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Topics - >>>JZS<<<

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Melvins Show Reviews / Ottobar/Baltimore Aug. 31
« on: September 01, 2016, 09:05:58 AM »
First of all, Helms Alee totally Killed It !!! I bought both albums they had for sale & suggest y'all do the same.
Didn't know what to expect with the Steve M./ Melvins lineup , but it was a really great set. Dude is easily the most energetic bass player I've seen with the band & he actually changed some of the bass lines in a few songs, which changed the feel of the songs a lot, in a good way.
At the end of the Melvins set , they had helms alee come back out & both bands played a fuckin' wicked 'Night Goat' all together !!! 

 =D&gt;

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Melvins Discussion / Skinner Melvins Thing
« on: November 20, 2014, 01:44:16 AM »
just saw this...

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Melvins Discussion / Lil' Melvins Scion Car
« on: September 16, 2012, 05:43:49 AM »
 





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  THE MELVINS:  "JUDGE ME BY MY ENEMIES"
  by Chris Ziegler
 
  
            Photography by Ramon Felix

Do you still have those charred roof tiles from Hiroshima?
Buzz Osborne (guitar, vocals): How

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Melvins Discussion / The Bride Screamed Anagrams / Secret Messages ???
« on: January 20, 2011, 06:37:57 PM »

  ( The Bride Screamed Murder )

- Drummer Decides Breather       :shock:
- Drummer Baddies Rec. Three    (yes they did.)
- Retire Embraced, Shed Drum    :shock:
- Drums Embraced, Ride Three    (3rd drummer for 3rd decade ?)
- Acid Breeds Drummer Three      (you'd have to ask Mr. Willis' parents.)

....let the chaos begin.  :lol:

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   This is awesome.....

  

    :D

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Melvins Discussion / Melvins "Electric Flower" remixes 12'' (Scion A/V)
« on: December 31, 2010, 01:43:28 PM »
 

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Melvins Discussion / Worst Melvins Interview Ever
« on: July 30, 2010, 02:48:54 PM »

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From the desk of A.D.Gore...



Here is pic of me and Dale Crover from the group the MELVINS taken backstage at the 9:30 Club in Wash. DC June 16, 2010. On Dale's arm is Johnny RAMONES last stage worn sweatband that Johnny sent me in 1996. I'm holding up a picture of Johnny wearing that exact wrist band that Dale is wearing- I asked Dale if he would honor me and the late great Johnny Ramone and wear it during the MELVINS show that night. He is the 2nd person other than Johnny I let wear it to perform a show in as a tribute to Johnny and all of the RAMONES fans across the World. Dale,of course was a huge RAMONES fan and I thank him for keeping Johnny's Legacy and memory ALIVE while wearing this piece of Punk Rock history when the MELVINS played a SOLD OUT show! Thank you Dale, and all of the band who treated me so well!

                                                                                                                                                                                                                                               - A.D.Gore





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Melvins Show Reviews / Washington D.C. June 16th 930 club
« on: June 16, 2010, 11:03:38 AM »
                                                        

                                                       :D  OH HELL YEAH !!  IT'S TIME TO FUCKIN' ROCK ' N ' ROLL !!! :D

                                        

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The Melvins
The Bride Screamed Murder

By Keith Carman

Strange and unpredictable, the Melvins are scary. However, when the experimental sludge metal gods go so far beyond their own weirdness that they seem incapable of returning to our plane of existence, it's excitingly horrific. Such is the case on The Bride Screamed Murder, one of their most angular and jarring, albeit enthralling, efforts to date. Kicking off with military march/call-and-response track "The Water Glass," which grows progressively stranger and almost anti-rhythmic while still revelling in syncopation (a natural by-product of having two drummers), the album immediately rams into traditional Melvins-ish half-time guttural grind on "Evil New War God," a slow-burning, yet decimating, tune that rumbles with the invincibility of a tank crushing ants. Undaunted, The Bride continually shifts between screwball time signatures and unnervingly oppressive, indelibly appealing girth for seven more bouts, offsetting straightforward riffs with explosive drum fills, gang vocals and staccato passages that threaten to induce cardiac arrest. At that, while The Bride Screamed Murder is endlessly compelling and innately complex, it does prove a bit obtuse for the uninitiated to fully comprehend, and even long-time fans might take a while to warm up to its creative cacophony. When the moment of realization strikes, however, watch out. Epic, operatic and erratic, The Bride Screamed Murder goes for the jugular, by way of the dark side of the moon, mind you.

- This a pretty overwhelming album.

