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Melvins Show Reviews / 05 Sep 2017 - Phoenix, Crescent Ballroom
« on: September 05, 2017, 12:45:33 PM »
PLEASE - a full round-up of the evening's events AND a thorough going-over of every inch of Walsby's Table.

Thank you in advance.

Melvins Show Reviews / 05 July - San Diego, Casbah
« on: July 05, 2017, 11:41:24 AM »
Not long to go. Enjoy the show, ladies and gents! Hi-res photos of the merch and Walsby's beard, please.

Melvins Discussion / Melvins Quizzes
« on: May 27, 2017, 11:49:47 AM »
Here's a Melvins Album quiz on

Melvins Discussion / Fecal Matter's Music
« on: May 23, 2017, 12:37:35 PM »
Fecal Matter's (Dale Crover, Kurt Cobain, Greg Hokanson) music is now available on YouTube and seems to have been bootlegged again on vinyl. Buzz and Mike Dillard joined a while after this session was recorded. See also Brown Towel.

Melvins Discussion / BASH-17 Compilation 10"
« on: April 27, 2017, 10:09:31 AM »
Show-only 10" on the cards:

Don't remember seeing this before.

When the phrase ‘hard working band’ comes up, The Melvins spring to mind. They are constantly on the road, writing music, doing press and collaborating with other artists. The Melvins are an amazing band too and their influence on alternative music is arguably unparalleled. After all, they did influence Nirvana. Getting a chance to speak to the legendary drummer Dale Crover, we talked about their collaboration with Mike Kunka, their latest album Basses Loaded, touring, and their future plans.

Jack: Hi, thanks for taking the time to speak to me. How are you doing?

Dale: I’m doing just fine! I’m in Sweden and dudes with long hair and moustaches are wearing tight shorts and going shirtless! Evidently it’s summer here.

Jack: Three Men and a Baby, your collaborative studio album with Mike Kunka was finally released in April. Are you happy with the response?

Dale: People seem to like it. I haven’t heard any complaints, really. I’m sure someone has complained but that’s nothing new.

Jack: The album was first recorded in 1999 but was only finished in 2015, what was the reason for the long delay?

Dale: The reason for the delay was that Mike Kunka went on a Bigfoot hunting expedition in the Olympic National Forest and was never heard from again. We feared he was captured or worse, dead! A few years ago, out of the blue we received a telegram that he was alive and well and ready to finish the record.

Jack: The album was finished with long time Melvins associate Toshi Kasai engineering and mixing the album. What do you like about working with him?

Dale: He makes a mean cappuccino that rivals any Auto Grill in Italy. Got to have those performance enhancing beverages when recording the devil’s music!

Jack: You released your album Basses Loaded on the third of June which has received good reviews from many websites and magazines. Do you get nervous before the release of an album?

Dale: Nervous about what? What some computer nerd with a blog thinks about our music? About whether the chimpanzee, hipsters at Pitchfork are going to like our new record or not? I can’t really be bothered with any of that. Like it or not, we’re here to stay and that’s that!

Jack: The album features multiple bass players who have association with Melvins over the years as well as Dale on bass. What inspired this collaboration? Also given everyone’s tight schedules? How long did this collaboration take to occur?

Dale: It was more of an accident really. We’d amassed a large amount of recording with various line-ups of the band over time and realized there was a record in there. It just so happens that there were multiple bass players on the sessions. There were no big plans for that. Funny how things work themselves out!

Jack: You reworked Benny Bell’s ‘Shaving Cream,’ for the album. Why did you decide to do this?

Dale: That would be the Melvins 1983 doing that cover. That version of the band is forever stuck in the eight grade. Fart humour will always be funny!

Jack: Is there any significance to the song that each musician plays on?

Dale: Not really, maybe a few songs were given to one player or another. It was more like who was around at what particular time.

ack: What was it like working with Krist Novoselic?

Dale: It was great! Not only did he play bass but he played accordion too!

Jack: The album was released on Ipecac which you’ve worked with since 1999. What was it like working with them?

Dale: Ipecac is awesome! We couldn’t be on a better label, which is why we’ve worked with them for so long.

