Melvins 1983’s Thunderball Is a Punk-Blasted Gut Punch

Melvins 1983 is back with Thunderball, and it doesn’t ease listeners in. Instead, this album of epic proportions drops like a punk rock brick, demanding attention from the onset. Unlike the slow-burning sludge rock Melvins’ fans are accustomed to in their traditional records, Melvins 1983 Thunderball is sharp, fast, and brilliantly unpolished, all while retaining the band’s original members as a nod to the days of early Washington rock. At its core, Thunderball is akin to a punk rock show with all the modern-day trappings, while retaining an original feel.

Released on April 18, Thunderball is the brainchild of Melvins in 1983, marking the band’s first full-length album in four years. The result? Nothing short of explosive. Although Melvins 1983 may confuse some listeners, this version of the Melvins taps into the band’s Montesano, Washington roots. This means listeners can expect to hear King Buzzo (Buzz Osborne) on guitar and vocals, Mike Dillard (the band’s original drummer) behind his kit, and Dale Crover on bass and vocals.

A clipped but powerful setlist undoubtedly amplifies the band’s trademark sound. Songs include King of Rome, Vomit of Clarity, Short Hair With a Wig, Victory of the Pyramids, and Venus Blood.

Even though each track is brief, it is equally relentless and brimming with unbridled energy. “King of Rome” slams into the speakers with more than a bit of chaos and plenty of vicious riffs, and the album is just getting started. Fans can expect an album reminiscent of a basement show, but it is elevated, with the occasional bouts of “bombastic” weirdness that only Melvins 1983 offers.

Here’s how King Buzzo sums it up:

“Thunderball is the third Melvins 1983 record we’ve made together, and I wanted it to be bombastic. I also wanted to do something with electronic artists Void Manes and Ni Maîtres for a long time. Both of them are exceptional talents. Their out-of-the-box use of electronics pushed Thunderball beyond my expectations.” – Buzz Osborne (themelvins.net)

Thunderball features some harsh outbursts of noise, seamlessly coupled with guitar riffs laced with ferocity, while retaining the band’s punk ethos. Dillard’s drumming is frenzied and exactly what listeners would expect on an album of this magnitude, while Crover’s bass work hits heavy and intentionally. Meanwhile, King Buzzo is more invigorated than ever, delighting with an album that lacks pretension and filler. Needless to say, this record only needs five tracks to deliver a high-octane, intentional sound.

Although Melvins 1983 is the band’s side project, this incredible, seasoned lineup of musicians still comes together with a volatile, flawless, synchronized, and wholly thrilling delivery.