#melvins — Public Fediverse posts on home.social

matiu bidule @[email protected] · 2026-05-04 · 09:46 UTC

Jour reprise de taf'

Jour colère.

Musique.

Melvins + Napalm Death ensemble -
Tossing Coins Into The Fountain Of Fuck

https://melvinsofficial.bandcamp.com/track/tossing-coins-into-the-fountain-of-fuck

#Music
#PouetRadio
#Sludge
#Grind
#Metal
#Melvins
#NapalmDeath

#music #pouetradio #sludge #grind #metal #melvins

Dom Tyer @[email protected] · 2026-04-28 · 06:36 UTC

Napalm Death's Shane Embury goes in depth on Melvins collaboration

https://www.treblezine.com/napalm-deaths-shane-embury-goes-in-depth-on-melvins-collaboration/

#music #metal #AltRock #Melvins #NapalmDeath

#napalmdeath #melvins #altrock #metal #music

United States News Beep @[email protected] · 2026-03-10 · 12:20 UTC

Acid Bath announce North Carolina show featuring Melvins and Kylesa

03/13 Cleveland, OH @ Agora Theatre with Midnight, Amigo The Devil, Nunslaughter and Radian03/21 Grundy County, TN @…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #AcidBath #Entertainment #hardcore #Kylesa #Lambgoat #Melvins #Metal
https://www.newsbeep.com/us/514948/

#newsbeep #news #us #usa #unitedstates #unitedstatesofamerica

United States News Beep @[email protected] · 2026-03-10 · 12:20 UTC

Acid Bath announce North Carolina show featuring Melvins and Kylesa

03/13 Cleveland, OH @ Agora Theatre with Midnight, Amigo The Devil, Nunslaughter and Radian03/21 Grundy County, TN @…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #AcidBath #Entertainment #hardcore #Kylesa #Lambgoat #Melvins #Metal
https://www.newsbeep.com/us/514948/

#metal #melvins #lambgoat #kylesa #hardcore #entertainment

dpplggr @[email protected] · 2026-02-11 · 18:05 UTC

The #Melvins are reissuing their EP with Napalm Death on #ipecac, now with two new tracks. That's cool. The updated artwork somehow manages to be even uglier than the original, and that's quite a feat

#NapalmDeath

#napalmdeath #ipecac #melvins

Angry Metal Guy @[email protected] · 2026-01-29 · 16:58 UTC

Under – What Happened In Roundwood Review By Samguineous Maximus

There’s something tantalizing about the brand of metal-adjacent noise rock that’s experienced a renaissance in recent years. It’s ugly, it’s loud, and it doesn’t give a damn if you’re comfortable. You’ve got breakout stars Chat Pile dragging nü-metal’s bloated corpse through the mud, Couch Slut dishing out dissonant, riff-heavy nightmare fuel, and Intercourse sounding like a feral animal tearing flesh for fun. This isn’t “revival” music; it’s bands weaponizing noise, smashing metal’s brute force into punk’s emotional hemorrhaging, and then deliberately breaking whatever’s left just to see it scream. Enter the UK’s Under, stepping into this mess with zero interest in playing nice. They fuse sludge metal’s suffocating weight, noise rock’s hostility, and art rock’s weird, confrontational instincts into something genuinely unhinged. Their third record, What Happened In Roundwood, doesn’t aim to be palatable. It aims to crush, mesmerize, and leave a dent. The question isn’t what they’re doing—it’s whether Under hit hard enough to leave permanent damage.

In the first half of What Happened In Roundwood, Under establishes their own distinct style that sits nicely in conversation with their American contemporaries. The foundations of these songs are built on angular sludge riffs over looping odd time signatures and off-kilter rhythmic patterns, like if a more avant-garde Melvins crashed into a version of Swans that was capable of editing. Bassist and vocalist Matt Franklin anchors the music with simple but weighty low-end riffs, locking tightly with drummer Andy Preece’s commanding, hypnotic grooves. Guitarist Simon Mayo fills in the gaps with jagged riffs and layers of dissonant, skronk-heavy leads. Franklin lends a sneering, British rasp to the endeavor, guiding the songs with an impassioned vocal performance that successfully conveys the aural depravity on display. This formula is deepened with the addition of menacing choral vocals and harmonies (“Ma,” “The Alchemist”), swirling guitar cacophonies (“Tantrum), and even Primitive Man-tinged, slow noise bursts (“Isaac”). It’s an effective and thoroughly unsettling display with just enough variety in its execution to keep things exciting until the B-side obliterates any sense of normalcy.

