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Electroretard
Electroretard
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Electroretard
Studio album by
Melvins
ReleasedFebruary 6, 2001
Recorded1996, 2000–2001
Genre
Length42:23
LabelMan's Ruin
ProducerTim Green, Joe Barresi
Melvins chronology
The Crybaby
(2000) 		Electroretard
(2001) 		Colossus of Destiny
(2001)
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[1]
Brave Words & Bloody Knuckles6/10[2]

Electroretard is the thirteenth album by the Melvins, which was released in 2001 through Man's Ruin Records. The album contains an experiment in backmasking ("Shit Storm"), three covers, and four reworked versions of old Melvins songs. Although released on CD, it was going to see an LP release, but Man's Ruin closed beforehand. It was later re-issued on June 2, 2015, together with The Bulls & the Bees EP via Ipecac Recordings.

Track listing

[edit]
Electroretard track listing
No.TitleWriter(s)Length
1."Shit Storm"Melvins4:06
2."Youth of America"Sage9:16
3."Gluey Porch Treatments"Osborne0:47
4."Revolve"Deutrom, Osborne4:20
5."Missing"Cows4:09
6."Lovely Butterflies"Melvins6:02
7."Tipping the Lion"Osborne3:47
8."Interstellar Overdrive"Barrett, Mason, Waters, Wright9:49
Total length:42:23

Track information

[edit]
  1. "Shit Storm" – The song "Revolve" from Stoner Witch reversed[clarification needed] with added effects and drums. The version used was from Stoner Witch and not the version found on this release. Samples of other Melvins songs put in reverse[clarification needed] can be heard as well. On the re-issue, the track has been shortened drastically.
  2. "Youth of America" – Wipers cover. Later released on the 2010 12" EP "Sludge Glamorous"
  3. "Gluey Porch Treatments" – Re-recording of the song "Gluey Porch Treatments" from Gluey Porch Treatments.
  4. "Revolve" – Remake of the song from Stoner Witch. Later released as a single with a live version of "With Teeth".
  5. "Missing" – Cows cover. The song was later released on vinyl as a 7" split with Hepa-Titus in 2014.
  6. "Lovely Butterflies" – Re-recording of the song from Honky.
  7. "Tipping the Lion" – Remix of the song from Stag. Previously released on the Interstellar Overdrive 10".
  8. "Interstellar Overdrive" – Pink Floyd cover. Previously released on the Interstellar Overdrive 10".

Personnel

[edit]

Additional personnel

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Electroretard

View on Grokipedia
from Grokipedia
Electroretard is the thirteenth studio by the American band , released on February 6, 2001, through the independent label . Spanning eight tracks with a total runtime of approximately 42 minutes, the album showcases the band's and influences through innovative production techniques, including experiments and electronic elements. The record opens with "Shit Storm," a reversed and backmasked rendition of the Melvins' earlier track "Revolve," exemplifying the album's playful yet abrasive approach to sound manipulation. It features reworked versions of four classic songs—"," "Revolve," "Lovely Butterflies," and "Tipping the "—alongside covers of tracks by punk and alternative artists, such as the Wipers' "Youth of America," the Cows' "Missing," and Pink Floyd's "." Produced by and and recorded at in Van Nuys, , Electroretard represents a transitional phase for the band, blending their heavy, sludgy roots with more and electronic explorations shortly before ceased operations in 2002. Critically, the album has been noted for its quirky and experimental nature, appealing to fans of the Melvins' less conventional output, though some reviewers have critiqued its dated electronic textures and uneven execution. Originally issued on CD and limited-edition vinyl, it was reissued in 2015 as a combined package with the band's companion EP The Bulls & the Bees by , the Melvins' own label, marking its first official vinyl pressing and including a 12-page booklet with . This reissue broadened its accessibility, cementing Electroretard's status as a favorite in the band's extensive .

