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Nude W/Boots [Import]

Melvins Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: CDN$ 16.10 & FREE Shipping on orders over CDN$ 25. Details
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Product Details


1. The Kicking Machine
2. Billy Fish
3. Dog Island
4. Dies Iraea
5. Suicide In Progress
6. The Smiling Cobra
7. Nude With Boots
8. Flush
9. The Stupid Creep
10. The Savage Hippy
11. It Tastes Better Than The Truth

Product Description

Product Description

2008 release from the long-running Alt-Rockers, recorded in Los Angeles earlier this year, the eleven track album cements the resurgence of The Melvins.. In 2006 the Melvins released (A) Senile Animal, some 24 years after they started the band , one of the best received records of their career. The album marked the end of a revolving door of musicians with the very welcome annexation of Jared & Coady of Big Business. The refreshed quartet, now featuring double drummers, graced the cover of The Wire, received a 5/5 in Alternative Press, a 9/10 in Revolver and favorable comments from Pitchfork. Now the band returns with Nude With Boots.

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Most helpful customer reviews
5.0 out of 5 stars melvins crush April 15 2009
By c-mo
Format:Audio CD
I`ve only been a melvins fan since 07 when i accidently stumbled onto a senile animal.had heard some of their early stuff but didn`t really like most of it,the last 3 cd`s from them are gems including nude with boots,rock metal,sludge metal or whatever you want to call it this album crushes,I`ve been a metal fan for about 30 years,and these guys somehow sound fresh in a stale category,this cd as well as the above mentioned a senile animal along with the maggot are 3 of the best metal cd`s i`ve heard for quite some time,10 out of 10
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.5 out of 5 stars  17 reviews
15 of 16 people found the following review helpful
5.0 out of 5 stars Getting in a Groove Aug. 5 2008
By Snow Leopard - Published on Amazon.com
Format:Audio CD
An amazing thing has happened with this album; it seems a lot like the Melvin's last album ("Senile Animal"). Consistency has never been a major concern for the band, but maybe they just decided not to release everything they'd come up with lately in an omnibus edition. In any case, here we are, treated with another Melvins album long after Grunge is dead, and most of the Indie bands that came after the Melvins originally helped to chart Indie in the first place (without ever making heaps of money at it) are also dead or have become self-parodies. And while all of the reviews here so far are enthusiastic, as often happens with Melvins reviews, there tends not to be a lot of detail. Here's some detail.

The Kicking Machine, at 2'44", gets things started. Yes, that opening guitar line is almost pop, but don't ignore that the song started with a gunked out drum noise and chime. If the Melvins have learned nothing else from many years of knowing Mike Patton, it's how to never miss a chance to put some odd bits together. Harmonized vocals ("little horned animals"), and up-tempo drums crisscross through the guitar lick for a bit before the "real" riff starts off; one of those marvelously non-4/4 seeming things kicking along with its unpredictable but oh-so-right changes. Boom-boom-boom, and it's over.

"Billy Fish," at 3'52", starts with a bunch of rolling drums that go on long enough to give you ample time to imagine 5 or 6 different riffs to come--but as usual the one that arrives hearkens more back to the Melvins' Houdini than anything you might have imagined. But even this proves to be a dodge; when the vocals finally set in, with Buzz's still excellent-sounding voice, the sound is grungy, buzzy, and kicking along at a grinning hyena-lope. Certainly, the endless quest for a bassist has finally been answered. Verse-chorus, and suddenly everything stops to go back to the opening drums; they weren't an introduction after all. A repeat of the buzz-grunge follows, but morphs into something completely new for the last minute of the song, though the new bit seems to follow inevitably from the front part. How do they make it all make sense?

"Dog Island," at 7'32", time-wise suggests a sludgy epic, and the opening *boom* and fuzzy down-tuned guitars and occasional tweaked high notes that escape the speakers seems to bear this out. (Check out the yummy tube-amp/Les Paul sounding notes oozing around.) Truthfully, the lick itself is probably worth the album--one of those chugging things with accents in all kinds of throat-grabbing places that only the Melvins seem to know how to do consistently. And if it just kept this up for 7 minutes, it'd be awesome enough, but at 3'20" suddenly the base drops an octave, the guitars start wailing (and you recognize where you sense this riff from, "The Maggot"), as it scoots into something else. Suddenly the bass drops again, and the vocals come in with all kinds of reverb, the sound-guy slides up the volume slider--epic begins to occur. At around 5'45", the band try to find their way out of the mood they've created, more or less, ending on the predictable cliche of drums, but the journey was still worth it.

