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Melvins, "Houdini Live 2005"
Originally performed as part of All Tomorrow’s Parties “Don’t Look Back” series, the Melvins decided after they had played the gigs to actually record the album. So they hired a warehouse and ran through the set without an audience. The end result is an album that shows how ahead of its time Houdini was; it still sounds as relevant and powerful today as it did thirteen years ago.
When I first heard Houdini many years ago, I was mainly used to listening to absolute rubbish (barring the odd exception). Back then it was a revelation in heaviness and this new live interpretation allows me to listen to that album with fresh ears. It also allows me to kick myself harder for not being able to attend the Dublin performance of this album. As this album was recorded live without an audience, the sound quality is great. In many places it’s clearer and sharper than the original studio version. I think that the lack of audience adds to the tension of the pauses in the songs, the end of “Joan of Arc” being an example of this as each time it stops and stutters I expected the roars and whoops of a crowd. Instead the reverberation of the warehouse adds a touch of menace to the music.
These new versions are true to the original recordings in spirit if not always in performance. Houdini Live 2005 opens with “Pearl Bomb” (the song order is different to the original). Instead of the mechanical sounding drum beat there is Dale Crover’s drumming. It’s slightly sloppy but fits the song perfectly which is Crover’s style (he’s the sloppiest tight drummer I’ve heard). Trevor Dunn from Fantômas joins the core of Crover and King Buzzo and he plays like they were his bass lines to start with. Buzzo’s guitar and vocals both sound bigger this time around. Throughout the album he sounds like he’s shouting at me, demanding my attention.
There’s not a version of any song that is inferior to the original album. Equally, this album isn’t better or a replacement for the studio album. Instead this is like an alternative reality version of Houdini. “Night Goat” has an extended intro with Buzzo’s guitar feedbacking like a bitch before Crover comes in with some seriously fuzzed out bass. The song rears itself eventually like some monster from the depths reaching out for dinner. For me, the centrepiece of Houdini was always “Joan of Arc,” a grinding slab of heaviness. Here it is slightly faster but still maintains all of its charms. It is as close to any song comes to defining what the Melvins sound like. It bleeds from the speakers and congeals in the ear canal. Unfortunately it’s still too bloody short.
On the other hand, songs like “Honey Bucket” and “Going Blind” show a more accessible side to the band. They are still the most accessible parts of the album but pack more oomph now. Not considerably more of an oomph but more nonetheless. One track that stands out as being an out and out improvement is “Spread Eagle Beagle.” Over twelve minutes of thumping percussion from all three members of the band. In addition, Lustmord steps up the plate and adds processed percussion of his own. The song sounds huge compared to the original. The space of the warehouse is particularly audible on this track. It’s a colossal way to end the album.
As mentioned previously, Houdini Live 2005 isn’t going to replace Houdini. It does allow reappraisal of these songs. They still sound as breathtaking as they did when I first heard them. I don’t know how many bands can go back to an album like this (especially one that was never intended to be reproducible live) and provide such a wonderful reincarnation.
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