What Happened In Roundwood by Under

In the second half of What Happens In Roundwood, Under undergo a dramatic sonic shift, and the results are thrilling. The final stretch of the album leans heavily into exploratory, avant-garde jazz-influenced territory, with the tracks flowing seamlessly into one another like a three-part suite. These songs stand out as the album’s clear highlights. The sequence begins with “Rings,” which unfolds in a state of subdued horror, slowly building tension through sparse instrumentation before reaching a blissful climax. This transitions smoothly into “Roots and Limbs,” a jazzy, post-hardcore-like track that increases the tempo and intensity, providing a sense of release after several slower songs. All of this builds toward the closer, “Felling.” The final track plays out like a fever dream, reprising key moments from earlier in the album and reshaping them into a chaotic haze of noise. When the music finally collapses into rich choral vocals, it feels like the calm at the center of a storm. A perfect ending to a bold and striking second half.

This places What Happens in Roundwood in a peculiar position. The second half of the record explores markedly different sonic territory than the first, and is stronger for it. Under’s more standard sound, showcased on the first five tracks, is engaging, but compared to the highs of the final three, it falls a little short. Repeated listens leave me wanting just a bit more grit or memorability in the more straightforward sludge riffcraft before it gives way to the more exploratory material. I appreciate the band’s efforts to vary their noise-rock/sludge approach through vocal layers/embellishments or a Southern tinge (“Escape Roundwood”), but I find myself largely whelmed by the opening salvo. This isn’t a major mark against the record; the album is solid throughout. Still, it keeps the work from standing quite as tall alongside some of my favorites in the style.

With What Happens In Roundwood, Under have delivered a solid sludgy noise rock record with plenty of autre appeal. I wish the impressive oddity were distributed a bit more evenly throughout the album’s runtime, but it’s still an enjoyable listen that carves out its own unique niche within the broader style. The next time the UK group revisits their brand of sinister sludge, I’ll be excited to listen.

Rating: Good!
DR: 8 | Format Reviewed: 320 kb/s mp3
Label: APF Records
Websites: understockport.bandcamp.com | facebook.com/understockport
Releases Worldwide: January 23rd, 2026

#2026 #30 #APFRecords #ArtRock #ChatPile #CouchSlut #ExperimentalMetal #FreeJazz #Intercourse #Jan26 #Melvins #NoiseRock #PrimitiveMan #Review #Reviews #SludgeMetal #Swans #UKMetal #Under #WhatHappenedInRoundwood

#apfrecords #artrock #chatpile #couchslut #experimentalmetal #freejazz

Angry Metal Guy @[email protected] · 2025-03-24 · 16:03 UTC

Kazea – I. Ancestral Review

By Iceberg

Kazea hail from Sweden, home of the Björiff and the chainsaw song of the HM2. But on their debut album, I. Ancestral, the Gothenburg trio promise to blend “the power of post-rock, the haunting melodies of neo-folk, and the crushing weight of sludge.” If the mere mention of sludge hasn’t sent you screaming from the room, good, because you’re in for a treat today. I dealt with posty sludge from labelmates Besra in my n00b days, but throwing neo-folk into the mix puts an unusual spin on the situation. While both styles revel in their simplicity of content, the open soundscapes of folk could provide much-needed contrast against sludge’s distorted chugging. Or it could devolve into a mishmash of styles that don’t share any common language. Whatever the musical case, there’s no denying the gorgeous poetry of Frederico Garcia Lorca in opener “With A Knife:” “Green, how I want you green. Green wind. Green branches. The ship out on the sea. The horse on the mountain.” Color me intrigued.

Kazea choose to separate and highlight, rather than amalgamate, their stylistic influences, a gamble that pays off more often than not. Dusky acoustic guitars reminiscent of Gustavo Santaolalla or A Romance With Violence-era Wayfarer lead the folk-inspired sections, evoking untamed, pagan wilderness (“With A Knife,” “A Strange Burial”). The sludge, which forms the backbone of Kazea’s sound, is more Melvins than Mastodon, and a lot of American Scrap-era Huntsmen, with fuzzy guitars and stomping drum patterns (“Whispering Hand,” “Wailing Blood”). Jonas Mattsson’s vocals may be a bit controversial here, with their Billy Corgan-esque nasal quality, but the more I listened to I. Ancestral the more Mattsson’s performance stuck with me. I hear shades of Layne Staley in his scrawling delivery, and while I wasn’t always able to discern the lyrics, his dynamic croon forms the beating heart of the album’s post-metal tunes (“Trenches,” “Seamlessly Woven”).