Jack: How did your recent tour of America with Napalm Death and Melt Banana go?

Dale: That was a great tour! We had plans for that for a long time. We knew it would be a good idea. Lots of the shows were sold out!

Jack: Have you been a fan of both these acts for a long time?

Dale: Yeah, of course.

Jack: You’re doing a few UK shows in June, what keeps bringing you back to the UK?

Dale: The English “can do” attitude that you chaps have!

Jack: Will we see any new albums from The Melvins in 2017?

Dale: Oh, I’m sure of it. Hopefully with a few surprises!

Jack: Finally what is the status of a release date for The Colossus of Destiny?

Dale: It premièred in LA already and hopefully will see some other screenings. It’s not our thing though. We’re not really involved with it other than being the subject matter.

Melvins Discussion / June 2016 - Buzz interview at Leeds Brudenell
« on: March 23, 2017, 07:29:37 AM »

The Melvins
By: Steve Fallows

When The Melvins played in Leeds a few weeks ago, Steve Fallows managed to have a little chat with frontman Buzz Osborne, in which he asks him about the new album, playing festivals and more.

(((o))): Thanks for taking the time to talk to us today. You played Hellfest on Friday night before coming over to the UK for these club shows. How does it compare playing such radically different venues in such a short space of time?

Buzz: We’ve been doing this for a long time now, so it’s not too big a deal, but we much prefer doing these shows. For one it gives us the chance to perform a full set, and also we are playing to our own fans, not just people who are waiting around for whoever might be on after us. If I was financially independent, I definitely wouldn’t do any of the major festivals. You see Black Sabbath playing all these huge festivals around Europe, why would they want to do that? They can play arenas and make millions from their own shows. I don’t see why anyone who had enough money would want get involved in that. I don’t understand that at all.

That said, Hellfest is a little different. They really have made that about the music and the bands. You get an hour between bands so that you have time to set up and get ready, other festivals it all seems rushed and it’s not about the shows at all, just a conveyer belt of people.

(((o))): You were booked to headline the Temples Festival before it was cancelled at short notice. How do these cancellations affect bands, especially when coming from overseas?

Buzz: It didn’t affect us too badly as we weren’t coming over just for that show. We knew a while back that something was wrong, but we only know what we have been told and maybe not what actually happened. It’s unfortunate that these things happen, but they happen. We heard from bands that hadn’t been paid from last year, and you tend to know when things don’t look good.

(((o))): With ATP collapsing as well recently, do you think think it’s reached saturation point with festivals, or are they specific examples of how not to run them?

Buzz: I don’t think it’s that, I think sometimes people don’t like to admit when they are beat. When we curated the festival (in 2008 alongside Mike Patton) everything worked out really well. It seemed like a really well put together event, I know they have had a lot of issues with shows recently, but I don’t know why that happened. They can’t all be related to ticket sales.

(((o))): Your endless residency shows saw the band cover a huge amount of material. Is that something you see happening again?

Buzz: Unless we can think of a different way of doing it then no, not really. We did eight albums over two shows, which was quite difficult to bring together. We are more about pursuing new ways of doing things then going back and doing the same things again. We like to keep things interesting for us as well as the audience.

(((o))): For a band as used to collaborations as yourselves, your new album Basses Loaded features six different guest bassists. Something you haven’t really done on this scale since 2000’s The Crybaby (I think). How difficult are these records to put together?

Buzz: We also did the covers album Everybody Loves Sausages a couple of years back. Because we’ve done it a few times now, it doesn’t seem like that big of a problem. We ask people if they would like to be involved and then send them what we have done to do whatever they want with it. We aren’t precious about our music or what we want some one else to do. If we’ve asked someone to work on something its because we like them and we trust them to do whatever it is they are going to do with it. When we did ‘Station To Station’ on Everybody Loves Sausages Jim Thirlwell really let loose on that track and that sounded great.

(((o))): Outside the different permutations of The Melvins, you have released a solo album and Dale has worked with the likes of Hew Time and Dumb Numbers amongst others. Do either of you ever take a break from music.

