Melvins – Tres Cabrones

melvins tres cabrones

Since day one there has been a magnetic charm, flair, genius, whatever you wish to call it about Melvins and their unique releases. It is a potency or schizophrenic mastery which has seduced and fulfilled an ever growing legion throughout their thirty year inventive assault. Whatever the success and heights individual releases have found the band has never left anyone wanting for quality and the distinctive essence which is pure Melvins, and new persuasion Tres Cabrones is no exception. Whether it is one of their finest moments to date can and will be discussed no doubt but certainly this mischievous temptation is prime Melvins, a riveting, and exceedingly satisfying provocation which feeds expectations whilst stretching areas of their sound just that little bit more.

The twelve track Ipecac Recordings released album sees two thirds of the first band line-up in place, Buzz Osborne and Dale Crover linking up with original drummer Mike Dillard who left the band in 1984, and with diversity and unpredictability set in the familiar Melvins cast style Tres Cabrones makes for an irresistible rampage through the imagination. It is an instant instigator for the passions from the very start with opener Dr. Mule with its addictive blaze of crisply laid rhythms and fiery grooves within a sonic web of enterprise, making a compelling introduction to the release. The song unleashes an almost sirenesque lure through its seductive sonic tempting, an element of Pere Ubu spicing its presence with the vocals especially recalling the bedlamic delivery of David Thomas. It is an outstanding entrance into the album immediately backed up by the just as impressive City Dump.

The second track is a dirty growl of rock ‘n’ roll, carnivorous riffs snarling persistently whilst sonic flames scorch the air with an equally needy rabidity which leaves a hunger rife within the emotions, this fired up appetite soon given plenty to chew upon with American Cow and Dogs and Cattle Prods. The first of the pair is a stalking intimidation, its predacious riffery a deliciously worrisome confrontation skirted by dark throated basslines and sonic manipulations of guitar. There is a grizzled contempt to the vocals throughout too though nicely tempered by the cleaner delivery both adding impressive bait within the cantankerous prowl. The second of the two is a festering of grimy hard rock and sonic teasing which makes a straightforward bruising narrative for its first stretch before exuding the band’s finest stoner imagination and fire as it evolves its striking presence with a sultry breath, acoustic caresses, and crawling, searing dynamics.

The song is followed by the second of three fun filled interludes; Tie My Pecker to a Tree, 99 Bottles of Beer, and You’re In The Army Now all delivered in the inimitable Melvins style to leave grins wide and providing a respite from an intensity built in other tracks, such as the synapse tantalising Psychodelic Haze, a song which sizzles whilst leering greedily at and putting pressure upon the senses through a sonic infused concussive smog. If that enthralling mental trip was not enough the threesome take it further with the excellent I Told You I Was Crazy. The discord fuelled, brain addling treat is swamp gas seeping sonic devilry at its best, a presence which soaks and tempts the imagination into a shadow drenched slice of asylum courted majesty, its sinister cradling of the ears a cross between Th’ Legendary Shack Shackers and  Buzzov•en, but all Melvins.

Both Stump Farmer and Walter’s Lips provide riff sculpted temptation which is impossible to resist, the first a brief and forceful acquaintance which though reined for the main still has a ferocity which is commanding and insatiable whilst the other track is a gnarly mix of punk and heavy rock which abrases with its raw causticity and seduces with wanton melodic flames.

The closing of the album is left to Stick em’ Up Bitch, a glam rock inspired riot which opens with a lure straight out of Ballroom Blitz and continues to rattle nostalgia cages with its lascivious offering. It concludes Tres Cabrones in fine style, completing what is a deeply satisfying and thrilling release. The album is pure Melvins, an encounter which arguably does not challenge expectations too rigorously but definitely gives them food for thought and exciting adventures to find unpredictability within, without question another must investigate album from a continually inspiring band.

http://www.themelvins.net

9/10

RingMaster 05/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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OvO – Abisso

Abisso-half

Whether coming over as a flight of insidious beauty or an unrelenting erosive nightmare, a mix of both nearer the mark, Abisso the new album from Italian nose rock experimentalists OvO is an unforgettable intrusion on the senses and psyche. At times a seductive enmity and in other moments a compelling sonic pestilence, the duo’s new release is a corrosive rapture which if it bridges a connection makes for a riveting, imagination igniting treat. It is persistently an uncomfortable provocation but one which casts an enthralling spell on thoughts, luring them into making their unique interpretation of the narrative and its intent. The band conjures a listen which makes you work hard for its rewards but gives generously and incisively across its distraught and threatening Gehenna.

