In a fascinating effort to untangle their rich and complex history, or perhaps to create a more structured approach to their extensive release schedule, the iconic band Melvins has recently unveiled a collection of albums over the past twelve years under the moniker Melvins 1983. This name serves as a nostalgic nod to the year of their inception in Washington while strategically highlighting the heavier, less experimental sound that characterized their formative years.

This branding also sheds light on the streamlined lineup, featuring the band’s founder Buzz Osborne, alongside original drummer Mike Dillard, who departed prior to their debut EP in 1986, and the current drummer Dale Crover, a stalwart member since 1984. Crover’s noteworthy contributions include playing on a Nirvana demo in 1988, where Osborne famously recommended Dave Grohl to Kurt Cobain when Nirvana sought a new drummer in 1990.

The album Thunderball, which marks the third release credited to Melvins 1983, maintains a sonic essence similar to 2024’s Tarantula Heart. Both albums comprise five tracks, clocking in just under 40 minutes, and feature an array of innovative ideas designed to please long-time fans without becoming overly predictable. When it comes to their 28th studio album, few artists rival Melvins in delivering such consistently rewarding music throughout their careers.

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Joining Osborne and Dillard on this project are Void Manes, known for his contributions of “noise” and “creepy machine vocals,” along with Ni Maitres, who adds elements of “noise,” “upright bass,” and “hand gestures.” Interestingly, Crover does not appear on Thunderball, yet remains an integral part of the band. The incorporation of these guest electronic artists enhances the Melvins sound, seamlessly blending with the established style. An example of this is evident in the two-minute instrumental track “Vomit of Clarity,” which cleverly bridges the sparse opening track “King of Rome” to the expansive 12-minute piece titled “Short Hair With a Wig.”

Thunderball adheres closely to the band’s established formula; the muddy riffs lumber along at a deliberate pace, with some tracks extending beyond 10 minutes. “King of Rome” possesses a raw energy that could easily have been lifted from one of the band’s earlier releases. Meanwhile, “Victory of the Pyramids” maintains an unyielding intensity throughout its 10-and-a-half-minute runtime. Despite the contributions from Manes and Maires, Thunderball remains unequivocally a Melvins album, showcasing their relentless, uncompromising spirit and victorious sound, consistent with everything they have produced over the past four decades.