Background

Development

Electroretard represents the thirteenth studio album in the Melvins' discography, released in 2001 and positioned chronologically after their 1999 effort The Maggot and before their 2002 album Hostile Ambient Takeover. This placement underscores the band's transitional phase in the early 2000s, as they navigated independent releases following major-label stints. The project emerged as a deliberate effort to consolidate scattered recordings, aligning with the Melvins' longstanding experimental ethos within sludge metal, where they pioneered slow, heavy riffs blended with avant-garde elements since the late 1980s. The initial conceptualization of Electroretard took shape in the late , a tumultuous period for marked by significant lineup shifts. Bassist , who had contributed to albums like Stag (1996) and (1997), departed in 1997 amid creative differences and logistical challenges, including his relocation. Kevin Rutmanis, formerly of the noise rock band Cows, joined shortly thereafter in late 1998, bringing a fresh dynamic that influenced subsequent recordings, including The Maggot. These changes prompted the —core members and —to reflect on their archival material, setting the stage for a approach. The album was primarily recorded in 2000 at Louder Studios in . Central to the album's development was the decision to compile and rework experimental tracks accumulated over several years, highlighting the band's affinity for revisiting and repurposing earlier compositions rather than producing entirely new material. This compilation strategy allowed for the integration of diverse elements, such as electronic manipulations and reversed audio samples, drawn from sessions spanning the Deutrom and Rutmanis eras. The ' experimentation with covers and , evident in tracks like the reversed collage "Shit Storm" assembled from prior Melvins songs, originated during late-1990s creative explorations but was rooted in broader mid-decade tinkering. However, progress was hampered by persistent label transitions—after being dropped by in 1996—and relentless touring schedules that prioritized live performances over studio commitments.

Concept and influences

Electroretard serves as an experimental collection by the , blending techniques, covers of select tracks from other artists, and re-recorded versions of their own earlier material to craft a disjointed, psychedelic aesthetic. The album's opening track, "Shit Storm," exemplifies this approach through its four minutes of reversed audio layered over riffs from prior Melvins songs, such as "Revolve," creating a noisy, disorienting prelude that sets the tone for the record's unconventional structure. Other elements include reworked renditions of songs like "," "Tipping the Lion," "Lovely Butterflies," and "Revolve," drawn from the band's catalog spanning the late 1980s to mid-1990s, which are reimagined with added electronic distortions and sedate vocal deliveries to emphasize a sluggish, altered vibe. Key artistic influences on Electroretard stem from punk, noise rock, and psychedelic sources, reflected in its three prominent covers: "Youth of America" from the Wipers' 1981 album of the same name, capturing the raw intensity of Pacific Northwest punk; "Missing" (an adaptation of the Cows' "I'm Missing" from their 1991 album Peacetika), nodding to the chaotic noise rock of Minneapolis scenes; and a sprawling nine-minute take on Pink Floyd's "Interstellar Overdrive" from their 1967 debut The Piper at the Gates of Dawn, evoking experimental psychedelia. Internally, the project revisits the Melvins' foundational sludge sound from their 1987 debut Gluey Porch Treatments, integrating its primitive aggression with modern electronic tinkering to bridge their evolving discography. The album's design subverts conventional listening expectations via abrupt transitions, brief segments, and pervasive reversed audio, fostering a fragmented experience that highlights the band's penchant for sonic disruption. This electronic experimentation, including tones and collages, alters the originals into slower, more distorted forms, aligning with the title's fusion of "electro" for its synthetic elements and "retard" to connote the deliberately dragged-out, warped audio manipulations.

Recording and production

Studio sessions

The recording sessions for Electroretard were split across two periods, with initial tracks featuring bass by captured in 1996. The remaining tracks were recorded during core sessions from late 2000 to early 2001 at Louder Studios in , (tracks 2–6), and in , (tracks 1, 7–8), yielding approximately 42 minutes of material in total. During these sessions, the core band lineup featured on guitar and vocals, and on drums. Bass was provided by on tracks 1, 7, and 8, and by Kevin Rutmanis on the others. The process encountered challenges from ongoing instability at their label, , which ultimately folded shortly after the album's completion, limiting the original vinyl release to test pressings only. Despite incorporating experimental elements such as , the band emphasized a raw, live-feel approach to the recordings.