Buzz "King Buzzo" Osborne: I'm happy with it. At this point in our long career, we made a record I can consider to be one of our best ones, oddly. Usually bands put out one or two albums that are good and that's it. The rest of the time everyone says, "What happened?"

- Do you see the oddity here, even for the Melvins?

B.O. - Not really, simply because we're so close to it. It's too much of a long process to be massively surprised by anything. You see it coming and once you realize what the potential is you do your best to utilize that as much as possible. I see what we could do with something and hope we can get to that point. It isn't always easy. You think about how you fucked something up or it isn't how you intended.

- Well, I'm sure you'll get both adulation and confusion.

B.O. - Yeah, but I hope people like it 'cause I do. It came out great. I'm happy with all the songs. It's a nice little ride; I love the dynamics. We live for that. That's what I like when I hear bands.

- Ebb and flow?

B.O. - Yup. The stuff I like always has a certain strange quality to it.

- Preparing to tour must be quite involved because this album is pretty dense.

B.O. - Believe it or not, for every day of touring it takes that many days of preparation at least. You have to practice the songs, as unfortunate as that might sound. You have to rehearse this stuff because we're not one of those bands that play along to a tape. We actually have to recreate the music in a live setting.

- What a strange concept.

B.O. - Yes, but as odd as it seems, at this point in the music industry you have to give props to bands that do that because there are so many bands that don't do that.

- It's sad that things have evolved so.

B.O. - It certainly is. Milli Vanilli were ahead of their time.

- What's worse is that the music today is so simple it shouldn't be difficult to recreate live, while what you've got going on with The Bride Screamed Murder is incredibly complex.

B.O. - That's because they're horrible, stupid or just not very talented, I'd imagine. They're up there to provide pretty, not talent, and pretty is as pretty does, which is debatable. Pretty compared to what?

- You generally seem to have escaped that though.

B.O. - We've beavered away at making it work; we don't stagnate. It wasn't a simple process with this album. I'd say it was really easy if we take away all the hard work; it happened overnight if you take off the months of rehearsal and endless hours of songwriting. An overnight success if you forget the first 25 years. I take great pride in what we're doing and we work very hard on it. That's the truth.

- "The Water Glass" must have taken forever to get the way you wanted.

B.O. - The hardest part was dreaming up how were going to make it work. Once we had that down ― doing a heavy metal drum choir military cadence song and make it work, well, that's not something that just magically appears before you. First off, most bands wouldn't even try that. They couldn't be bothered.

- Where the hell did you come up with that idea anyway?

B.O. - You know what, I don't really remember. I came up with the idea to do military cadence stuff a long time ago. I was interested in it and did ten minutes worth of research, finding out no other band had done it. Then I knew we had to.

- Forced you to?

B.O. - Yeah. We weren't afraid. I knew we'd do something good with it, then we had to dream up how it was going to work. That was another story. It's like, "Yeah, I want to climb Mount Everest! That sounds like a good idea!" Now, how am I going do it? That's when the hard part starts. You actually have to make it work as a song.

- Was the rest of the album just as difficult to realize?

B.O. - Nothing's ever easy. Coady [Willis, drums, the band being completed by drummer Dale Crover and bassist Jared Warren] said that if we do something right, nobody will notice you've done anything at all. He's right; we hammer away at shit and nobody notices. We do though. That's enough. Mission accomplished. I've said it before and I firmly believe it: I've always thought I have good taste, therefore the music I write, if I have that in mind, other people will find it interesting. That's it. I go with my instincts not "What will our fans be able to handle?" I don't care about that, nor do I care about being perverse ― doing things to be weird. No, I have to like it or I couldn't be bothered. I'm not doing stuff to screw with people. However, the stuff we like to do does screw with people. That's coincidental.

- I've always seen it as you're interested in challenging yourselves to match what's in your head.

B.O. - Yes. That is it. That is it in as simple terms as you can possibly put it. I think that's what people miss; I don't even like to educate people about it. If they're on their own little journey, that's fine. I don't have the patience or time to worry about wondering what they think. I'm always amused at how far off-base people are with a lot of stuff, but it doesn't surprise me. Nothing's changed.

- You've got enough experience to know it's not worth bothering trying to correct or understand others.

