A Walk With Love & Death is a brand new album by Melvins in trio mode, and its a double! Split into a Death disc and a Love disc, and featuring guest appearances from the likes of The Pixies’ Joey Santiago and Teri Gender Bender, these hefty slabs of Melvins show off different angles of what this amazing band can do. Double CD and double LP editions, each housed in a sturdy box. On Ipecac.
- Double LP £31.99
- Shipping cost: £4.25 ?
- NormanPoints: 320 ?
- IPC195LP / 2LP on Ipecac - features two separate gatefold vinyl housed in a sturdy box. 'Death' is on opaque pink vinyl, 'Love' is on opaque violet
- Includes download code
- Only 1 copy left
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2 reviews. Add your own review.
The sticker fronting this new Melvins records promises good fortune and a newfound attractiveness to anyone who buys it, neither of which I believe can actually be guaranteed from listening to a double disc album of stodgy, slurpy sludge rock. Readying their patented slow for what I’ve got down as the twenty-fifth time, ‘A Walk With Love and Death’ continues to suggest the band’s recent stoner inertia. On their last record they brought every past member of the band onto the field and got a different bassist per song, and on this one they make their gimmick just overstuffing our ears with their gloom.
Patience is a virtue this hairball trio knows well, though, and they make it their M.O once more; for a double disc, it feels pretty snide that this record opens with a seven minute jammer and continues to lull in pace. “Black Heath” matches the band’s curly riff-making with the sparsity of Om and follows into a similarly doomy frame of mind on “Sober-delic”; the record’s first half mixes these quietly ominous space rock treatises with the more typically jagged side of the band, “Euthanasia” offering a distorted blow out that still feels more doomed and pious than your average Melvins slosher.
This is a fun way to do Melvins, to be honest -- the band seems to be having a hell of a lot of fun carving their riffs into different walls, using slightly different shades amidst a myriad of chugs. “Edgar the Elephant” is one of their sillier metal excursions, full of harmonies and wahs; the songs second half of the record, meanwhile, are awol noise filibuster. Made for Jesse Nieminen's own Melvins-brand film, it's a score of nonsense. “Aim High” sees the band use spoken word recordings to set the scene for a noise-spat couplet in “Queen Powder Party” AND “Street Level St. Paul”, both acting as drunken swirl of sound design. In fact the second half of the record is largely ill-recorded, soundbyting bullshit, like watching to the Melvins act in a home-recorded horror movie. It’s a fun and totally irrelevant twist from a band who quite enjoy doing what they want.
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