Technical experimentation

The production of Electroretard prominently featured backmasking as a core experimental technique, where audio segments were reversed to generate disorienting, eerie effects that enhanced the album's psychedelic and noise rock elements. This approach is exemplified in the opening track "Shit Storm," a four-minute backmasked rendition of the Melvins' earlier composition "Revolve" from their 1994 album Stoner Witch, overlaying reversed riffs and vocals to create a chaotic, submerged sound. Similar reversed audio appears in reworked tracks like "Gluey Porch Treatments"—a reworked version of the title track from the band's 1987 debut—and in album transitions, contributing to an overall sense of auditory instability and thematic cohesion. These backmasking elements were achieved through analog tape manipulation, aligning with the Melvins' ethos of avoiding digital processing in favor of raw, tactile experimentation. Recording and mixing duties were split between engineers and , reflecting the album's blend of punk-influenced aggression and density. Green handled the recording and initial mixing for tracks 1 through 6, including the backmasked opener and covers like "Youth of America," emphasizing unpolished, high-energy punk textures with minimal overdubs to preserve organic intensity. Barresi oversaw tracks 7 and 8, such as the sludge-heavy "Tipping the Lion," applying a thicker, more viscous production that amplified low-end rumble and dynamic shifts without excessive layering. This division resulted in raw mixes that prioritized the band's live-wire foundation, avoiding commercial polish to maintain an edge. Additional techniques included speed variations and tape loops, which further distorted rhythms and textures, as heard in the nine-minute epic "Youth of America" (a cover of the Wipers' original), where tempo fluctuations and looped segments build tension through meaty, gnarly sonics. Electronic glitches were integrated via the MS-2000 (credited as RMS 2000 in ), adding bleeps, blurts, and robotic undertones to tracks like "Lovely Butterflies," seamlessly merging the sludge core with experimental noise without relying on digital effects plugins—all effects derived from analog hardware and tape-based methods. This minimalist approach, with sparse overdubs, underscored the album's conceptual focus on sonic deconstruction, distinguishing it as a high-impact exploration in .

Musical content

Style and structure

Electroretard exemplifies the ' experimental approach to , incorporating elements of and through its fusion of slow, heavy riffs with abrupt electronic interjections and frantic punk-infused bursts. The album's sonic palette draws on droning guitar textures and unconventional effects, such as and synthesized blips, to create a disorienting yet cohesive listening experience that prioritizes textural exploration over conventional songwriting. The structure deviates from linear progression, featuring a non-linear flow where short, interludes—such as the 47-second rework of ""—bookend and interrupt longer, jam-like explorations, including the nine-minute cover of Wipers' "Youth of America." Spanning 8 tracks with a total runtime of 42 minutes, this arrangement emphasizes fragmentation and contrast, with noise collages and mood shifts providing a sense of deliberate disruption rather than seamless transitions. In comparison to the band's next release, Colossus of Destiny (2001), which consisted primarily of original instrumental compositions, Electroretard is notably more cover-heavy, featuring three reinterpretations of external material alongside four reworked tracks and only one new original, thereby shifting focus toward creative reexamination of influences and past work. This emphasis on reinterpretation marks a departure from the exploratory but original-driven jamming of Colossus. Central to the album's identity is its "retarded" pacing, achieved through intentional slowdowns and rhythmic interruptions that subvert traditional conventions of unrelenting heaviness; tracks like "Missing" drag with bass-heavy deliberation, while electronic floods halt momentum, evoking a sense of manipulated time and tension release. This technique underscores the ' penchant for deconstructing genre expectations within their broader oeuvre.

