For any serious music fan there are few things more controversial than the dreaded double album. For every one that’s full of half baked ideas and sublime moments (The Beatles, Mellon Collie and the Infinite Sadness), there’s another that sits quite confidently in the artists catalogue (Physical Graffiti). Few attempt it, even less emerge unscathed. Its 2017 and in this age of instant gratification it’s a bold move to unleash such a monumental slab of information onto the masses. Unless, of course, you’re one of the most enduring and influential bands of the last 30+ years.
Step forward Melvins with A Walk With Love and Death. Any fan (this writer included) of this Washington band will know Melvins march to the beat of their own off kilter drum. In fact it’s almost disappointing that they’d attempt something as conventional as this much maligned medium. Frontman Buzz Osborne insists however that “This was a huge undertaking”, so if you assume that this is just another album in their canon then think again. Tossing off albums left, right and centre in recent years (as well as collaborations and solo efforts) to such a high standard means that their eventual double effort is anything but make or break, so it’s encouraging to know they still take their art (if not themselves, have you seen their hair?!) seriously.
A Walk With Love and Death then is an album of two halves: Death being a more standard Melvins collection (if there is such a thing), whilst Love is the soundtrack to a short film bearing the same name as this album and directed by collaborator Jesse Nieminen. On face value you’d be foolish to consider these as two separate projects bundled together – sure, you’re not always going to listen to the whole thing, but they do work well together.
Despite a revolving cast over the years, the lineup this time around comprises of mainstays Buzz Osborne (vocals, guitar), Dale Crover (drums, vocals) and relative newcomer Steve McDonald (bass). The unity that this trio display on the Death side of this release is testament to the ongoing confidence of this ageing band. Death begins with a couple of lengthy and downbeat tracks (“Black Heath” and “Sober-dellic”), both eshewing from the more familiar bludgeoning Melvins template with surprisingly palatable results. “What’s Wrong With You” continues the bands dalliance with bubblegum rock (think Cheap Trick with a hangover) as hinted at on last year’s Basses Loaded album, while tracks such as “Christ Hammer” and “Cactus Party” fall somewhere between commercial sheen and the bands notorious tempo trickery. Overall, Death is a very direct Melvins album. There are no dense layers this time around, the production ensures every instrument breathes in its own space. Similarly the vocals are as clear as I’ve ever heard them, making them as much of an appeal now as the music itself. There are even harmonies!
So, as we segue into Love, it’s not immediately apparent that you’re listening to another project, the crossover is pretty smooth. “Aim High” is a collage of conversation one could hear whilst navigating a busy train station, it’s not until second track “Queen Powder Party” that the conversations blur into incoherence and random street noise enters the equation. As far as soundtracks go Love is quite playful. You get lulled into the picture rather than dragged, and the discordant likes of “Eat Yourself Out”, whilst disorientating, never make you feel like you’re too far from the edge of the pool. By the time “The Asshole Bastard” creeps around with its background throb of distorted guitars and tunnel chatter, you’re almost back in standard Melvins territory, and quite prepared for the opening track of Death to kick in again.
With A Walk With Love and Death Melvins have again caught us off guard and produced something which could’ve been quite tricky but actually pulled it off with aplomb. I mean really, what’s better than Melvins if not more Melvins, right? As if we could ever doubt them.
A Walk With Love and Death is out 7th July