B.O. - No, you just stare at 'em in weird wonderment going, "Huh? Alright... whatever you think is fine. It's certainly not what I'm thinking, but..." I always love it when people ask me what I'm listening to: "what influenced the Melvins?" Then I tell them and they don't believe it. "Oh, I listened to that and I didn't like it." Oh, then why do they ask me? If they've already made up their minds about what they think I like, why bother? I'm only going to give you the wrong answer. We got a lot of that opening for other bands, which is interesting in and of itself, to some degree. What happens is that a band pick you to play with them: Tool or Nine Inch Nails. You're in a situation where the fans are so far removed from their heroes that they've paid ― thousands of people have paid to come see this band, so they have something invested in it. They like the band, think they have some sort of connection on some level with Trent Reznor or whoever, yet they never seem to put two and two together. If they don't like the opening band, this is somebody the artist themselves picked. It shows how little of an intimate understanding they really have of these people they're making multi-millionaires. Very strange to me. Never understood it. You'd think out of pure respect you'd have a little more tolerance for what your heroes are into. Not only do they not have that, but they tend to have a massive arrogance about it, which I find to be pretty amusing as well. "Oh, I don't have to like it." Well, you don't have to do anything..."

- It's sad but kind of funny that people claim to love a band but eschew their influences.

B.O. - Nothing new either. I'm certainly not saying anything surprising. That's the case, but whatever. I'm not bitching and complaining. Usually when we go into that situation, we realize it's the case. We took a lot of heavy shit opening for bands like Nine Inch Nails. A long time ago, I realized we don't have mass appeal. I'm not the guy for that. That's not me.

- You do have lifelong fans though, not fleeting.

B.O. - I certainly understand that. They're who I make my music for. I meet people all the time who love our band, are really nice and inspire me. They understand and they're not the ones I'm talking about. It's the masses in general. That's when you run into trouble. The more people you get into one space, the lower the I.Q. It doesn't take a genius level of intelligence to understand what we do. It just takes an open mind, to some degree. Even some of our fans question that, which has never not been the case. It's always been like that in every situation of every year of our band. It's a feeling I'm relatively used to. Whatever. I can't worry about that. We move forward, keep our music interesting to us and hope that 'cause we like it others will. That's all I ask for. (Ipecac)



Melvins Frontman King Buzzo: 'The Truth Doesn't Set Me Free'
 by Matt Debenedictis
Noisecreep.com


'The Bride Screamed Murder' will get added to the unruly canon of the Melvins in under a month. The legendary frontman Buzz Osborne described it to Noisecreep as one of the better albums the 26-year-old band has put out. "Surprisingly enough," Osborne (who also goes by King Buzzo) giggled through the phone. "I think."

'The Bride' is what you would expect and not expect from the Melvins -- but that's the rule for every album from the band that seeks to never repeat. There are the fast burners that the band has focused on since the fine gentleman of Big Business (Jared Warren and Coady Willis) joined in 2006 as bassist and second percussionist. But it has long-player sibling in attitude and grace. Check out its soft bass tone and delicate balance between bright and nasty riffs; the giveaway where they meet is a sludge g-spot. 'The Bride Screamed Murder' is an album much like its elder 'Stag' for these reasons, and Osborne sees this, even admitting both albums had the same ease and jest in the studio.

"'Stag' was a really fun one for us to do. I had a lot of things I wanted to do musically that we hadn't accomplish up until that point, and it all came together nicely," the guitarist recalled. "At the time, which is really funny, it wasn't really openly received. There wasn't a lot of positive responses to that record."

The album, which was their final under the dominion of the Atlantic label in the '90s, was seen on first published reviews as a low point for the band. Of course Osborne disagrees. "I didn't think it was any worse. I don't know what people were complaining about. It was the third album we had done in three years, and it was different than the last two. Actually it was the fourth we had done in three and a half years," he corrected himself. The band put the drone-laden 'Lysol' to tape nine months before the slum riffs of 'Houdini' came out.

It seems almost a tradition but most Melvins albums that get shredded by fans and critics get rescinded later when the records get looked back on. It's almost like people are catching up to the band, finally getting what Buzzo, drummer Dale Crover and whoever was in the band at the time were doing. 'Stag' received some of the worst reviews the band has ever received, but now those 16 songs are considered a Melvins gold star of noise. "I can't figure it out," he admitted, wrestling with the rear-view judgments. "I always find those things to be interesting, and I disagree, but time will tell.

"I can't expect everyone to know what I'm thinking, and even if I explain it to them with charts and diagrams it still doesn't mean they are going to get it right. They have their own ideas of how things work regardless if I tell the truth or not. In a lot of cases the truth doesn't set me free."

Osborne explained his current acceptance that truth itself isn't necessarily an evasion, saying, "One of my favorite things as of late has been it's only a lie if you don't believe it. As long as you believe in somebody's bulls--- story, it's not a lie." But with all the years and all the studio time behind them, there is no way Osborne could really care about who says what about the records he prides -- if he did, the Melvins probably wouldn't be here now. It's been said before, but selfishness is key to keeping an art pure. "I just move forward, continuing to do what I'm doing and I'm happy people are interested"


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