melvins 40th anniversary tour setlist

The Last Band Standing: Melvins Approach 40 Years on Five Legged Tour

In March of 2023, the Melvins will celebrate the 40th anniversary of playing its first live show. But why wait until then to observe the group’s entire legacy (so far)? 

The “Five Legged Tour” is so named after the group’s massive 2021 collection, Five Legged Dog (Ipecac), featuring acoustic renditions of some of the most popular songs, cherry picked from throughout the Melvins catalog. Following suit, this latest round of shows functions as something of a greatest hits tour, but drummer Dale Crover hesitates to call it that. 

“We try to cover as much as we can,” Crover says. “There will be stuff that we always play during our live shows. We’ll also play stuff from the second and third records, probably not from the first record, but as soon as I say that here, the setlist will change to include something from that album,” he laughs. “The meat of it will be there, along with a few things we haven’t played in years, and at least two songs from the new album.”

The new album in question is Bad Mood Rising (Amphetamine Reptile), a six-song full-length that finds the group returning to the melodic, demonic punk metal molasses that defined such early ‘90s classic albums as Bullhead (‘91), Lysol (‘92) and Houdini (‘93). 

Since the group formed in rural Montesano, WA in 1983, singer and guitar player “King Buzzo” Buzz Osborne has remained consistently at the helm for an ever-growing body of work that evokes a sludgy and ecstatic head-nodding state of mind. 

Crover joined the band in 1984. Current bass player Steven McDonald of Los Angeles punk and power pop band Redd Kross joined the Melvins in 2015, following a long line of bass players ranging from avant-garde jazz/rock figure Trevor Dunn to JD Pinkus of the Butthole Surfers.

On stage, McDonald swerves and swaggers, reaching for the heavens in a series of rock god maneuvers. Juxtaposed with Osbourne and Crover’s stoic presence, he adds an element of excitement to the Melvins slow roar, and he backs it all up with a monster sound that’s tailor-made to boost the group’s surly dirges.

“He goes all out every night, and he’s always the one who’s happiest to be there on the stage,” Crover laughs.

Live, the Melvins have a reputation for delivering colossal performances, bridging the sludgy early material with the more evolved songwriting of (A) Senile Animal (2006) and Nude With Boots (2008), both featuring Coady Willis and Jared Warren of Big Business.

With each new album, the Melvins summon an ambiance that falls somewhere between confrontation and meditation, draped in layers of fuzzed-out distortion, hypnotic rhythms, staccato percussion and menacing weirdness that is as tense as it is uncompromising.

One song they’re playing from Bad Mood Rising , titled “Mr. Dog is Totally Right,” is a massive and plodding opus that distills much of the group’s legacy into a nearly 13-minute metallic onslaught.

The group’s formative years coincided with the rise of Seattle’s grunge rock scene in the early ‘90s, culminating in the murk and overdriven guitar rock of early albums by Tad, Mudhoney and Nirvana. Crover played drums on some songs from Nirvana’s first album, Bleach , and the Melvins even famously worked with Kurt Cobain to produce Houdini . According to Osborne, though, Cobain was fired because he couldn’t do the job due to issues related to drug abuse.

Still, the group never embraced any stylistic affiliation with grunge. “I have never been a follower, and we have never wanted to be a part of what’s popular at the time, or any trends,” Osborne says. “We have always planted our flag somewhere else and people have come to it. I have always felt that the more peculiar you are as a musician, the better.”

For Osborne, this steadfast self-reliance has yielded something in the neighborhood of 40 Melvins and solo albums, more than 2,000 live shows, and a new book of black and white photography, titled Rats , out this year.

“We’ve been a band since 1983. We’ve never quit, we’ve never taken a break and stopped being a band, and I have seen people come and go from the highest heights to the lowest lows—death, resurrection, and more death,” Osborne says.

In the art world that I am in, there is a war of attrition; whomever is the last man standing is the winner. So far it’s me, with no end in sight.”