Buzz: I don’t know how to answer that. I don’t know what I would do. We have no manager, we have a booking agent that sorts out shows, but apart from that it’s just us, so maybe 70% of my waking time is taken up with The Melvins. I really don’t know what to do outside of all that. I don’t have time for anything else. What else could I do?

(((o))): Will there be another solo album?

Buzz: Yeah, definitely. It’s mostly written and it will be finished soon. I hope to do some more shows this time with it.

(((o))): You have been cited to countless bands from many different genres. You have been open in your love of KISS, but which bands now currently excite you?

Buzz: Les Butcherettes are a really good band. We’ve worked with them quite a lot recently and I really enjoy them. There are a lot of good bands out there, but they are really great.

(((o))): You are well known for your links to the Seattle explosion back in the late 80’s early 90’s. What was it about those bands that has seen them continue and thrive, even after the major labels moved on?

Buzz: Who’s still around? Mudhoney aren’t a full time band, they never have been, they all have day jobs. Soundgarden went away for like…ten years. I think that when a band goes away for that long it builds up a sense of loss so when they do come back it seems like they were bigger than they were.

This is all we do, so if we were to disappear for a while, maybe more people would want us to come back, but we have carried on doing our thing and not gone anywhere, which is maybe why we never reached those levels.

(((o))): Given the huge amount of material you have recorded over the last few years, is their any particular album or period that stands out to you above others?

Buzz: I don’t think of our music in that way. Once one album is done the work starts on the next one. It’s fun revisiting it occasionally, but I don’t rank it against anything else we have done. I try not to do that as it’s just music, it’s just entertainment, it’s not life or death or the end of the world. It can be important and a big part of your life, but it’s just entertainment at the end of the day.

(((o))): Given the prolific nature of the band, when can we expect another release? What are your plans for the rest of 2016?

Buzz: We have the Third Man reissues of the Atlantic albums, and over the summer we will carry on playing shows and festivals. We just toured the US with Napalm Death and we really want to bring that over to Europe. Maybe that will happen towards the end of the year. They were great shows, and really great guys. We get on really well and have similar work ethics. The shows went down really well in the US, and I think they would work over here too. After that we’ll have to wait and see.

Melvins Discussion / Post your Melvins recycled sleeves
« on: March 17, 2017, 10:48:13 AM »
What sleeves were used for your latest Mackie-built Atlantic represses? Let's see them.

Chet Atkins - Travelin' / Stag 1 - 21/33

Alabama - 40 Hour Week / Stag 2 - 33/33

Billy Vaughn - 1962's Greatest Hits / Stoner Witch - 12/33

Olivia Newton-John - Let Me Be There / Houdini - 9/33

Melvins Discussion / HAZE XXL Stag Bundle
« on: March 16, 2017, 01:32:06 PM »
Stag Bundle on sale 17 March at 1100 PST.

Stag LP vinyl, High Desert Overdose 10" vinyl, set of hand made art cards, and Owl t-shirt. Limited to 43.


The OST to Demon Knight has been re-released by Real Gone Music on different coloured vinyl. It's out there on neon green and Newbury Comics have some on green/purple (demon slime colour) for $29.99 plus shipping.

Side 1
   1.    Pantera - "Cemetery Gates" (Demon Knight edit) (5:49)
   2.    Filter - "Hey Man Nice Shot" (5:15)
   3.    Megadeth - "Diadems" (4:14)
   4.    Machine Head - "My Misery" (4:28)
   5.    Melvins - "Instant Larry" (4:09)

Side 2
   1.    Rollins Band - "Fall Guy" (3:53)
   2.    Biohazard - "Beaten" (3:09)
   3.    Sepultura - "Policia" (1:43)
   4.    Ministry - "Tonight We Murder" (3:55)
   5.    Gravediggaz - "1-800-SUICIDE" (4:18)

Juno (U.K.) have some on neon green:

Melvins Show Reviews / Manchester - Gorilla - 9 Oct 2015
« on: January 25, 2017, 11:52:11 AM »
“I’m never surprised,” says Melvins frontman Buzz Osborne, a.k.a. King Buzzo, sitting across from long-time drummer Dale Crover. “Almost never.” As the pair relaxes backstage, hours away from the penultimate show of their European tour, an impressive musical legacy looms. The band’s 32-year history covers over 20 studio albums, as well as individual members rubbing shoulders with the likes of Nirvana and Butthole Surfers and Slayer, to name a few. Clearly I was not going to surprise either of them.

