(the) Melvins - Tarantula Heart

[benton netty]

Welp, the records's out there in the dark corners of the internet. Just had my first listen, and I gotta say I didn't feel much of anything. It's probably not fair to fixate on the way it was made, but it kinda sounds like every song is just one simple riff with tons of stuff piled on. These songs don't have much in the way of dynamics or surprises. I dunno. It just kinda sounds like the last however many records, just jammier.

The Melvins still have never made a *bad* album, but, at this point, they've made a habit out of making mediocre ones. This is no different. They just seem lazy or tired, here. Love them, but it just kinda seems like they're farting around.

The best tune was the long one up top, although it just drifts off into half-cocked riffing at some point after an intriguing first few minutes and then starts cannibalizing "Night Goat" and "Boris" a bit.

It's not realistic to ask for "Stoner Witch" energy and composition, again, but howsabout "Brain Center at Whipples" energy? These tracks just kinda meander.

I'll listen more and hope to like it better, but I've kinda had this same experience with them for years, now, so I won't expect much to change, for me.

Melvins rule forever, but ya know. You can't rule forever.

[))))((((]

Another review here too.


https://www.metalsucks.net/2024/04/09/review-melvins-prove-they-still-have-something-to-say-on-tarantula-heart/

[the bloat]

I'd love to hear other board members take on the new album too! Here is a short blurb I found online: https://www.musicconnection.com/album-review-tarantula-heart-by-melvins-8-10/

[black stallion]

Welp, the records's out there in the dark corners of the internet. Just had my first listen, and I gotta say I didn't feel much of anything. It's probably not fair to fixate on the way it was made, but it kinda sounds like every song is just one simple riff with tons of stuff piled on. These songs don't have much in the way of dynamics or surprises. I dunno. It just kinda sounds like the last however many records, just jammier.

The Melvins still have never made a *bad* album, but, at this point, they've made a habit out of making mediocre ones. This is no different. They just seem lazy or tired, here. Love them, but it just kinda seems like they're farting around.

The best tune was the long one up top, although it just drifts off into half-cocked riffing at some point after an intriguing first few minutes and then starts cannibalizing "Night Goat" and "Boris" a bit.

It's not realistic to ask for "Stoner Witch" energy and composition, again, but howsabout "Brain Center at Whipples" energy? These tracks just kinda meander.

I'll listen more and hope to like it better, but I've kinda had this same experience with them for years, now, so I won't expect much to change, for me.

Melvins rule forever, but ya know. You can't rule forever.

Welp, the records's out there in the dark corners of the internet. Just had my first listen, and I gotta say I didn't feel much of anything. It's probably not fair to fixate on the way it was made, but it kinda sounds like every song is just one simple riff with tons of stuff piled on.

haven't listened to it yet, besides the two songs that have leaked ,but i totally see your point

[rimb]

Had my first listen through and tend to agree with benton's comments above sadly.

If (like me) you've found the last decades worth of albums to be generally a sludgy mess with few memorable moments, I think the best thing they can do at this point is at least get a new producer involved to try and shake something loose.

[surfling]

I haven't heard the new album yet apart from that long track, but otherwise I agree with everything you say.

Fortunately Melvins are still one of the best live bands on the planet, and as long as they keep delivering that energy on stage and I get to see them every other year I'm fine and can do without new albums.

But yeah, a different producer sounds like a good idea.
That collaboration with Helms Alee kinda proves the point, that to me was the best stuff they've released in the last decade.

Welp, the records's out there in the dark corners of the internet. Just had my first listen, and I gotta say I didn't feel much of anything. It's probably not fair to fixate on the way it was made, but it kinda sounds like every song is just one simple riff with tons of stuff piled on. These songs don't have much in the way of dynamics or surprises. I dunno. It just kinda sounds like the last however many records, just jammier.

The Melvins still have never made a *bad* album, but, at this point, they've made a habit out of making mediocre ones. This is no different. They just seem lazy or tired, here. Love them, but it just kinda seems like they're farting around.

The best tune was the long one up top, although it just drifts off into half-cocked riffing at some point after an intriguing first few minutes and then starts cannibalizing "Night Goat" and "Boris" a bit.

It's not realistic to ask for "Stoner Witch" energy and composition, again, but howsabout "Brain Center at Whipples" energy? These tracks just kinda meander.

I'll listen more and hope to like it better, but I've kinda had this same experience with them for years, now, so I won't expect much to change, for me.

Melvins rule forever, but ya know. You can't rule forever.