WHO : Melvins, We are the Asteroid, Void Manes WHEN : Friday, Oct. 7, 8 p.m. (doors) WHERE : 40 Watt Club HOW MUCH : $25

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THE MELVINS CELEBRATE THEIR 40TH ANNIVERSARY WITH THE “TWINS OF EVIL TOUR”; A CO-HEADLINING TREK WITH BORIS

June 5, 2023, LOS ANGELES – The Melvins, continuing their 40 th  anniversary celebrations, have announced the “Twins of Evil Tour,” a seven-week trek that sees the Los Angeles-by-way-of-Washington band joined by Japanese trio Boris, with both groups performing classic albums in their entirety: Bullhead (Melvins) and Heavy Rocks (Boris).

“40 years as the Melvins!!! What better way to celebrate that unlikely milestone than by setting off on the ‘Twins of Evil Tour’ with our friends, Boris,” Buzz Osborne shares of a set that will see the iconic band perform the beloved Bullhead album in its entirety, as well as additional tracks across their discography. “This will be a stone groove!”

Boris’ Takeshi adds: “Could anyone have predicted such an astonishing event, that Boris and the Melvins would tour the entire USA together? Since the mid-1980s, the Melvins have had an enormous influence on artists of all genres not only limited to heavy music, and have brought forth a surge of faithful followers over the years. Needless to say, Boris is just one of these many bands influenced by the mighty Melvins, and we took our name from a song title off of the 1991 album, Bullhead.”

The Melvins have already had an eventful 40 th  anniversary year, recently wrapping up a stint on the Ipecac Geek Show tour with labelmates Mr. Bungle and Spotlights, before venturing overseas for the band’s first European outing since 2018. The group were also recently featured on a series of Revolver covers, marking their 1983 inception with a trio of portraits shot by Tool’s Adam Jones. Ipecac Recordings has spent the year highlighting previously released Melvins’ albums with quick-to-sell-out vinyl reissues. Currently available ( https://ipecac.lnk.to/Melvins2023 ) are Tres Cabrones, Houdini Live 2005, and The Bulls & The Bees + Electroretard.

Tickets for the “Twins of Evil Tour” are on-sale this Friday, June 9, at 10 am local time. Mr. Phylzzz opens on all dates.

“Twins of Evil Tour” dates:

August 24 Los Angeles, CA Belasco Theater

August 25 Pomona, CA The Glass House

August 26 Fresno, CA Strummer’s

August 27 San Francisco, CA Great American Music Hall

August 28 San Francisco, CA Great American Music Hall

August 29 Petaluma, CA Mystic Theatre

August 31 Portland, OR Roseland Theater

September 1 Seattle, WA The Showbox

September 2 Spokane, WA Knitting Factory Spokane

September 3 Bozeman, MT The ELM

September 5 Fargo, ND The Hall at Fargo Brewing Company

September 6 Minneapolis, MN Varsity Theater

September 7 Milwaukee, WI The Rave II

September 8 Chicago, IL Metro

September 9 St. Louis, MO Red Flag

September 11 Indianapolis, IN The Vogue

September 12 Grand Rapids, MI The Pyramid Scheme

September 13 Detroit, MI St. Andrews Hall

September 14 Cleveland, OH Beachland Ballroom 

September 15 Pittsburgh, PA Roxian

September 16 Maspeth, NY Desertfest NYC

September 18 Albany, NY Empire Live

September 19 Boston, MA Paradise Rock Club

September 20 Bethlehem, PA MusicFest Café

September 21 Philadelphia, PA Brooklyn Bowl

September 22 Washington, DC The Howard Theatre

September 23 Virginia Beach, VA Elevation 27

September 24 Carrboro, NC Cat’s Cradle

September 26 Nashville, TN Brooklyn Bowl

September 27 Atlanta, GA Variety Playhouse

September 28 Savannah, GA District Live

September 29 Birmingham, AL Saturn

September 30 New Orleans, LA Tipitina’s

October 2 Houston, TX Warehouse Live – Studio

October 3 Austin, TX Mohawk

October 4 Dallas, TX Granada Theater

October 5 Oklahoma City, OK Beer City Music Hall

October 6 Tulsa, OK Cain’s Ballroom

October 7 Lawrence, KS The Bottleneck

October 9 Denver, CO Summit

October 11 Albuquerque, NM Sunshine Theater

October 13 Tempe, AZ Marquee Theatre

Photo credit: Chris Casella

About The Melvins

The Melvins are one of modern music’s most influential bands. Having formed in 1983 in Montesano, Washington, the group founded by singer/guitar player Buzz Osborne (with stalwart drummer Dale Crover joining the following year), has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all its own. Over the band’s 40-year history, they’ve released 30-plus original albums, numerous live full-lengths and far too many to count singles and rarities. In the course of their discography, they’ve partnered with Jello Biafra, Mudhoney, and Fantômas for individual releases and toured the world many times over. In fact, the band had the misfortune to be in both Christchurch and Tokyo for their 2011 earthquakes. In 2012, the Melvins completed the “51 States in 51 Days” (50 states +DC) tour, which was chronicled in the film “ Across The USA in 51 Days .” The current incarnation of the band is Osborne, Crover, and Steven McDonald (Redd Kross/OFF!). Previous line-ups include a pairing of Osborne and Crover with Big Business band members Jared Warren and Coady Willis, a four-piece featuring the current trio plus Butthole Surfers’ Jeff Pinkus, as well as Melvins Lite, which partners Osborne and Crover with Mr. Bungle’s Trevor Dunn. Sometimes, if you’re extra lucky, one version of the Melvins will open for the Melvins.

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Interview: Buzz Osborne of Melvins on Touring and the Band’s 40th Anniversary

• June 20, 2023

Though it’s hard to believe they’ve been going 40 years, Washington’s sludge rock pioneers Melvins are indeed entering their fourth decade as a band. 

With vocalist/guitarist Buzz Osborne and drummer Dale Crover accompanied by bassist (and Redd Kross founder) Steven McDonald (who joined 2015), the group are currently right in the midst of the European leg of their 40th anniversary tour. 

Buzz spoke to New Noise between soundcheck and the band’s sold-out show at Berlin’s Metropol venue on Sunday, June 11. 

I guess you’ve probably played Berlin many times.

First time we played here was really good. We had a great show. But every time we play here, it’s been good. Germany always did good for us.

Do you remember when you first toured Europe? 

1989 – 90, 30-plus years ago. How old were you in 1990?. 

How old was I? Nine. 

Didn’t go to the show. 

I’m afraid not. On the topic of how long you’ve been going for, this is your 40th anniversary tour. Does that hold any sort of significance for you?

Not really. I’m not really a good old days kind of guy. When we started the band, we didn’t really have much idea that it was going to do anything. I just wanted to be a musician; that was it. That’s what I wanted to do, but how I was gonna make that work, I didn’t know. I worked for probably another five years, working other jobs before I could pay the bills making music (around ‘88).

My parents didn’t have a lot of money. So if I wanted money, I had to earn it. It’s fine. Teenagers don’t work now. I don’t get it. Doesn’t make any sense to me.

I know you don’t have any kids, but do you have any brothers or sisters with kids? Do you have any other young people around you in your family?

My family all lives long ways away from me. So I never see them. My brother has kids. My sister has kids. I have a little bit of contact with them, but not a tremendous amount. I’m over 1,000 miles away. They don’t have a whole lot of clue what I do, how my life is. 

You mentioned that Germany’s always been good for Melvins. Is there anywhere else you particularly like to play? 

Nothing that stands out. Places like Berlin or New York or Los Angeles or San Francisco or Buenos Aires, Sydney, Australia we’ll do about the same. We’ve got that many people, roughly 800 to 1500, give or take. 

I imagine you’ve done festivals where there was a huge audience. Do you find there’s an upper limit where it’s no longer the best representation for the band? Would playing a stadium with Melvins be worth it if you had the opportunity?

I don’t think I’ll ever have to worry about that on my own. So it’s a moot point, but as far as us playing festival shows, we did a festival the other night, two nights ago, Freak Valley festival. That was about 3,500 to 4,000. That seemed good, but once you get up to, like, 40,000, it’s just kind of silly. Unless you’re 16 years old and on acid. I wouldn’t want to go to one of those. 