"Dies Iraea," at 4'33" (funky spelling notwithstanding) is actually a cover of a Catholic medieval chant, the famous "Day of Wrath." (You'll know the melody, famously deployed at the beginning of Kubrick's "The Shining".) I'd guess Mike Patton suggested they cover this, but it's done with all the slow oozing power that the piece deserves, including a trailing off noisescape that manages to invoke "The Shining". (For all I know, maybe they're covering that movie's soundtrack.) At the very least, it's a stark contrast to the music that's gone before.

"Suicide in Progress," at 4'46", (if it's stoner rock at all) is mightily accelerated, but aficionados, please note (what would be) the extraordinarily complex guitar line for a stoner-rock outfit. For the first 90 seconds of the song, you might think it was a prog-rock instrumental, changing time signatures and all. Comes the full-stop, and then possibly a restatement of the song at 1/4 speed now, and a texture like many songs on "The Bootlicker". (Lyrics: "There's a little animal" ... a return from the first song? To be fair, Buzz's lyrics may make sense to him somehow, but one of the enduring joys of the Melvins is the total incongruity of the words; it's amazing Buzz can remember them.) Fade-out ... and suddenly, a brief quasi-industrial noisefest ... because that's how a proper Melvins song is put together.

"The Smiling Cobra," at 3'42", drives immediately through your forehead with another jumping, shifting guitar line intermixed with a few power chords to try to get a grip on, but generally it smashes around, off-beat accents and all, straight-ahead growling vocals ... all in the first 90 seconds. So of course you need a guitar solo then, and then morph away into a completely new riff. (It's the sound of the guitars, in particular that's so satisfying here.) You could mistake this for "typical" stoner rock, but not with headphones on.

"Nude with Boots," at 3'35", starts out more thumping drums, and then an exceptionally poppy/friendly guitar line. (Check out the bass guitar, though). And stays there ... surprise. I'd swear this was a cover, or not written by Buzz/Dale. What follows, "Flush," at 1'07", is a noisescape. Now, this is a review, not an analysis, but since (for me) "Nude with Boots" is the least satisfying song on the album for me, I find it charming that the next song flushes it, as it were. If nothing else, the swing from "pop" to "noise" couldn't be more apt as a contrast. (In an unforgivably interpretive mode, I have this dim suspicion "Nude with Boots" and "Flush" are references, maybe in title alone, to Sabbath's "Fairies Wear Boots" and "Fluff".)

"The Stupid Creep," at 1'30", gets a lot done in its 90 seconds, but is mostly a palatte-cleanser of aggressive guitars and slithering bass lines that ends before it seems to start. Guerilla punk-sludge.

"The Savage Hippy," at 3'34" (contrasting with the stupid creep somehow?) is a mini-epic--huge drums boom incessantly, while down-tuned bass creeps around at unusually low subsonics--cymbals fill the sound with white noise, lyrics (sneer-howled) are buried in the miasma, while the guitar churns out power chords and string-scratches. A huge fish-flopping death-wail, and another reason why one needs to buy Melvin albums. The "chorus" (if you can find it) pays for the disc.

"It Tastes Better than the Truth," at 5'20, closes the album with martial drum, distorted mincing vocals, rising and falling skysaw guitars, and miscellaneous screams over the top. In the sense that this stew repeats to the end, it's a drone, and belligerently anti and satisfying; certainly a toothy-grinned way to end an album, but still nice enough to be programmed out when its charms wear thin.

