P***k

Album Review

Whipped up strictly as a bit of fun by the band – and also allegedly as a cheap way of getting some money to finance the full Stoner Witch sessions – P***k is barrel-scraping with something of a purpose. Figuring that their rabid fanbase wouldn't mind something that for most other bands would have been the kiss of death, namely a collection of jams, jokes and live oddness, the Melvins packed P***k as full as they could and let it loose on the world. Recorded for the most part in England (which likely explains the presence of "Underground," a found-sound piece taping various buskers around Tube stations), P***k probably could have been made in a day, which was likely the point. Unlike the more focused attack of the Houdini and Stoner Witch albums, or even the structured overdrive of Melvins itself, say, P***k is just one big goof, intentionally so. Samples of political rallies and revivals, random jams that die out, mock country twanging and more surface throughout. "Montreal," which consists of little more than feedback, occasional drums and audience cheers and abuse from a show in said city, pretty much defines the the album as a whole. Finest oddball moment: "Pure Digital Science," where one of the band quietly rasps in an obviously fake Brit accent "And now, for your listening pleasure, a few moments of pure…digital…silence!," which is followed by just that. Nearly as great – the opening notes of "Pick It N' Flick It," where a initial drum rumble shifts into the most hilariously over the top metal guitar solo ever, hands down. Credit for Osbourne for coming up with that gem — sad thing is too many bands would spend serious time trying to get that kind of effort for real.