By Ken Geiger
I can tell you this much: I do not care if the Melvins release an album or two at a yearly rate. Every single release will be heralded as an event of the utmost importance to me, and it should be to you too. The Washington-native band have remained one of the most prolific bands of the past 30+ years without ever facing a decline in quality at all. In fact, some may argue that they only continue to become BETTER with age. I am in complete agreement with the people who think that of the band; and this new album, A Walk with Love & Death, is a perfect example of why so many see that the Melvins are a band who only continue to grow and become more important to the state of music.
One of the first notable things about this record is the fact that it is a double album (the first one the Melvins have ever done, if you can believe that). The first disc, Death, is a proper Melvins album. The second, Love, is a soundtrack the band created for an independent film that shares the same name as the album. Starting off with the first disc, Death contains some of the greatest the band has put out since the turn of the century (and maybe even in their entire career). Cuts such as "Sober-Delic" and "Black Heath" see the band going into a direction that resembles more of the psychedelic rock of the 1970s, than any previous Melvins sound. "What’s Wrong with You?" is a perfect take on the Redd Kross sound that bassist Steven McDonald made a name for himself with. However, the band does not totally abandon its heaviness, as you have one of the heaviest cuts in their entire catalogue on this album in the form of "Euthanasia" (which has actually been in existence since the 1990s). I have to say, though that my favorite track from this side of the record (and probably overall) is "Flaming Creature," a song that manages to blend classic Melvins heaviness, their new fondness for trippy psychedelic passages and Steven McDonald's power-pop sensibilities all into one beautifully crushing masterpiece.
Now with Love, the second disc on this album, the listener gets a soundtrack that is as crazy as one can imagine it to be. I originally was going to pass on this record, but then realized how similar this disc is to another one of my favorite Melvins releases, The Colossus of Destiny. If you are a fan of the band's more experimental side, or just a fan of odd soundscapes in general, then this is definitely a record you should spin at least once. It really encapsulates the entire experience of this double album. Plus, with some highly esteemed guests, such as Thomas Hazelmeyer of Halo of Flies and Joey Santiago of Pixies, how can you go wrong with at least giving it a listen?
Clearly, the Melvins just show no sign of slowing down and settling into one sound. I could not even imagine them attempting that. This new melodic hard rock direction in songwriting that the band have been exploring since Steven McDonald joined has been constantly piquing my interest, and this record is that sound coming into perfect fruition. Sure, it may not be as heavy as some of their more classic albums, like Lysol or Houdini, but that doesn't make it bad; not at all. In fact, the songs on Death are some of the most epic tracks that the band have put out in their entire career. On the flip side of things, Love shows that the Melvins can still find ways to experiment in new fields and be weirder than anyone out there without compromising their sound.
Overall, this is one of my favorite records of the year, and it's even starting to slowly crack into my top 5 of favorite Melvins albums in their discography. Do not turn a blind eye to this record. t is out on Ipecac Recordings in all listening formats and can be found online, in stores, or maybe at the band's merch booth when they roll around to the Stone Pony on August 5th (which is definitely a show that nobody in the Jersey Shore area should skip).
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