect weird and quirky. The next track harkens back to last time these three got together (Tres Cabrones, 2013) on tracks like “Tie My Pecker to a Tree”, “In the Army Now”, and “99 Bottles of Beer”. Melvins dive into a juvenile taunting for 45 seconds on “Brian the Horse Faced Goon”; well the intro. Then they slide into the actual song of “BTHFG”; which is a fine song. It rocks; but not down-tuned or too thick. Sure, the guitar squeals and layered percussion adds texture by pounding drums and other instruments being hit. There is a cool bass line under Buzzo whining about “Brian’s” moronic heroin habit for two minutes.
“Boy Mike” is a ripper of frenzied punk; astonishing. This propels side B with unrelenting fret punishment. The song is paced quickly and adds feedback and taut riffs to keep your head compressed. Drug fuel; for sure.
Quickly, Working with God retreats back to silliness with another two minutes ditty; which is quirky and catchy. Meh. “The Great Good Place” helps the record back into above-average writing as a solid tune. Next, “Hot Fish” shines as a highlight of side B. This is a bludgeoning song; sludgy, redundant stoner bliss. Five minutes of floating noises and a what seems to be gasping floundering bassoon lingering meandering in the background. But the riff is dope. “Hund” is a way to end an album. This rip-roaring and incendiary track punches hard; strong and motor-charged. Premium Melvins, gritty and thick and delivered properly.
But, alas, they don’t end here. They append like they started Working with God, a mocking barbershop quartet rendition of “Goodbye Sweetheart”. Which is a song that I actually like. But it is intended for melody and harmony. This is just grating. But, that’s the Melvins. I agreed to this sonic roulette when I dropped the needle.
Ultimately, Working with God, is a great Melvins record. For the hesitant Melvins buyer, Melvins 1983 does not experiment or push any boundaries (within Melvins territory). The focus on thunderous riffs and killer rhythms works well. Only two tracks even approach five minutes. There are no 7, 9, 12 (or 59) minute tracks. No long stretches of blips or plucks or silence or feedback. It’s noisy, it’s rough and tumbling, but the confrontational Melvins’ indulgences are avoided.
Working with God isn’t post-Atlantic antagonism or mid-2000s bored musicians defying a musical designation. Working with God strips down to the formula as if three dudes got together in 1983 and just wanted to play kick-ass music.
Pre-order the LP from Ipecac Recordings here.