[black stallion]

wasn't the recording with Helms Alee still produced by Toshi?

[))))((((]

I think the best thing they can do at this point is at least get a new producer involved to try and shake something loose.

I don't think that would change too much - Buzz would still write the same material. Although it might sound better. Sometimes i think he just fixates too much on weirdness. I mean some of the absolute worst Melvins things they have put on their records were due to just being purposely silly or stupid. Both of the 1983 albums and Basses Loaded in particular - all those godawful comedy tracks. I'm not too happy he is planning a third '83 album.

They've never really done it since (A)SA or NWB but i keep longing for a solid album. One with no nonsense tracks or goofy offshoots. Just a collection of solid songs that make for a no nonsense, consistent statement.

[vince furnier]

i don't understand how bad can't be the same as mediocre. 

[John Schuller]

Some things that I have learned recently listening to interviews and from working with Toshi myself.

Buzz seems to dislike the production used during the "Atlantic" era (he says those records all sounds overproduced) and dislikes the approach taken on their first couple of records (he says the songs all sound over-rehearsed).

In regards to the production - I personally love the production of the music during the Mark Deutrom era in the band - the music was recorded to tape (I don't care what anyone says, tape sounds better), and they spent a lot of time making the music sound audibly as weird as the music itself already was. Prick, Stoner Witch, Stag, Honky, AmRep singles, Tora Tora Tora, Interstellar Overdrive 10" etc. all SOUND amazing and fucked up to my ears.

In regards to over-rehearsed, not sure there was much choice in that matter given the complexity of the music on Gluey Porch Treatments and Ozma. That shit is complex and weird. You don't just wing that shit and have it sound as tight and amazing. Again - sounds amazing to my ears.

In regards to working with Toshi. I recorded one record with him at Sound of Sirens. He is an amazing person to work with - efficient, positive, helpful, funny, smart - no nonsense at all! We arrived in the morning and were set up in no time at all (the studio is set for efficiency). We recorded the entire record in one day, one take for each song. There was one bass line that Toshi heard me clam on, and he worked with me through about 10 punch-ins until he felt it was the right one. And it was. No pressure at all working with him. He gets great sound, but - the music is recorded digitally, so there are natural limitations on sonics compared to tape.

I think Toshi is the perfect fit for how Buzz likes to work. Get in, get the shit recorded, get out. The production is in the concepts (double drums, double basses, acoustic bass, acoustic band, Tarantula Heart approach).

Buzz knows what he is doing and how he wants to do it and I guarantee you, he calls all of the major shots. If Toshi was given free reign, and the time to create something sonically insane on the level of Stoner Witch - he totally could. But they don't have Joe Baressi's studio, tape, weeks, and thousands of Atlantic dollars to spend. Just listen to Toshi's solo albums - they are weird as hell!

While I tend to agree that the overall output is not like it was in the "glory days" where you could have perfection from Gluey Porch Treatments through The Bootlicker (sorry, The Crybaby is my second least favorite Melvins album). Since Toshi has been involved, you have masterpieces such as Hostile Ambient Takeover, (A) Senile Animal, Freak Puke and Bad Mood Rising that are on the level if not better than than some of the initial run of albums.

Just like with Buzz and Electric Guitars instead of Les Pauls - he is gonna do what he wants to do regardless of what anyone else thinks or says. And if it results in masterpieces every fourth album or so - call me fucking stoked. Even the albums that kind of THUD!, always have at least 3 masterpiece songs.

(also, I tend to think that Buzz has been talking about disliking the production on the Atlantic era as retaliation for Mark D's video series which talks a lot about how important the production of those albums were - but that is just my speculation - what the fuck do I really know? Buzz may not even know those videos exist!)

[PepsiMike]

(also, I tend to think that Buzz has been talking about disliking the production on the Atlantic era as retaliation for Mark D's video series which talks a lot about how important the production of those albums were - but that is just my speculation - what the fuck do I really know? Buzz may not even know those videos exist!)

You might be on to something. Mark seems to rub some people the wrong way, and I'm not exactly sure why, yet.

[John Schuller]

(also, I tend to think that Buzz has been talking about disliking the production on the Atlantic era as retaliation for Mark D's video series which talks a lot about how important the production of those albums were - but that is just my speculation - what the fuck do I really know? Buzz may not even know those videos exist!)

You might be on to something. Mark seems to rub some people the wrong way, and I'm not exactly sure why, yet.