You’ve incorporated quite a lot of interesting instrumentation on Melvins records over the years: Moog, trombone, synthesizers. Is that something you’ve ever brought on stage or on tour? 

No, never done that. Not that I wouldn’t. In particular, the songs with valve trombone we just had Dale imitate it with this vocal mic with his mouth (imitates trombone). That’s fun, but no, that sounds like a logistical pain in the ass. 

I saw you in an interview talking about how you thought Lulu (the record that Metallica did with Lou Reed) was unfairly received by fans. Have there been any Melvins collaborations you thought were unfairly received? 

Nothing like that. Those guys got taken to task for it, and I think it’s their best record, easily the weirdest one.

Metallica should be leading the way. They should be planting the flag in their own spot and making people rally around that. Don’t let people tell you what to do. That’s a terrible idea. It doesn’t work because then you’re assuming that you know what they want. There’s no way you can know that. All you can do is make music that you like, and they obviously liked that thing with Lou Reed, and they’re at a point now in their career that they could do whatever they want. They’re playing stadiums. What’s going to happen? They’re gonna go down to 10,000 seaters? I think they’d be OK. 

Do you think that if people make music specifically for what they think an audience wants then it’s not art, or do you think it’s just bad art? 

Usually it doesn’t work because you don’t know. A lot of our records that are considered classic records now, at the time, we got terrible reviews. Like Stoner Witch and Stag , those got terrible, terrible, terrible reviews. People didn’t like that stuff at all. Or Hostile Ambient Takeover , or our very first album (Gluey Porch Treatments) . No one ever even heard that record. Oh, it’s classic? I lived for a long time before it became a classic

Have any of your records got a particularly good reception when they came out? 

No, not really. The latest one has gotten really good reviews, Bad Mood Rising, but no, not particularly. There’s always somebody who hates what we do because we’re very polarizing 

People don’t understand this; I’m not being perverse at all. Lou Reed said it best, talking about Lou Reed, “What kind of a person wants to criticize someone else’s work?” I’ve done some record reviews, and I have only written reviews that were for records I like. I could be here all day writing shitty reviews for bands because most bands aren’t very good. That’s just the easiest thing in the world to do, to say you don’t like something; it’s just bitching.

But you know, it’s a war of attrition, as far as I’m concerned, and we’ve outlasted lots and lots and lots of assholes in this business. It Doesn’t bother me.

Do you think you’ll outlast KISS?

Kiss? Yeah, they’re older than we are. I think the odds are in our favor, but I like those guys. They’ve always been nice to me. 

Have you ever had a contract where the record label said, “OK, you have three, five, x amount of records you have to release,” or has it always been a by-record contract?

At Atlantic, they had an option to do seven albums. But the money went up every time. So you got more money every time they did a record. And we did three with them. The fourth one would have been a lot more money. I didn’t expect them to do more than one. So it was kind of surprising they did three. 

That was it, but I could make three a year if they wanted. No problem.

That’s what Prince wanted.

Yeah? I don’t know what was going on in Prince’s head, and I’m certainly no expert on him. I know that out of all the times I’ve heard his music, nothing impressed me at all. Not in the least. 

When he died, we were on tour. So there’s these radio stations playing nothing but his stuff. I didn’t find one song. I thought it was all just terrible.

What about Michael Jackson?

Michael Jackson is probably better. His songs are better, but he’s a child molester. It kind of ruins it. So Prince wins on that one. He was just a drug addict.

I just don’t hear it. It just sounds like crappy pop music to me. I might as well be listening to Madonna. “Oh he’s such a great musician.” Well I couldn’t tell. Everything just sounds processed and shitty. There’s no real drums on any of it. Not that I heard. I don’t know what it is. Not even disco. The Bee Gees are better. They have better songs.

I’ll just quietly disagree. 

They do! What Prince should I listen to? What’s going to change my mind? It has to be good. I’m very critical.

At this point I don’t know if anything’s gonna change your mind.  