Track listing and analysis

The album Electroretard features eight tracks that blend original compositions, re-recordings, and covers, with backmasking employed across all tracks to create an eerie, reversed sonic texture that underscores the project's experimental nature. Covers make up half the album, allowing the Melvins to reinterpret punk and psychedelic influences through their sludge lens, while the originals and reworkings highlight Buzz Osborne's songwriting dominance. The track list is as follows:
No.TitleWriter(s)LengthNotes
1"Shit Storm"Osborne4:06 original (backmasked version of "Revolve")
2"Youth of America"Sage9:16Wipers cover
3"Gluey Porch Treatments"Osborne0:47 re-recording
4"Revolve"Deutrom/Osborne4:20 original
5"Missing"Cows (as "I'm Missing")4:09Cows cover
6"Lovely Butterflies"Osborne6:02 original
7"Tipping the Lion"Osborne3:47 original
8"Interstellar Overdrive"Barrett/Mason/Wright/Waters9:49 cover
"Shit Storm" opens the album as a fully backmasked rendition of "Revolve," layering reversed riffs with glitchy electronics to establish the backmasking motif and disorient the listener from the outset. This track's experimental deconstruction sets a tone of sonic reversal, contributing to the album's overall theme of without forward momentum. The extended "Youth of America" transforms the Wipers' punk classic into an epic, nearly ten-minute extension, amplifying its raw energy with drawn-out noise and minimalistic repetition to evoke a sense of relentless decay. This cover exemplifies the ' ability to stretch roots into heavy, experimental territory, using subtly in transitions to heighten tension. At just under a minute, "" serves as a brief, re-recorded nod to the band's early work, infused with electronic glitches and reversed elements that nod to their raw origins while fitting the album's distorted framework. It acts as a transitional breather, underscoring Osborne's foundational role in the ' sound evolution. "Revolve," presented in a reworked form, builds on its original from with added electronics and backmasked undertones, creating a groove that contrasts the preceding chaos and highlights the collaborative writing between Deutrom and Osborne. This track's layered production emphasizes the album's focus on sonic experimentation over straightforward reproduction. The cover "Missing" (originally "I'm Missing" by Cows) delivers a shorter, punchier reinterpretation, opening with Osborne's spoken-word intro and incorporating to lend an unsettling vibe, tying into the ' connections with peers. It contributes to the album's reinterpretative spirit by preserving the original's manic energy while adapting it to the aesthetic. "Lovely Butterflies," an original anchored by 's composition, unfolds over six minutes with brooding riffs and reversed audio effects, providing a mid-album that balances the covers' aggression with introspective . Its role lies in demonstrating the band's capacity for melodic depth amid the experimental noise. "Tipping the Lion" offers a concise original showcase for , enhanced by glitchy , serving as a rhythmic pivot that bridges the album's heavier moments with psychedelic flair. This track reinforces the ' penchant for compact, impactful structures within their broader experimental palette. Closing with the nearly ten-minute "Interstellar Overdrive," the cover extends into a psychedelic jam, featuring a backmasked intro that spirals into noisy , encapsulating the album's fusion of retro influences and modern distortion. As the epic finale, it highlights the reinterpretation theme, transforming the original's space-rock into a sludge-drenched exploration of chaos and release.

Release and promotion

Initial release

Electroretard was originally released on February 6, 2001, through the independent label as a with catalog number MR2002. Limited vinyl test pressings were also produced under catalog number MR2003 A/B, though no official vinyl edition materialized at the time due to the label's impending collapse. Promotion for the album was minimal, consistent with the constraints of a small indie label, and primarily leveraged the band's ongoing Electroretard Tour throughout 2001, which featured live performances of material from the record alongside reinterpreted older tracks. The artwork, credited to , incorporated abstract and distorted visual elements that aligned with the album's experimental sonic approach. No singles were issued to support the release. The album arrived amid severe financial woes at , including operational standstills and lease issues exacerbated by the dot-com bust, which ultimately led to the label's closure by early 2002. Consequently, initial distribution and sales were restricted to the ' core audience in the and scenes, making early pressings scarce and now highly sought after by collectors.

Reissues and formats

Following the collapse of in 2001, which left Electroretard and unavailable in vinyl format despite initial plans for an LP release, the album saw several reissues to restore access for fans. In 2015, —founded by guitarist —reissued Electroretard bundled with the band's 2012 EP The Bulls & the Bees as a compilation titled The Bulls & the Bees + Electroretard. Released on June 2, this edition appeared in CD format (catalog IPC169CD) and marked the first physical reavailability of the original album since its debut. No new tracks were added, preserving the album's eight-track tracklist alongside the EP's five tracks. The first official vinyl pressing of Electroretard arrived in 2020 via (catalog AmRep 134), available as a limited numbered LP in variants such as clear with pink splatter and glow-in-the-dark editions, alongside a standard CD . This standalone edition featured updated artwork by Haze XXL but no additional content. In 2023, Ipecac followed with a 2LP of the 2015 compilation (catalog IPC255LP), pressed on canary yellow vinyl in a limited run with an orange-and-yellow splatter variant; it included a 12-page booklet with discussing the album's production techniques, including the experiment in "Shit Storm." Earlier limited editions included self-released CDs in 2012 (50 numbered copies with letterpress sleeves for tour sales) and 2013, while unofficial 2012 vinyl pressings in colors like and circulated among collectors but lacked official sanction. Digital formats became available in the 2010s through platforms like and , expanding accessibility beyond . The original 2001 release remained CD-only, with vinyl promos limited to internal use.

