The styles range from the punk rock slant of The Wipers Youth of America, to the pure psychedelia of Pink Floyds classic Interstellar Overdrive. They incorporate so many different styles on this album, you would think they were written by totally different artists, but they manage still to preserve a Melvins feel.
Electroretard, needless to say, features different kinds of music, and smashes them into one lump of sheer brilliance. On Stag, they dabbled in Bluegrass, psychedelic pop and chipmunk voices. On Stoner Witch and Honky, they experimented with ambience. The Melvins started as a sludge band, but after perfecting this in 1991’s Bullhead, they evolved into about one hundred different genres of music, while still retaining thier original heaviness. At the time of Electroretard’s release, it was Kevin Rutmanis, originally of The Cows. Matt Lukin was kicked out, and The Melvins have since had a host of different bassists. Mark Dillard was soon replaced by Dale Crover and he has been the drummer ever since. The original line-up was King Buzzo, Mark Dillard, Matt Lukin.
Melvins formed in 1982, and named themselves after a colleague at work that they hated. Electroretard decends and becomes part of this bed of snow. All their other works are the bed of snow: each album is a snowflake, unique and almost perfect in it’s own way. The albums occupying this location are Houdini, Prick and Colossus Of Destiny. The three steaming, tightly coiled dog excrement are their albums the are sub-standard, or merely average. To me, The Melvins Discography resembles three piles of steaming dog excrement, laid upon a bed of unblemished snow.
0 kommentar(er)
