The Melvins have lived on Matt’s Music Mine and appeared for their abrasive, but more warped sense of musicianship on their studio album, Houdini. It was a record that shifted some of the boundaries of music at the time, pushing them to become a household name when discussed over grunge and early adaptations of metal.
Their newest record, Pinkus Abortion Technicianis at most parts, slowed and more sluggish than previous releases. There is not much in the ugliness that made up Houdini, but more in the lumbering speed of a giant that was once holding a ferocious grasp on sound. The Melvins are still interesting and doing things that can be considered experimental with sound, but in this more modern age there is just not as much to be said for their newest work. It feels like (the) Melvins, it captures that same spirit that they had even back in the incredibly late 80’s to early 90’s, but the sound and style has an entirely different approach which touches more into the relaxed than aggressive.
With the third track “Don’t Forget To Breathe”, there is a sense of rumbling almost blues-style guitar and dual bass system that reflects off the percussion. There is a sense of this experimentation that grazes the track and works to form a more laid-back, head bopping anthem instead of the mosh pit inducing hits of their yesteryear. Pinkus Abortion Technician does not make strides to punish, but instead invite and does so in a more graceful stance, or as graceful as the Melvins can possibly be.
They open with “Stop Moving To Florida” which has more step and energy behind their sound and feels more open and sun-driven than some of the later installments. It is cheerful in the instrumentation with some vocalization that works to explain, “Stop, I don’t know the words. I think they’re wrong, Stop! It don’t matter jack, ‘casue no one here really knows this song.” There is an intermission and complete emotional shift around the midpoint of “Stop Moving To Florida” where the band feels as though it falls apart and adapts to this more hostile, almost directionless move with some abstract styling that follows behind.
Pinkus Abortion Technician works the best when the sound is being slowed and trying to break this mold. It shows through on the majority of Pinkus Abortion Technician as a less headstrong attack than its predecessors. But this gives hope into (the) Melvins as they work to shift their abusive style into something more approachable, less into genre boxes, and more into their own continuous flood.
Listen Here – BandCamp
I did not even know they did this…
This was a real surprise and super fun to be a part of…
Don’t say the kids don’t have good ideas, we are out here…
We are doing stuff that others never thought of…
You never saw a live band play in an office space and there won’t be one for a little bit…
But we will get back on track…
Matt’s Music Mine X Today’s Gonna Be Great X Pachyderm
Somewhere along the way, Philadelphia become the home to many feats in history. Independence Hall, the cracked Liberty Bell, Mannequin Pussy, and the Quakers. The stepping moments in history form together as the backbone of Philadelphia’s tight, and efficient history.
In no particular order of importance, Mannequin Pussy stays the creative instance of an energetic time bomb that blasts with the strength of destructible waves. Their 2016 release, Romantic is difficult to process within the first few listens. There are moments where Mannequin Pussy is so raw, overpowering, and moving that the vocals are shouted behind feedback-ridden microphones and waves of aggression. At others, Mannequin Pussy stays gentle and almost lovingly tender amidst the chaos.
The band has four standing power house members, but the frontwoman Marisa Dabice is so incredibly genuine behind her style and original that it makes the band stand out in a sea of punk rock. The crashing cymbal work by Kaleen Reading on percussion follows this antic of being the heaviest and hardest hitting both figuratively and literally. Bear Regisford and Thanasi Paul make up the string section along side Dabice, forming this obliterating movement of a quad-armed beast.
Romantic holds some of the love for the older days of hardcore punk where the objective was to get in and create this tension between the audience and performers. It has a real sense of danger on the opening track, “Kiss” where the band is a frantic conglomerate of smashing sound and emotion. While only one-minute long, Mannequin Pussy decides to smash the room to pieces with an overpowering yell. It invokes the earliest sense of raw power and takes Mannequin Pussy into the self titled ballad of “Romantic” that is slightly easier on the ears and more approachable as a second tune.
Dancing to a slightly different beat but with a similar sound, “Romantic” is instead a love-sick sense of despair as Dabice explains over the dimly-lit strings and percussion, “Darling, you’ll come back to me I know you will. Oh but darling if you don’t, how sad to see this go.” The song takes a strong page in the poetry books before leaping in with a suddenly more abrasive jump into “Ten”.
Romanticis a short lived 17-minutes of pure, unfiltered entertainment. Where the structure is set, then instantly pulverized and resurrected to fit Mannequin Pussy’s way. Romantic instills those outstanding moments of just how powerful music can be as a mood-setting device and how fun it can be to destroy what’s in your way.
Director: Hiro Murai
Producer: Doomsday with Ibra Ake and Fam Rothstein of Wolf + Rothstein
Listen/Watch Here – Youtube