Last Band Standing
Melvins Aug. 13, Music Hall of Williamsburg, 66 N. Sixth St. (betw. Wythe & Kent Aves., Brooklyn), 718-486-5400; 8, $25. Also, August 14 at Bowery Ballroom.
Looking back, the runaway-train success of Seattles heavy rock bands in the 1990s seems like a tragic turn of events. Despite being able to stay creatively vital for a time (not to mention buck the publics perception of what commercial viability means), the most popular acts from that region suddenly found themselves thrust into acceptance on such a massive scale that they clearly suffered for it. Worse, that scene continues to provide a vehicle for the overly simplistic re-telling of history perpetuated by the likes of VH-1. Meanwhile, gurgling in the muck all along like a kind of ugly truth that wont go away, the never-popular-yet-legendary Melvins remains, if nothing else, true to its game.
Appearing at two area shows on the heels of Nude with Boots, its 25th album (depending how you count), the Melvins has managed to survive perhaps because mass appeal has always eluded them. And though the influence of the bands slow, sludgy sound has had an immeasurable impact on heavy music, the Melvins ongoing streak of experimentation has helped the band maintain its edge and nullifies any accusations of one-trick-ponyism. The bands releases on Mike Pattons Ipecac label in particular, which begin with 1999s The Maggot, even veer into the all-out avant-garde noise.
When we started playing, explained bandleader Buzz Osborne, we were inspired by all the punk rock bands. I had this idea that we should do something that had that kind of mentality. But, to me, that was more of an attitude than anything else. I drew from everything from Flipper to Public Image Limited to the Sex Pistols, Black Flag, Swans, all that stuff.
In keeping with the bands penchant for constant exploration, Boots also marks the second installment from the Melvins after the bands re-invention as a four-piece. In addition to mainstays Osborne and drummer Dale Crover, the lineup now includes bassist Jared Warren and drummer Coady Willis, both of Seattle duo Big Business, which has itself recently expanded into a trio.
The move to incorporate Big Business came when the band found itself ready for a dramatic change after dismissing bassist Kevin Rutmanis.
We came out of the Kevin Rutmanis era as very discouraged fellows, Osborne recalled. I knew that, in order for me to pull myself out of that, I wasnt going to be able to just move on to the next Johnny Bravo on bass. I needed something that was going to energize the whole situation again.
Though having two drummers adds heft to the bands already hefty sound, Osborne insisted that the new format requires a keen sense of discipline and space from Crover and Willis.
Most bands couldnt handle two drummers, he said. Its harder than you think. In order to play with another drummer, you have to be on it all the time. Now, it sounds totally normal to me, but you get this strange flamming going on that I think is totally cool.
Like the Allman Brothers?
Well, if I had to be compared to somebody, Osborne answered, I guess thats OK.
Since Warren is an alum of the Melvins-influenced group Karp, the addition of Big Business makes sense. Unsurprisingly, its newest record, Here Come the Waterworks, doesnt stray too far from vintage Melvins. As soon as the album opens, the influence of Osbornes vocal style jumps out at you, but its also easy to see why Osborne thought Willis and Warren would bring something fresh to the tableand the two have had plenty of input into the Melvins sound.
Ive always done that with everybody weve ever played with, he said. Ive never tried to make them do one thing or another. Ive let them own the music in their own way, which tends to work out better. Im not really that precious with it. These are songs. Songs can be interpreted, and thats the best part of it. A lot of times, Ill realize that I was wrong about certain things, that what I needed to do, in hindsight, was change something and make it better. And Im not against that at all.
As for Nude with Boots, Osborne set out to take more liberties with the expanded lineup after theyd gotten acquainted from recording and touring behind 2006s (A) Senile Animal.
I wanted to make a weirder record, he said, although the bands entire career could be seen as one long, sustained stab at weirdness. But, as the album begins with The Kicking Machine, a tongue-in-cheek inversion of Zeppelins Out on the Tiles, its the consistency within that weirdnessthe familiar dirge and Hotter Than Hell–era Kiss guitar tonesthat really stands out.
In the world of rock music, offered Osborne, were very eclectic. I mean, I dont know if we could do tight covers of King Crimson songs. But then: We probably could, but I dont know that I would want to.