"This record will give people a peak into the kind of things that influence us musically. We really like all of these songs along with the bands who actually wrote this stuff because first and foremost we are huge music fans." After thirty years of Melvins and twenty studio records, you'd have thought you might know a little more about Buzz Osbourne, Dale Crover and company, but each regular release seems to detail yet another nuance of their onionskin nature. 2012 was an obscenely busy year for the group, they had "100 shows and put out three different records with three different line-ups of the band," and "set a world record in the process by playing 51 shows in 51 states in 51 days." So, for the laymen of the world like me, this album seems an individual opportunity for clarity and a precise idea what Buzz is aiming for, whilst reiterating just how freaking hardworking the Melvins are.

Everybody Loves Sausages is a covers release which spans from the deepest depths of David Bowie's 70s drug addiction, to potent splatters of Venom and a picture book of influence with The Kinks. It really is the sound of what was on Osbourne and Crover's turntables in 83, recalled with sentiment by the Seattle-group and appearances from friends. These include: Clem Burke of Blondie, contemporary Mark Arm of Mudhoney, Scott Kelley of Neurosis, whose growls we can hear on 'Warhead' within twenty seconds of pressing play.

There's a rewarding immediacy to this release. The Commodore-64 type squelches of 'You're Best Friend' had me in stitches on the first listen; it's just so well-balanced, charming and melodious, yet you can still hear that these guys are singing through a smile. Yet the overbearing pleas of Mark Arm on the angst-riddled 'Set It On Fire' are so grasping, it's as refreshing an homage to Australia's 'The Scientists' as you're going to find.

After four and a half minutes of industrial clattering, grinding synthesisers and a cyclical, rhythmic groove, the wonderful 'Station to Station' begins: "the return of the Thin White Duke, throwing darts in lovers' eyes." This Bowie track version is multi-climaxing and jagged, reaching so many different levels in its twelve minute lifespan.

After googling your third obscure 70s punk band, you can't help but feel like you're being given an education. Osbourne is sitting you down above his parents garage and diggin' through his favourite-battered box of art-punk. Except the Jam, Roxy Music and Queen covers, nothing on there is conventional or especially renowned; I cite you the rolling, lo-fi nature of the electric 'Female Trouble'.

"Death is a coming, death is a coming in" is the mantra of The Fugs' poetic 65 album track, 'Carpe Diem'. Melvins' version is expectedly darker, juxtaposing the unrelenting poetry of the young girl and soldier with the ruling spikes of guitar. Whether it's 'If Every Dreamhouse A Heartache' or 'Heathen Earth', you can't help but live the rest of the record with this message rallying about in your head.

This is a self-serving record of a concept nature. The idea alone is refreshing, and its off-kilter nature proceeds to evolve and reform on every listen. Whilst there's only so much you can really do artistically by playing and re-arranging covers, I have no doubt that the Melvins had a brilliant recording this album. This is communicated with the listener in a really invigorating, instructive and enjoyable way.