Across music history, there are scattered acts that never got the mainstream attention that they deserved, but they influenced legions of bands.
Bands like The Velvet Underground, of which it was once said, “[they] didn’t sell many records, but everyone who bought one went out and started a band.”
Among slow, lurching metallurgists, few bands are is influential as the Melvins.
Originally formed by a trio of high school friends in Montesano, Washington (a few miles from Aberdeen. This will become important later), the Melvins started out by covering guitar gods like Cream and Jimi Hendrix before moving to hardcore punk.
By the time they recorded their debut record, they had slowed the tempos way down and turned the guitars way up. The resulting sound was a huge, sluggish mess of noise that would go on to influence what would become sludge metal and grunge.
But true to their friends-in-a-garage aesthetic, the group is relentlessly experimental and prolific. In 2018, they released their twenty-sixth record, which doesn’t include dozens of EPs and live albums. This endless output has created a black hole discography as impenetrable and imposing as Sonic Youth and Mogwai. In a 2013 interview with Noisey, bandleader King Buzzo said, “I don’t even know how many songs I’ve written. I don’t know what songs are on what records, I don’t know what order the records are in. I have no idea.”
Which is why after a full year of trying to decipher their catalogue (Facebook memories recently reminded me of a post from last year asking, “Where’s the best place to start with the Melvins?”), I finally pulled the trigger on Houdini and Stoner Witch (check back tomorrow) after finding copies of each for $11—half of what they usually command.
And friends, I’m ashamed it took me this long, because each of these are classics.
Perhaps the most shocking thing about this record was that it came out on Atlantic Records. Yes. This is a major label release. As legend tells, after Nirvana released Nevermind, they were given massive influence in the industry. Kurt Cobain convinced Atlantic reps to sign his favorite local Washington band—the Melvins. Kurt is even credited as a coproducer alongside GGGarth, and even played additional guitar on a couple tracks—although the real extent of his involvement is a matter of some debate.
But that’s neither here nor there. What matters is that this record rips. The Melvins may have signed to a major label, but they weren’t selling out. Nothing here seems to have any concern for mainstream appeal or radio playability.
Guitar amps hum with feedback. The drums beat and plod. The production is incredibly raw, drums and vocals coated in overdrive. For all its major label budget, it still sounds like it was recorded in a garage—which is a good thing. The Melvins aren’t suited for studio polish.
The songs range from riffy doom metal (“Hooch,” “Honey Bucket“), droning sludge (“Going Blind,” “Hag Me,” “Joan of Arc“), mischievous experiments (“Sky Pup,” “Pearl Bomb“), and blistering straight-ahead rock and roll (“Copache,” the vinyl-exclusive cover of MC5’s “Rocket Reducer #62,” which replaces the ten-minute noise experiment of “Spread Eagle Beagle,” which I’m honestly fine with). “Lizzy” is almost delicate, Buzzo playing a clean riff and singing in a light voice, until the chorus explodes with thick guitar distortion and he returns to his gravelly baritone.
In all, Houdini is exactly what the Melvins have been billed as. Heavy, plodding, and fiercely experimental.