Bottom line. If you liked "Senile Animal," you'll almost certainly like this. If nothing else, over the years, the Melvins have gotten better at making themselves sound awesome on disc--"Ozma" and "Bullhead" sound almost like novelties. Major-label recording maybe taught them the tricks; Ipecac has (continued) to give them all the leeway they need. Results: another worthy step forward in the Melvins canon. (And for any who wonder why they keep at it--watch Buzz playing "Dog Island" and you'll see; the fire is still there. And it here too.)
5.0 out of 5 stars GO AHEAD AND START WITH THIS ONE.... April 3 2014
By wally gator - Published on Amazon.com
Format:Audio CD
I have to say that I was instantly far more impressed with this bit from 2008 then anything before it (apparently the bands 25th album....shoot...) which is a far cry more of a experimental grunge metal album, with some psychedelic stoner influence, and even a groovy instrumental. It is quite a fine recording and I believe every track has something unique to add to the mix.
This is really something special, and I don't mean special needs... sort of opens in the spirit of Mr. Bungle but takes off into it's own directions.... while others have compared this to other Melvins titles, I gotta say that as a casual listener I was instantly hooked on the better half of the material here.... Nothing that I had expected. If you are new to school, jump right into this one, crank up the stuff.
5.0 out of 5 stars A+ March 29 2013
By Jay - Published on Amazon.com
Format:LP Record|Verified Purchase
Great record. A must have for any Melvins collect. This was recalled because the records were suppose to be bent. I kept mine it works fine.
4.0 out of 5 stars Rock solid sludge/stoner metal Dec 14 2012
By A. Stutheit - Published on Amazon.com
Format:Audio CD
Rather than choosing to go down the experimental path of previous offerings (such as "Pigs Of The Roman Empire," etc.), The Melvins instead choose to further hone their traditional sludge/stoner metal sound on their sixteenth full length album. As such, 2008's "Nude With Boots" gives fans more of what they want (and were brought up with): Downtuned guitars and bass and two drummers that go absolutely batcrap, thus forming truly massive and bludgeoning walls of sound. Since debuting in 1987, this style has been copped by innumerable sludge/doom/stoner metal bands, including (but not limited to) Boris, Sunn O))), and Kylesa.

"The Kicking Machine" is a strong set opener that boasts heavy, bobbing guitar hooks and tastefully-catchy, sing-songy vocals anchored by really dexterous, energetic, and polyrhythmic drumming. "Billy Fish" has a booming, reverberating drum intro before the crunchy guitars and gloriously memorable clean vocals come in, as does a bit of deft, driving, speed punk drum slamming. "Dog Island" wouldn't be out of place on a Bongzilla or Eyehategod record, as it is a gem of pure stoner metal. The band's doomy, punching, Black Sabbath-y riffing and monstrous power chords come smashing through the mix. And the song is further highlighted by some extremely catchy vocals -- including a vocal effect that is used to excellent effect -- and a cool, martial drum roll to end.

"Dies Iraea," with its plodding tempo, ominous, echoing guitar chords and quick, rolling drum fills, could be the soundtrack to a funeral. It is immediately offset, however, by "Suicide In Progress," which is an up-tempo and punk-flavored number with a Motorhead-style, heart-racing speed punk beat, hefty, chugging riffs, solid, grumbling bass lines, and Megadeth-ian vocals. "The Smiling Cobra" work similarly, as its aggressive, fiery, Sabbath-on-steroids riffing and depressively grumbling bass comprise a very thunderous and imposing rhythm. A noisy, shredding guitar solo is also included, here, as is a concert-ready shout/sing-along part. "Nude With Boots" (the song) returns the album to its stoner metal-esque roots, with sludgy, droning, distorted guitars and bass. But it is the drumming that is of particular note, here, as this song also features some excellent, pummeling drums -- including a booming, bouncy, tom-heavy drum intro, and impeccable cymbal rides.

The final handful of tracks are curveballs of sorts. "Flush" is a hauntingly quiet and ambient interlude track of sorts, contrasted by "The Stupid Creep," which is an 84-second long blast of punk-y garage rock. "The Savage Hippy" is another terrifically trippy -- and, at times, almost industrial music-lite -- number, and so is the closing "Tastes Better Than The Truth," which has a pounding, banging, reverberating drum beat, a strong, humming bass line, and sound effects that are just plain odd and unsettling.

Just about everyone -- especially newcomers -- has two or three better and more essential Melvins releases to devour before picking up "Nude With Boots." But that should certainly not take anything away from this album, or imply that it is anything less than a strong, impeccably solid, and all-around satisfying sludge metal gem from the genre's innovators/gods.
4.0 out of 5 stars Melvins & Classic Rock? Fitting bedfellows. Jan. 9 2011
By Nicholas Foley - Published on Amazon.com
Format:Audio CD
I've been aware of the Melvins for years but took my first swim into their oceanic discography in 2008 - taking a chance on their latest album at the time. The opening song grabbed my attention with its open spaced rhythms and a classic riff that evokes "Black Dog" and the album didn't let go until the very end. Then it's repeat time. Excellent driving music. The often syncopated drum combination of Crover/Willis together with the big harmonies of Buzzo/Warren turns what could have been average sludge/stoner metal songs (the likes of which The Melvins debatably turned into a science) into songs that strike you with their enthusiastic identity. It's cool to hear so many disparate influences come together to create an album so familiar yet very unique.
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