Regarding their lengthy career, a stretch of time in which most bands complete the burn out, fade away rock and roll narrative, Melvins offer some advice.

“Never have massive success”, Buzz half-jokes, with Dale adding that “we never have been, so we were never has-beens.” They seem like the fulfilment of a romantic vision of punk, the escapist teenage fantasy most famously embodied by Melvins fan and occasional producer Kurt Cobain. They were never big enough to sell out, but never a critical or commercial failure. Somewhere along the line, the band found a happy balance between paying the bills and making music on their own terms.

“People who like our band are probably into weird bands,” Dale adds, keenly aware of the Melvins’ cult status: “We’re not the easiest band to like.” Certainly, the Melvins’ music has a kind of off-kilter, abrasive quality, generally found somewhere between Bleach-esque grunge and weirder types of metal. They’ve influenced Japanese avant-metallers Boris, who take their name from a song off Bullhead, as well as Sunn O))), and Mastodon. And yet, all these name-drops and comparisons scarcely do enough to convey that Melvins sound.

They trace this unique sound back to their childhoods in Washington state, Buzz in Montesano, Dale in Aberdeen. Buzz in particular paints the image of a lifelong outsider, growing up in a town without a record store where everybody hated him.  He utters the word “rednecks” with an unusually contemptuous tone, mentioning how his love of now-fairly mainstream artists like David Bowie led to him being ostracised.  This all changed, however, when Buzz was able to drive, and the legendary Seattle scene was made accessible to him.

“I realised that the world I was inhabiting was not the world I wanted to be in,” Buzz laments, “I do not look back fondly on any of that.”

When Dale joined the band in 1984, replacing original drummer Mike Dillard, the Melvins moved towards a slower and heavier form of hardcore punk that would become the stylistic basis for grunge.  Growing up in a similar isolated environment to Osborne, with only Monkees, Beatles, and Osmond records available via the grocery store, it’s easy to see how the two found a kindred spirit within one another.  Their joint love of “weird heavy metal music that nobody knew about” endures to this day, such as in Dale’s roles in sludge and doom outfits Men of Porn and Shrinebuilder, or Buzz taking on lead guitar duties in Fantŏmas.

The conversation moves towards the current affairs of the band, including their recent studio album Hold It In, as well as Buzz’s acoustic album This Machine Kills Artists, both released in 2014. Regarding the latter, the pair pass some amusing judgement on the “Nashville Skyline” direction that so many acoustic albums go in.

“You know the one thing that every one of these guys does… they get up there with an acoustic guitar and they wear fucking cowboy boots!”

Dale is referring to a particular Foo Fighters guitarist, but as neither he nor Buzz can remember his name, I’m saved from being completely embarrassed for the perpetrator in question. Dale and Buzz are right, mind. There is something deeply sinister about the idea of 90s alternative rock associates doing acoustic sets of countrified Otis Redding covers in brand spanking new cowboy boots. Safe to say, they promised that nothing of the sort will feature in the Melvins’ future.

On one hand, this humour provides a welcome diversion from the band’s somewhat sombre recollection of their youth. However, it also mirrors that righteous strand of bizarre comedy that comes through in the Melvins’ music, the kind of stuff only lifelong anti-redneck punks could come up with.  For a brief moment, I feel welcomed into the kind of space they make music in, that irreverent and alternative vibe that anyone who has ever bought a Goo or Nirvana t-shirt can relate to. It’s nice to see that it’s all survived.

And then, unsurprisingly, I’m baffled once more. As I get ready to leave, the band, alongside Coady Willis of support band Big Business, begin a rendition of Kiss’s ‘Beth’. Whatever the hell the Melvins are, I hope they never stop. Hail Dale. Hail Buzzo.

Never Breathe What You Can't See (CD $12 / LP + Download $12)

Sieg Howdy (CD $12 / LP + 7-inch + Download $12)

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