For a band handing in their debut record, Kazea slither and wind their way around 37 minutes with the hallmarks of seasoned songwriters. An air of storytelling pervades the album, with memorable spoken word fragments (“A Little Knife,” “A Strange Burial”) and ambient soundscapes (“The North Passage,” “Seamlessly Woven”) delivering post-metal’s cinematics within a sludge framework. Post-metal swells and crashes à la This Will Destroy You and Isis are found on “Trenches” and “Seamlessly Woven,” and while these are unsurprisingly the longest tracks on the record they handle their duration well, with the latter providing one of the strongest, heart-wrenching choruses I’ve heard all year long. Even “Whispering Hand,” which is something akin to pop sludge, is a radio-ready anthem full of earworms that evokes the better moments of Them Crooked Vultures.

I. Ancestral is a promising opening for Kazea’s proposed musical series, and its flaws are few and far between. Daniel Olsson’s drums are powerful, and the groove laid down in “The North Passage” marches in mammoth lockstep with Rasmus Lindbolm’s bass, but the minimalist tribal kick/toms/snare pattern begins to feel a bit overused the longer one listens to the record. “Pale City Skin” and “Wailing Blood” both start strongly but spin their riff wheels a touch too long, giving in to the tendency of both sludge and post-metal to utilize repetition for content. And while a master by Cult of Luna’s Magnus Lindberg is roomy and darkly colorful, the vocal mix does get buried in the busier sections of the album, which is a shame because these constitute some of the best music I. Ancestral has to offer (“Trenches,” “Seamlessly Woven”). But the overall impression of Kazea’s debut beats its blemishes, presenting a stark and unique voice formed from disparate influences.

“…with a knife. With a little knife that just fits into the palm.” The chilling denouement of “With A Knife” has stuck with me as I’ve ruminated over I. Ancestral. It neatly encapsulates the album, weaving shadowy, wooded energy into an unlikely combination of post-metal and sludge. The album is smartly edited and easy to pore over multiple times, with repeat listens revealing some standout moments: “Whispering Hand” is a shamelessly fun sludge anthem, and “Seamlessly Woven” is the most emotionally packed closer I’ve heard since The Drowning’s “Blood Marks My Grave.” I think Kazea have knocked it out of the park with this debut, and are on the verge of coalescing their sound into something truly remarkable. Don’t sleep on these guys.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Suicide Records
Website: Bandcamp
Releases Worldwide: March 21st, 2025

#2025 #35 #GustavoSantaolalla #Hunstmen #IAncestral #Isis #Kazea #Mar25 #Melvins #NeoFolk #PostMetal #Review #Reviews #Sludge #SuicideRecords #SwedishMetal #ThemCrookedVultures #ThisWillDestroyYou #Wayfarer

#gustavosantaolalla #hunstmen #iancestral #isis #kazea #mar25

grazil @[email protected] · 2025-02-02 · 13:49 UTC

grazil FM - Lilac Vegetal
Di,4.2.21h
Radio Helsinki (92,6 Mhz Graz/GU)
live.helsinki.at
https://www.grazil.at/di4-2-21h-grazil-fm-lilac-vegetal/

Lilac Vegetal hauen innerhalb von 11 Monaten 2 Full Length Alben und eine noisepunkige EP raus. Am 7.2. kommt "The Accursed Share" (GZ058).

#grazilfm #grazil #lilacvegetal #theaccursedshare #noise #experimental #melvins #vinyl #grazilrecords #radiohelsinkigraz #radioshow #podcast #recordlabel #freiesradio #ftz #clepecher #badmusicforbadpeople

#grazilfm #grazil #lilacvegetal #theaccursedshare #noise #experimental

Albums Albums Albums @[email protected] · 2024-11-19 · 18:05 UTC

Melvins - Ozma - 1989
#Music #AlbumSuggestions #NowPlaying #NowListening
#Melvins #Ozma

#ozma #melvins #nowlistening #nowplaying #albumsuggestions #music

Doom Disco! @[email protected] · 2024-11-17 · 09:30 UTC

#SoundtrackofToday Pigs of the Roman Empire by the #Melvins with #Lustmord #music #industrial #noise #alternative #rock #metal #ipecac #DoomDisco www.youtube.com/watch?v=HxBB...

III

#soundtrackoftoday #melvins #lustmord #music #industrial #noise