I want to like everything. There’s not enough good music out there for me to be that particular

It’s such a cliche thing to say, but I feel like it’s Purple Rain . If you don’t like the “Purple Rain” song, then I think there’s no chance.

It’s OK. 

Overproduced?

All of his stuff’s overproduced, that I’ve heard. Drums just sound like shit on everything he’s done. They don’t sound like drums. I doubt they are drums.

I think he played drums on a lot of stuff. 

He may have played drums, but they don’t sound like drums. Sounds fake to me. I don’t want to hear fake drums. I want to hear a real industrial type of situation.

I’ve heard you talk about rock, punk, and metal music that’s inspired you. Have you also been influenced by any industrial, noise, or electronic bands like Whitehouse or Throbbing Gristle or Einstürzende Neubauten ?

Oh yeah! Well we’ve done Throbbing Gristle covers . We have a whole album of Throbbing Gristle covers about to come out.

I always thought we’re like Throbbing Gristle playing heavy metal, or Captain Beefheart playing heavy metal. That’s our whole trip. Or The Birthday Party playing heavy metal.

Have you ever listened to Coil?

Oh, yeah, of course. And Whitehouse played twice in Seattle.

Did you go and see them? 

Never saw them, but I know they played there twice. It’s so weird.

I just thought it was really surprising they ended up working with Steve Albini. 

Why would it be surprising? Because they’re so Nazi-ish? (chuckles). 

Is that true? They get tarred with that brush. I don’t know.

I personally think unless you’re spouting Nazi propaganda or wearing swastikas, you’re not a Nazi. It’s like the thing that’s happening with Roger Waters right now. If you look at it, there’s no Nazi in that. 

It’s crazy. The White House and the U.S. weighs in on this. Are they out of their minds? That’s insane. He’s not a Nazi. I mean, he could be an antisemite, for all I know, but he’s not a Nazi. To paint him with a Nazi brush is fucking crazy. 

People see Nazis in their soup. Crazy. He’s not out there, you know, strutting around in an SS uniform. That would be blatant. This is nuts. 

If we have to worry about stuff like that, the world has turned into an even bigger piece of shit than it ever was before. I hate people like that, who do that kind of stuff, point the finger. My wife always says the old saying, “if you point the finger at someone, you have three pointing back at you.” 

Three hours later, there’s little room to wiggle through the crowd of this sold-out show at Metropol, Berlin, with fans also clustered around the balconies of two upper levels at the venue. 

Making their entrance to A-ha’s “Take on Me” pumping out over the speakers, bassist Steven McDonald, decked out all in red (including his bass), joyfully rushes to the front of the stage, singing the chorus, much to the crowd’s delight. 

In contrast to McDonald’s childlike enthusiasm, Buzz Osborne plays up the groucho role, hunched over his guitar, refusing to join in the sing-a-long with McDonald and drummer Dale Crover.

It’s clearly all part of the trio’s own absurdist, comic presentation. Throughout the set, Steven McDonald often takes the spotlight with his hair swishing, bum shaking, jumping, tongue wagging antics. It’s all executed with charming playfulness, while Buzz stalks the stage, ripping into his guitar like it’s been naughty. 

Together on stage they’re like three trolls, mythical creatures that spring up from under a bridge, holding you under their spell. There’s Buzz, all pretend-moody, skulling, Steven McDonald the joyful child and Dale… well the analogy only goes so far, but what a drummer he is! 

Even as a Prince defender, it’s hard in the moment not to feel like Dale Crover is the only drummer you would ever want in your band. 

With every song the trio have the audience eating out of the palm of their hand. Cuts from latest album Bad Mood Rising, like “Never Say You’re Sorry” and “Hammering,” are mixed in with fan favorites like “Hooch,” “Honey Bucket,” and a brilliantly stretched out “Night Goat,” all delivered with irrepressible energy.

It isn’t just during their playful take on the Beatles’ “I Wanna Hold Your Hand” (coming over like Type O Negative’s fab four renditions on waaaaaaaay more caffeine) that you find yourself grinning. The irrepressible 10-year-old-boy-in-a-man’s-body joy of McDonald is hard to resist, but there’s no mistaking how much fun the whole band are having on stage.   

