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Working With God
Working With God in Bloomington, MN
Current price: $14.99
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Size: CD
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
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
are the ones where
lean into the syrupy, nauseous, downtuned proto-grunge they perfected on albums like
Ozma
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,
are still the masters of their own depraved domain. On
, 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,
continue to take their wild-eyed chaos anywhere they choose --
goes to some places that are strange and unforeseen even for them. ~ Fred Thomas
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
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
are the ones where
lean into the syrupy, nauseous, downtuned proto-grunge they perfected on albums like
Ozma
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,
are still the masters of their own depraved domain. On
, 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,
continue to take their wild-eyed chaos anywhere they choose --
goes to some places that are strange and unforeseen even for them. ~ Fred Thomas
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