The Melvins’ newest release finds them once again rocking out like the bunch of unpredictable troublemakers they’ve always been. This Melvins “Lite” lineup replaces their beefed-up rhythm section with Trevor Dunn (Fantomas, Secret Chiefs 3) on upright bass, but this ain’t no lounge jazz Melvins. Dale Crover’s syncopation is tight and aggressive, complementing Buzzo’s off-kilter riffs perfectly. Dunn’s mostly bowed technique, although he does lay down some pizzicato basslines, adds a bit of an avant-garde classical touch to the sound, but in general this remains as accessible as fan favorite albums such as Bullhead or Houdini. A subtle 70s hard-rock influence creeps in, making plenty of the riffs irresistibly catchy. Simply put, this kicks ass. FCC clean

1. (5:52) Slow and restrained, bowed bass and brushes on the drums, some unassuming guitar melodies lacking the energy to become riffs—a gentle, forgettable intro that goes on a bit too long.
2. (1:57) Trevor Dunn bass feature. Some manic upright bass shredding, spanning all tones and timbres available. Man, can he screech with that bow!
3. **(3:51) Catchy but angular 70s rock riffs, delivered with fatal precision and some clever bass / drum solos
4. (3:55) Weird buzzsaw riff pummeling away, unnerving and aggressive attitude; halfway through fades into some bass oddities with chanting vox
5. **(4:28) DOOM! Slow, dirgey, sludgy perfection, the Melvins at their best! Surges with muscular energy, totally destroys.
6. *(2:47) Upbeat and catchy, intriguing bluesy riffs—again with the 70s-isms put through the musical blender that is King Buzzo’s fucked up brain.
7. (2:32) Mellow, menacing plod, the soundtrack to a haunted house with some scattered, echoing bass dissonance
8. (2:47) Jolly yet frantic cock-rock, complete with some groovin’ cowbell at the end, filtered through layers of contemporary sludge nihilism
9. *(4:31) Wings cover. Heavily swung 6/8 blues-rock dirge, starts off dark and creepy but somehow manages to end up anthemic.
10. (9:40) Eerie, restrained whispering jam gradually builds into a dense and directionless rock’n’roll showcase; ends with 3 minutes of weird ambient noise