Earlier this month, I wrote about the long-lost collaboration between godheadSilo‘s Mike Kunka and The Melvins — the creatively titled outfit, Mike and The Melvins. As the story goes, when godheadSilo went on what eventually turned out to be a permanent hiatus in 1998, Kunka busied himself by tagging along on a tour with The Melvins. And at some point the members of The Melvins — King Buzzo (guitar, bass, vocals), Dale Crover (drums, vocals) and Kevin Rutmanis (bass, vocals)– along with Kunka decided to record an album together. The thrilled folks at Sub Pop Records agreed to fund and release the indie All-Star act’s effort, and the newly minted quartet went into the studio in 1999 with the album slated for release back in 2000. Unfortunately, after some self-described “junior-high level bullshit,” some record label disputes, an illness or two, surgeries and stolen gear, and fortunately some children, the then-unfinished album would up languishing and collecting dust on someone’s shelf — that is until last year, Kunka, King Buzzo, Crover and Rutmanis surprisingly reconvened, finished the album now titled Three Men and a Baby and sent it to Sub Pop Records, who then promptly scheduled its release for April 1, 2016.
Now you might recall that “Chicken n Dump,” the first single off Three Men and a Baby was a punishingly loud, mosh-pit worthy song consisting of layers of sludgy power chords, crunchy bass, thundering drumming, howled vocals and shout along-worthy hooks. And what made it particularly interesting to me was the fact that it managed to sound as though it were released 20 years ago while being remarkably contemporary as the song sonically speaking compares favorably to the likes of Nirvana, Soundgarden — and even METZ. Three Men and a Baby‘s second and latest single “Limited Teeth” has the quartet pairing layers of sludgy power chords, insistent and forceful drumming, a sneering yet anthemic hook and howled vocals to create a song that sounds as though it draws from Reign in Blood-era Slayer and death metal, as the song is abrasive and punishingly loud; in fact, it may be even more punishing than the album’s first single — while being equally mosh pit worthy.