Back in March after this album came out, and we felt like we actually had something relevant to say — Uncut and a host of Seventies aficionados got their grubby fingers all over it and rendered a standard review pretty redundant.
Bonham, Sonny, Bitches Brew. Elongated sentences to match equally elongated musical phrasing. Though we think a lotta the novelty’s waned, kinda like Don Caberello records– the praise for this album was definitely deserved. Fo’ shizzle, HMT rule.
For what it’s worth, here’s our 2c:
-The multiple Melvins‘ references are an interesting to pick apart. On the last album, the piece-by-piece “Blood witch” from 2006’s (A) Senile Animal was perhaps the most uninteresting track of the lot. Opener, “Sing, Goddess” had some quintessential Melvins elements, and to the main riff of “The Rex” you can almost whistle the chorus to, “Lizzy” from Houdini. The nod makes one believe its a kinda modern reinterpretation of sludgy, riff-based rock, or more in lieu with American alt rock then the jazz greats they profess. In other words, we stick to original belief they’re attempting to strip down the elements of the pure punch.
-One thing that breaks down the barrier between over-intellectual 70’s pastiche and a sometimes untenable playful ride in DisneyJazzland– like in track, “Lake Acid”, is bare-knuckle nature of this band. Bloody conscious, aware of their power to dismantle stereotypes, and to do so in the most enjoyable way. Who’s to stop ’em?
Favorite Tracks: The New Judas, Indian Driving, Kathmandu