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Monster Magnet - Mindfucker album review

New Jersey’s veteran space rockers go into cruise control

Cover art for Monster Magnet - Mindfucker album

By the time a band’s discography has reached double digits, they’ve usually established their schtick pretty well. And unless that schtick involves unpredictable genre-hopping, leaving the listener unsure what to expect from each successive release, surprises are usually thin on the ground. So it’s with some shock we learned that Monster Magnet’s 11th album consists of one single track of experimental, electro-symphonic folk-punk. Just kidding, folks. In the 27 years since Spine Of God’s release, Dave Wyndorf and co have never knowingly learned anything new… except perhaps for yet more efficient ways to skin up. Mindfucker comprises 10 tracks of utterly unremarkable, good-time rock’n’roll that barely possess two original ideas between them. Dave’s voice, not what it was after nearly 30 years in the business, is (deliberately?) buried in a muddy mix, but not so much that it’s impossible to make out the frankly mind-bending number of times that he sings the word “bay-bay”. Sixteen. Sixteen times.

But just as you’re losing hope, and the ability to hear Dave sing THAT word one more time, When The Hammer Comes Down hits you with the album’s best riff. In fact, the whole song absolutely slams, which makes the fact it’s the final track that much more egregious. Look, all of these songs are probably going to sound brilliant live and if you dig Monster Magnet’s back catalogue, then you’ll find something to enjoy on Mindfucker. Listen to it and you’ll probably have a good time. But why would you, when you can light one up, put on Powertrip, and have a fucking brilliant time instead?