Unlike Britain’s flagging public transport system, Melvins are regular as clockwork. In fact, such is the Los Angeles by way of San Francisco by way of Monsanto, Washington outfit’s lust for creating new music, that the fantastic amount of releases put out can be positively overwhelming and hard to keep up with.
Thunderball is the third proper Melvins 1983 release to feature Mike Dillard (following 2013’s Tres Cabrones and 2021’s Working With God. N.B. Mangled Demos from 1983 is an archival release, and Dillard was only a guest on 2016’s Basses Loaded). Those not up on their Melvins history may not know he was a founding member before Dale Crover stepped on board in 1984. Joining King Buzzo – Guitar/Bass/Vocals and Dillard – Drums are; Void Manes – Noise/Creepy Machine Vocals and Ni Maîtres on Noise/Upright Bass/Hand Gestures.
“King of Rome” features the band’s trademark Sludge Metal Guitar attack, the latter being the operative word, as at times you have to turn down the volume as it feels like your ears will start to bleed. The band’s promise in the promotional notes of bombast on this latest release have been proven accurate, therefore and as gloriously over the top as anything Queen put out. A fantastic opener and scene setter. Albums such as 1994’s Prick, 2004’s collaborative effort with Lustmord Pigs of the Roman Empire, and 2023’s Throbbing Jazz Gristle Funk Hits all highlighted the band’s love of experimental, avant-garde sounds. Nowhere is this more apparent than on “Vomit of Clarity” the record’s shortest track at two minutes and fifteen seconds, an effective showcase for messers Maines and Maîtres. A collection of Ambient music and sound collages, it gives the listener a chance to have something of a breather before the album’s upcoming two considerably lengthier tracks.
The electronic elements on “Short Hair With A Wig” are of the far noisier variety, and this blends well with the creepy bass intro, the latter reminiscent of “Eye Flys” on debut full-length Gluey Porch Treatments. In fact, the track continues in this vein giving fans of the band’s very early blend of Black Flag’s My War and Black Sabbath a nostalgic kick. Cleverly, the aforementioned use of electronica prevents the whole thing from being a mere retread by giving it a fantastically contemporary twist. Being the longest track at well over twelve minutes, one could possibly ascribe the term Progressive to it, though its a good deal more engaging than the likes of Dream Theatre and Tool. The album’s other epic (at over ten minutes this time) is “Victory of the Pyramids”. The track initially kicks-off with Post-Punk and New Wave, like a faster Magazine and early Ultravox. The music then adopts a Hard Rock hue ala AC/DC, before taking a Hawkwind Space-Rock/Psych trip, bands such as Yob and UFOmammut evident too. A standout number packed with musical variety, ideas, and innovation. “Venus Blood” sees a nod back to the band’s Atlantic Records era and albums such as Houdini and Stoner Witch, with a more ‘straightforward’ approach, emotive Vocals and fluid Guitar melodies in tow. As such its a slower, more considered piece which concludes the album on a sombre, downbeat note.
Some forty-plus years into their career and with almost thirty albums to their name (not counting splits, EP’s, live releases, compilations etc) it would have been easy for the Melvins to have rested on their laurels as a band who have inspired countless artists, including some three-piece outfit called Nirvana. That they haven’t is a testament to their tenacity, and Thunderball helps prove that there’s still plenty of life in the old dogs yet. Outstanding.
Buy the album here:
https://themelvins.lnk.to/Thunderball
9 / 10
REZA MILLS
Follow his work here: