Melvins have spent decades turning slow, heavy rock into something stranger than metal ever wanted to be. The Bride Screamed Murder is their 13th album, released in 2010, and it finds the band doing exactly what they do best: burying pop hooks under mountains of distortion and letting the songs stretch out until they collapse under their own weight. This is not a record about reinvention. It is about refinement, about taking the template they built in the late ’80s and early ’90s and pushing it further into the realm of pure noise. The result is a dense, often exhausting listen that rewards patience and punishes skimmers.
Opening With The Water Glass
The album opens with “The Water Glass,” a four-minute crawl that sets the tone immediately. The riff is simple, almost skeletal, but it drags with a deliberate, oppressive pace that feels like wading through mud. The song builds slowly, layering guitars until the whole thing threatens to collapse in on itself. It is a statement of intent: this is not a record for people who want quick gratification. It is a record for people who want to be buried alive in sound.
“Evil New War God” follows, and it is a clear step up. The song is tighter, more focused, and it features some of the best guitar interplay the band has committed to tape in years. The riffs are angular and unpredictable, and the drumming locks into a groove that feels both frantic and controlled. It is the kind of track that shows the Melvins can still surprise, even after three decades of doing this.
Pig House Through Electric Flower
“Pig House” is where things start to sag. The song is not bad, but it is repetitive in a way that the earlier tracks avoid. The riff is solid, and the vocal delivery is sharp, but the middle section drags, and the song never quite finds a reason to justify its five-and-a-half-minute runtime. It is a placeholder, a track that exists to fill space rather than to make a statement.
“I’ll Finish You Off” is better. It is a shorter, punchier track that leans into the band’s punk roots while maintaining their trademark heaviness. The rhythm section drives the song forward, and the chorus is surprisingly catchy. It is one of the more accessible moments on the record, and it earns its place as a palate cleanser before the album’s second half.
“Electric Flower” is the shortest track here, and it is also one of the most interesting. The song is a strange, almost psychedelic detour, with a melody that feels both fragile and menacing. It is a brief burst of color in an otherwise grey landscape, and it stands out precisely because it breaks the pattern of the album’s heavier material. It is a welcome change of pace, even if it is over before it has fully made its case.
Hospital Up And Inhumanity And Death
“Hospital Up” is a return to form. The song is a slow, grinding beast that builds to a crushing climax, and it features some of the most punishing playing the band has done in years. The riff is relentless, and the solo that closes the track is a tour de force of technical precision. It is a highlight, and it shows why the Melvins remain one of the most influential bands in the genre.
“Inhumanity and Death” is the weakest link in the album’s second half. It is a filler track, a mid-tempo slog that offers nothing new and nothing memorable. The riff is competent, but it lacks the spark that defines the best tracks on the record. It is the kind of song that would be forgotten within seconds of the album ending, and it does not deserve to sit alongside the highlights.
My Generation And The Closer
“My Generation” is a cover, and it is the boldest moment on the record. The band takes the Who classic and strips it of its pop sheen, replacing it with a slow, dirge-like version that feels like a funeral march. It is a brave choice, and it pays off. The song is transformed into something dark and ominous, and it shows that the Melvins can take a classic and make it their own without losing the essence of the original.
The closer, “Pg X 3,” is a sprawling, six-minute epic that sums up everything the album is about. It is slow, repetitive, and it refuses to resolve itself neatly. The song builds to a crescendo that never arrives, leaving the listener feeling drained and disoriented. It is a fitting end to a record that is as much about atmosphere as it is about songwriting.
The Running Order
| # | Track | Length |
|---|---|---|
| 1 | The Water Glass | 4:16 |
| 2 | Evil New War God | 4:49 |
| 3 | Pig House | 5:30 |
| 4 | I’ll Finish You Off | 4:58 |
| 5 | Electric Flower | 3:28 |
| 6 | Hospital Up | 5:38 |
| 7 | Inhumanity and Death | 3:04 |
| 8 | My Generation | 7:39 |
| 9 | Pg X 3 | 6:20 |
The Verdict
The Bride Screamed Murder is a challenging listen, and it is not for everyone. The album demands patience, and it rewards those who are willing to invest time in it. The best tracks — “Evil New War God,” “My Generation,” “Hospital Up” — are among the finest the band has recorded, and they stand alongside anything in their catalog. The weaker tracks, like “Pig House” and “Inhumanity and Death,” are forgettable, but they are not enough to sink the record.
This is a band at the peak of their powers, making music that is uncompromising and unrepentant. It is not a record that wants to please anyone, and that honesty is its greatest strength. It is a dense, rewarding listen for fans, and a frustrating one for newcomers. But for those who have followed the Melvins for decades, this is essential listening. It is a reminder that the band remains a vital force in heavy music, and that their influence continues to shape the sound of modern rock.
- The Water Glass4:16
- Evil New War God4:49
- Pig House5:30
- I'll Finish You Off4:58
- Electric Flower3:28
- Hospital Up5:38
- Inhumanity and Death3:04
- My Generation7:39
- Pg X 36:20