Personnel

Band members

The Melvins' lineup for Electroretard (2001) highlights a transitional phase in the band's history, with longtime core members and anchoring the project amid changes in the bass position following Mark Deutrom's departure in 1998. This draws from unreleased recordings spanning the mid-1990s to early 2000s, reflecting the evolving roster during that era. (also known as King Buzzo) handled guitar and lead vocals across all tracks, while serving as the primary songwriter for the original compositions, excluding covers like the Wipers' "Youth of America" and Pink Floyd's "." His riff-heavy style and vocal delivery defined the album's and experimental elements. Dale Crover contributed drums on every track, with occasional backing and lead vocals, providing the rhythmic foundation that propelled the band's signature slow, heavy grooves. His multifaceted role extended to additional instrumentation like guitar and organ on select pieces. Bass duties were split between former member and then-current bassist Kevin Rutmanis, underscoring the album's patchwork origins. Deutrom, who had been with the from 1993 to 1998, played bass on tracks 1 ("Shit Storm"), 7 ("Tipping the Lion"), and 8 (""), marking his final credited contributions to the band before leaving to pursue solo projects. Rutmanis, who joined in 1998, handled bass on the remaining tracks from 2000–2001 recordings including "Youth of America" and "Missing," also adding backing vocals, slide bass, and string arrangements to enhance the album's sonic experimentation.

Additional contributors

Tim Green, a musician and engineer associated with the drone metal band , handled engineering duties for tracks 1 through 6 on Electroretard, which encompass the album's backmasking experiment in "Shit Storm," cover versions of songs by the Wipers and Cows, as well as reworked tracks. Michael Rozon contributed mixing for those same tracks 1 through 6. Joe Barresi engineered and mixed tracks 7 and 8 ("Tipping the Lion" and "") at his Pasadena studio, Joe's House of Compression (also known as JHOC). John Golden mastered the album at his Bay Area studio. The original 2001 release featured artwork by poster artist and designer . Subsequent reissues, including the 2012 self-released numbered CD editions (limited to 50 copies plus variants) and the 2013 Trick or Treat Bundle (33 copies), incorporated letterpress sleeves and alternative artwork designed by . No additional session musicians appear on the album beyond guest bass contributions from former member on select tracks.

Reception and legacy

Critical response

Upon its release, Electroretard received mixed reviews from critics, who appreciated its bold experimental approach while often pointing to inconsistencies in execution. users rated the 3 out of 5 stars. Retrospective assessments have maintained a middling consensus, positioning the as a niche curiosity rather than a cornerstone in the ' discography. On , it holds an average rating of 3.0 out of 5 based on 670 user ratings, with many describing it as quirky and engaging for fans of experimental noise but not essential listening. shows an average score of 50% from 2 reviews, valuing its raw energy despite structural flaws. Common critical themes include strong appreciation for the band's inventive takes on tracks like the and Wipers covers, which showcase psychedelic reinterpretations true to the album's experimental style.