Consisting of vocalist/guitarist/bassist Stefania Pedretti and drummer Bruno Dorella, OvO has been a consistent antagonist on the boundaries of noise and sonic manipulation since forming in 2000. With a tempest of albums and singles behind them, as well as a wealth of collaborations and live performances around the world with the likes of Nadja, KK Null, Thurston Moore, Jim O’Rourke, Rollerball, Thrones, SubArachnoidSpace, Zenigeva, Lightning Bolt, Sleepytime Gorilla Museum, Estradasphere and many more, OvO now unleash their seventh studio album via Supernatual Cat, a scorched and scorching tempest which draws on the darkest malevolent shadows from the mind and emotions.

Abisso opens with a peaceful coaxing as first song Harmonia Microcosmica sends cascades of crystalline melodic enchantments down on the ears, their celestial touch inviting yet cast in a caustic breath. Punchy beats offer a little feistiness to the mix as the track settles whilst serpentine vocal scowls lay a portent of the ruinous temptation to come. The danger heightens in degrees as the vocals add greater menace to their scarring tones and the song’s ambience, with its industrialised electro skirting of meagre guitars and bass droning, awakens an already certain and eager hunger for what the album is offering.

The absorbing start is taken to another level with the rhythmic and darkly sirenesque lure of Tokoloshi. With beats a rampant juggling dance of invention within a raw sonic storm and wrapped in captivating tormented, or should that be tormenting vocals, the encounter ignites the imagination and its suggested version of the unfolding events. Through its harsh industrial climes I Cannibali is happy to help expand the emerging interpretation, its senses chaffing touch startling before the mentally invasive A Dream Within A Dream steps up to soak the body in its corruptive suasion, both reinforcing the ravaging potency of the album. The second of the two features Alan Dubin of Gnaw and from its initial slowly stalking nastily attentive touch breeds a droning submission forcing sonic smog of intensity and addiction forging persuasiveness. It is not friendly or with mercy but thoroughly satisfying and inflammatory for thoughts and emotions.

The pungent psychotic majesty of Aeneis sends the senses into a cataclysmic lust next before Harmonia Macrocosmica unveils its sweltering beauty upon a sludge evoked canvas of bass fuelled predation, its cauldron of superbly sculpted evocative and equally mordant sonic fascination a hypnotic enslavement. The track brews up a violent intensity and murderous intent the further into its depths the listener immerses but still merges it with a melodic elegance which flickers like a raging beacon within the oppressive darkness of sound and spite.

With every track as individual to each other as you could imagine but uniting for a spellbinding and surreal soundscape which attacks and inspires every aspect of the psyche, Abisso arguably offers its most disturbing and unhinged invention with the title track; the severe vexing and spoiling of the senses a degenerative scourge. This is immediately invigorated to another invidious level by Pandemonio; the confusion of sonic fury conjured a bedlam borne ravishing. Neither are intimately pleasant experiences but both highlights of an unrelentingly exhilarating if damaging journey for both, mind, and soul.

In comparison the offerings of Ab Uno and Fly Little Demon which features Carla Bozulich with her full band Evangelista evolve the listener in less aggressively divisive sonic alchemy but equally as provocative and threateningly impacting, the first an almost shamanic seeded fire of meditative enthrallment and adventure whilst the second from a noir sourced emotive contemplation builds an intensity and virulent compulsion which voraciously spreads under its creative wings.

Completed by the sonic storm of Fame, a piece of noise which scours the surface and depths of the listener until its departure leaves peace a screaming reaction, Abisso is an outstanding violation. It will find a passionate home with only a certain few it is fair to say but for those with a sense of experimentation to their own explorations, OvO and their album provide emotional and mental infringements which work like aural manna.

http://ovolive.blogspot.it/

9/10

RingMaster 05/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com