My guess - and this is only a guess - is that in the case of the Melvins, Mark is a serious artist and Buzz is a serious artist. There were probably times where that made for an amazing result (see Stoner Witch, Stag, Honky) and while at the same time it could have painful for one or both of them to work together. I think Mark is very professional when it comes to music and the music business, while Buzz is more "punk rock" in his approach to both. Differences like that can be hard to deal with in a band environment - and I imagine harder in a band that works for a living.

The way I look at it, it's like when The Beatles broke up - they HAD to. Paul became a band leader, and it was no longer going to be able to operate because George is not a session player and each of those guys are stars in their own right.

On a personal level, Mark is a seriously sweet guy - love him. He also really knows his shit, which can rub people the wrong way I guess? But then, I haven't met a Melvin that wasn't a total sweetie. Except Matt Lukin. I have never met him. But I doubt he is a sweetie!!! hahaha!

[rimb]

Some things that I have learned recently listening to interviews and from working with Toshi myself.

Buzz seems to dislike the production used during the "Atlantic" era (he says those records all sounds overproduced) and dislikes the approach taken on their first couple of records (he says the songs all sound over-rehearsed).

In regards to the production - I personally love the production of the music during the Mark Deutrom era in the band - the music was recorded to tape (I don't care what anyone says, tape sounds better), and they spent a lot of time making the music sound audibly as weird as the music itself already was. Prick, Stoner Witch, Stag, Honky, AmRep singles, Tora Tora Tora, Interstellar Overdrive 10" etc. all SOUND amazing and fucked up to my ears.

In regards to over-rehearsed, not sure there was much choice in that matter given the complexity of the music on Gluey Porch Treatments and Ozma. That shit is complex and weird. You don't just wing that shit and have it sound as tight and amazing. Again - sounds amazing to my ears.

In regards to working with Toshi. I recorded one record with him at Sound of Sirens. He is an amazing person to work with - efficient, positive, helpful, funny, smart - no nonsense at all! We arrived in the morning and were set up in no time at all (the studio is set for efficiency). We recorded the entire record in one day, one take for each song. There was one bass line that Toshi heard me clam on, and he worked with me through about 10 punch-ins until he felt it was the right one. And it was. No pressure at all working with him. He gets great sound, but - the music is recorded digitally, so there are natural limitations on sonics compared to tape.

I think Toshi is the perfect fit for how Buzz likes to work. Get in, get the shit recorded, get out. The production is in the concepts (double drums, double basses, acoustic bass, acoustic band, Tarantula Heart approach).

Buzz knows what he is doing and how he wants to do it and I guarantee you, he calls all of the major shots. If Toshi was given free reign, and the time to create something sonically insane on the level of Stoner Witch - he totally could. But they don't have Joe Baressi's studio, tape, weeks, and thousands of Atlantic dollars to spend. Just listen to Toshi's solo albums - they are weird as hell!

While I tend to agree that the overall output is not like it was in the "glory days" where you could have perfection from Gluey Porch Treatments through The Bootlicker (sorry, The Crybaby is my second least favorite Melvins album). Since Toshi has been involved, you have masterpieces such as Hostile Ambient Takeover, (A) Senile Animal, Freak Puke and Bad Mood Rising that are on the level if not better than than some of the initial run of albums.

Just like with Buzz and Electric Guitars instead of Les Pauls - he is gonna do what he wants to do regardless of what anyone else thinks or says. And if it results in masterpieces every fourth album or so - call me fucking stoked. Even the albums that kind of THUD!, always have at least 3 masterpiece songs.

(also, I tend to think that Buzz has been talking about disliking the production on the Atlantic era as retaliation for Mark D's video series which talks a lot about how important the production of those albums were - but that is just my speculation - what the fuck do I really know? Buzz may not even know those videos exist!)

Interesting stuff - thanks for sharing, John

[the bloat]

Just like with Buzz and Electric Guitars instead of Les Pauls - he is gonna do what he wants to do regardless of what anyone else thinks or says. And if it results in masterpieces every fourth album or so - call me fucking stoked. Even the albums that kind of THUD!, always have at least 3 masterpiece songs.

I think this is a solid point. If Buzz only made music for the approval of others, then we'd all be fucked... and this forum probably wouldn't exist

[amazonAMAZON]

I have met Mark in recent years briefly and interacted a bit online. He is great and I adore his work and work ethic. It does seem, though, like this is a grown-up Mark that didn't exist yet back in the Atlantic days. Not that I ever think he was a bad person or anything, but I could see a younger Mark having a chip on his shoulder and butting heads with young Buzz. Buzz has always had strong opinions but less formal education and perhaps a more limited worldview.