Cultural impact

Electroretard marks a pivotal shift in the , bridging the band's foundations of the 1990s with the experimental and collaborative ventures of the , as evidenced by its blend of reworked classics and unconventional production techniques. This transitional role is highlighted by the album's structure, which includes covers and backmasked elements that prefigure the avant-garde covers on later releases like Pigs of the Roman Empire (2004), where the band similarly reinterpreted external material in a noisy, deconstructed framework. In the broader genre landscape, the album underscores the ' role in fusing with punk influences, creating a raw, crossover sound that defined underground heavy music. Its experimental use of , particularly on the opening track "Shit Storm," exemplifies the band's push toward territory, incorporating reversed audio to disrupt traditional song structures. Following the 2001 release on the short-lived , Electroretard went out of print for over a decade, elevating its status among collectors due to limited original CD and planned vinyl pressings that never materialized. The 2015 reissue, bundled with The Bulls & the Bees, restored accessibility while preserving its cult appeal; tracks like the cover "" have appeared in the band's live sets and retrospective compilations. Lacking mainstream chart performance, the has sustained underground acclaim for its bold , solidifying the ' enduring influence on and experimental metal scenes without relying on commercial metrics.

References

  1. https://rateyourmusic.com/release/album/melvins/electroretard/
  2. https://www.discogs.com/master/473111-Melvins-Electroretard
  3. https://www.flyingnun.co.nz/products/melvins-the-bulls-the-bees-electroretard
  4. https://www.themelvins.net/wiki/index.php/Electroretard_%28album%29
  5. https://www.allmusic.com/album/electroretard-mw0000586738
  6. https://melvinsofficial.bandcamp.com/album/the-bulls-the-bees-electroretard
  7. https://musictalkers.com/reviews/7770-melvins-return-to-original-lineup-for-raucous-new-album-working-with-god
  8. https://riffipedia.fandom.com/wiki/Melvins
  9. https://riffipedia.fandom.com/wiki/Kevin_Rutmanis
  10. https://riffipedia.fandom.com/wiki/Electroretard
  11. https://popdose.com/reissue-review-melvins-the-bulls-the-bees-electroretard/
  12. https://the-avocado.org/2021/02/28/artist-spotlight-melvins-or-how-to-leave-town-before-the-gold-rush-part-6-of-11/
  13. https://www.metal-archives.com/reviews/Melvins/Electroretard/11724/Planetsabbath/2516106
  14. https://www.discogs.com/release/399398-Melvins-Electroretard
  15. https://www.themelvins.net/wiki/index.php/Electroretard_(album)
  16. https://www.mediasurfer.ch/2022/09/melvins-electroretard-2001.html
  17. https://www.metal-archives.com/reviews/Melvins/Electroretard/11724/
  18. https://www.discogs.com/release/15365594-Melvins-Electroretard
  19. https://recordcollectormag.com/reviews/album/bulls-bees-electroretard
  20. https://www.sputnikmusic.com/review/5178/Melvins-Electroretard/
  21. https://unearthed.com/album-review/melvins-electroretard-cd-review/
  22. https://bravewords.com/news/melvins-electroretard
  23. http://thesludgelord.blogspot.com/2015/07/melvins-bulls-bees-electroretard-album.html
  24. https://smellslikeinfinitesadness.com/the-melvins-the-bulls-the-beeselectroretard-review/
  25. https://genius.com/albums/Melvins/Electroretard
  26. https://www.metal-archives.com/albums/Melvins/Electroretard/11724
  27. https://www.setlist.fm/stats/concert-map/melvins-63d68a43.html?tour=5bd657cc
  28. https://monsterriff.com/2020/07/25/the-rise-and-fall-of-mans-ruin-records-empty-pleasures-and-desperate-measures-from-1994-2002/
  29. https://www.shoxop.com/products/melvins-electroretard-lp-reissue-set-of-all-3-editions
  30. https://www.discogs.com/master/895379-Melvins-The-Bulls-The-Bees-Electroretard
  31. https://www.themelvins.net/8-melvins-news/198-amrep-announces-electroretard-reissue
  32. https://www.metal-archives.com/bands/Melvins/1702
  33. https://www.joebarresi.com/
  34. https://www.discogs.com/label/335602-Joes-House-Of-Compression
  35. https://www.shoxop.com/products/melvins-electroretard-lp-reissue-mackie-letterpress-edition
  36. https://www.discogs.com/master/40163-Melvins-Lustmord-Pigs-Of-The-Roman-Empire
  37. https://www.revolvermag.com/music/how-melvins-invented-sludge-ugly-spawn-punk-and-metal/
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