Mike & The Melvins
Three Men and a Baby

Remember Mike & The Mechanics? I don't. They came up as a suggestion on Google while I was searching for Mike & The Melvins instead.
Let's listen to these Mike & The Mechanics for a moment, because I think the name of this project kind of references them and kind of mocks them. In fact, how terrible. I'm listening to The Living Years and it sounds like a forgettable track from those Eighties nostalgia compilations for dad entrepreneurs: Tears For Fears doing SHOUT SHOUT, Simple Minds—I won't even tell you the track, Sinead O'Connor whose name I can't spell, those of Sweet dreams are made of dreams whose name we don't remember, Every Breath You Take, Simply Red—I believe the singer had a visible gold tooth. The best part of the track is an awful bit with choirboy harmonies and the lead singer doing call and response vocals. How terrible.
Then the other reference is a film with Magnum PI called Three Men and a Baby, but I don't remember anything about it except the story of male parents who can remarkably take care of a child if given the right love, and the still progressive and even a bit futuristic idea that a father threesome can work. If you get the chance, watch it.

This is quite relevant because since I started listening to music as a kid, I've fantasized about powerful and heavy music like this barging into melodic contexts. I mean, in some way I need a weak counterpart to defeat with frying power chords, phlegm-filled vocals, drop D tunings, metallic basses, and cocky drums. Tell me if you do this sometimes too.

So listen to White Flag by Dido—anyway a nice track, it's also in Dolan’s Mommy—and then put this on. You can find it streaming on bandcamp.
Anyway, Chicken 'n' Dump is the classic Melvins-style slow jam. For a gentle headbanging. What else to say: classic-Melvins-style-slow-jam.
Then, Limited Teeth is a more upbeat track for pushing and jumping, with a more or less interesting melodic evolution and, above all, Dale Crover as both muse and master: there are drummers who are great at emptying and filling, right? He fills the already filled.
Furthermore, Bummer Conversation rides on the toms, has one of those grooves reminiscent of some tracks from Houdini, plus the big chorus.

Sorry for the "anyways," but I've noticed it’s the most threatening conjunction: when you're getting ready to throw down, you roll up your short sleeves to show off your arm in its entirety, you say "anyway." Since this is a throw-down album, as they would say at I 400 calci, so "anyway."

I'm not here to give you a full track-by-track, which is boring, even though when you're with friends—try it in the car—you comment on all the tracks as they come, and it's the most natural way to write about an album. It adheres to reality, I think. Anyway, the album continues by encompassing all of the '90s Melvins, and you even find Read The Label, which would have been one of the best tracks by Jane’s Addiction, Pound The Giants which is very dangerous with that crooked drum and tracked bass. Little respite.

But at least about Annalisa individually, I'd like to say one thing. Gaudy. Semitone bass riff very often cut thanks, practically noise guitars, unheard effects on the voice. A standard track from the best Melvins between the trilogy and (A) Senile Animal.
Even chronologically, we're there since this album was supposed to be released sixteen years ago and then nothing, for the serious and facetious reasons listed here. Recorded partly back then, partly last year, it was released on April 1st this year, the big joke. The Mike singing is Mike Kunka from GodHeadSilo. Maybe recommend me something; I had no idea who they were.