Melted Bodies thrive on chaotic energy and unflinching honesty. Hailing from the Los Angeles underground scene, they’ve built a reputation on live shows that are as unpredictable as they are thrilling. With their 2020 debut, Enjoy Yourself, they delivered a raw, unfiltered album that was widely praised, making it one of Bandcamp’s standout metal records that year. But for their latest release, The Inevitable Fork, the band is pushing their music in a new direction, exploring deeper and more introspective themes.
Bassist Houda Zakeri offers insight into the ideas behind this new project. “The Inevitable Fork is a more personal and internal look than our first album,” she explains. “We all reach a fork in the road: Do I stay on the safe and steady course, or am I willing to challenge myself?” she asks. The album dives into that question without promising a resolution, embracing the turmoil of self-doubt and fear. “As we get older, we fall into comforts, whether they are emotional, physical, or financial. Are we prepared to put ourselves in uncomfortable situations to keep growing, or will we stay on the familiar path? We don’t have the answer, and this album is a release of the anxiety, depression, and past trauma we all carry within us.”
The band’s creative process revolves around vocalist Andy Hamm, whom Zakeri calls their “mad scientist.” “He is a unique and deeply personal songwriter, both lyrically and musically. Our typical process begins with him writing demos, and as we learn our parts, things start to shift, and each of our personalities begins to shape the song. The full-length album consists of three EPs that together tell a complete story. Each of the EPs has a different tone, both musically and lyrically, and even my bass tone changes. In Vol 1, I used the JHS Smiley for the main grit; in Vol 2, I used the Sunn O))) Life, and now I’m currently using the EarthQuaker Hoof.”
“Don’t sleep on the bass EQ, folks! This is a staple on my board and helps give things more beef or grit, depending on what is needed.”
For any bass enthusiast, Zakeri’s rig is a story in itself. She’s particularly proud of her 1976 Rickenbacker 4001, a dream bass she’s coveted since her teenage years. “It was the venn diagram of Cliff Burton and Rick James playing that bass that showed how versatile an instrument it is. Also, you can’t deny how cool it looks (have you seen the cover of Street Songs?). For touring, though, I’m currently using a 1971 Univox Hi-Flier. I use a different bass for touring because the Rick is so heavy that playing it back-to-back takes its toll, and I couldn’t bear having it get damaged or lost in transit. I like to stick with vintage tones, specifically from the ’70s, because of the warm tone due to their coil pickups. When I get a newer bass, I lean towards Serek Basses, based in Chicago. My pedals have a revolving-door feel, as you can tell by the different fuzz/overdrive I used in recording. I’m a big fan of the more boutique US companies like EarthQuaker Devices, Old Blood Noise Endeavours, Death by Audio, and JHS. Currently on my board are: Ibanez Tube Screamer, a custom-made Lizard Queen clone with EQ added from Nokill (an impressive dude from Portland who hand-makes every pedal), EarthQuaker Hoof and Grand Orbiter, EHX Pitch Fork and Bass Clone, OBNE Dark Star pad reverb, and Boss DD-5, GEB-7, and tuner (duh!). Don’t sleep on the bass EQ, folks! This is a staple on my board and helps give things more beef or grit, depending on what is needed. All that is played out of a Quilter Bass Block 800, which is so light yet so powerful, and a 1980s Fender Bassman 2×12.”
When it comes to crafting bass lines, the band’s approach is rooted in a collective spirit. Hamm’s demos lay the groundwork for the interplay between bass and guitar, but it’s the live sessions where the songs take on their final form. “When Scott plays the drums part live, his style and swing come into play, and I can hear pockets that demo drums don’t have,” Zakeri notes. The process involves a lot of give-and-take, with ample space left intentionally in the demos for Zakeri to “add something cool,” as in the newer tracks Something is Wrong and Splitting. Throughout the recording process, the band prioritises what’s best for the song, with a flexible approach to layering riffs and licks, ensuring they can dial back if it ever feels too crowded. “With Melted Bodies, you have to put your ego aside,” she admits. “You have to be able to say, ‘Although I love that riff, it’s too busy once everything comes together.’”
Translating these layered sounds between the studio and the stage presents its own challenges, but Zakeri has a practical strategy. In rehearsals, she uses a different cab than in live settings, simplifying logistics while preserving tonal consistency. During gigs, she usually works with a backline cab, and the Quilter amp’s straightforward setup helps maintain a reliable sound, regardless of the room’s acoustics. “We all know how the shape and size of the room affect the tone, so the simplicity of the Quilter amp and the Boss GEB-7 pedal really helps the tone translate between spaces,” she says.
Keep an eye on Melted Bodies to see where they go next.