And what other band would you want to see play on this night? Metallica? Foo Fighters? Queens of the Stone Age? You can be pretty sure that by the end of this show you’d be hard pressed to find anyone in attendance who’d choose anything other than the Melvins. 

Catch Melvins on their 40th anniversary tour. 

Photos courtesy of Chris Casella

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The Melvins reflect on the 40th Year of The Melvins

2023 was the FORTIETH year of the Melvins . They've released 30+ albums. They've played thousands of shows. They've changed the landscape of rock music itself.

And yet, in the year 40 A.M., the band, instead of running around saying "We're 40! We're the best! Give us praise!", they decided to put out a TON of new releases and played a special tour. But, just before the band was set to jump off and play their iconic album Bullhead in full on the road, drummer Dale Crover had to have emergency back surgery. how could the tour go on without their crucial, illustrious drummer?! And yet, the Melvins, ever the artists and workmen, smashed forward through the tour and through the hurdles and through the year.

Punknews' John Gentile spoke with Melvins Buzz Osborne and Steven McDonald and some of the band's compatriots about the band's 40th year… and their place in history. You can read that below.

The Melvins at the end of their 40th Year

John Gentile

It has been forty years since the Melvins spawned from the grey, wet, slimy, primordial forest of Morton, Washington. It has been forty years since Melvins founder, Buzz Osborne got the idea to create a band that pulled from the soul of classic rock, the power of heavy metal, and the bite of the still young punk scene. It has been forty years since the creature known as the Melvins first roared.

And in that time, the Melvins have created a genre, or genres, while remaining genre-less. And in that time, the band has released umpteen albums, Eps, singles, live records, and compilations, some which defined the band’s inimitable cannon and some which deliberately struck against said cannon. And in the time, they’ve released punk music, metal music, rock music, folk music, electronic music, soundtracks, noise records, and yes, even Christmas carols. And in that time, they’ve toured six continents and even played 50 states and DC in 51 days, thereby creating a Guiness book of World Record all the while refusing to pay the fee to get into the book thereby proving they did it for the accomplishment, not the accolades. And in that time, they’ve collaborated with the likes of Jello Biafra, Flipper, David Yow, Teri Gender Bender, Mike Patton, JG Thirwell, Krist Novaselic, Paul Leary, Matt Cameron, Clem Burke, Mark Arm, and yes, even Leif Garrett. And in that time, they’ve been through more bassists than you can count. And in that time, they've cranked out slow, low, lumbering riffs that can make your ears bleed. And in that time, they’ve smashed out super-fast, circle pit moshing, shredding solos that would melt your face. And in that time, with all of their incarnations, with all of their targeted projects with all of their random diversions, with all of their thousands and thousands of shows, with all of their no-one-seems-to-be-able-to-quite-get-it-totally existence, they have always been THEM, and that’s THEM uniquely.

Forty years of riffs. Forty years of raw power. Forty years of electric thunder. Forty years of freaky shit. Forty years of high brow artiness. Forty years of pop-trash. Forty years of cacophony. Forty years of euphony. Forty years of what-the-hell-is-this? Forty years of sonic damage. Forty years of Noise! Noise!! NOISE!! !!!NOISE!!! NOISENOISENOISENOISE!!!!!!!!!

It has been FORTY frikkin years of THE MELVINS.

…and Osborne doesn’t care.

…well, okay, maybe he cares a little bit . “I guessssss it’s kind of a big deal,” he says. “But, I don’t spend a lot of time thinking about it. I’m much more of a ‘what have you done lately’ kind of person. It is cool that we’ve lasted this long. We are not a legacy act. We’re not relying on our last few albums. We have new stuff all the time. I think we’re the best we have ever been.”

“The Melvins are the most important band in the history of music… at least that’s what their bio says,,” says Greg Werckman, who runs Ipecac Records, one of the Melvins two main record labels (the other being Thomas Hazelmyer’s Amphetamine Reptile Records). Werckman continues, “They have truly inspired more musicians than any active band. They defy genres yet they created several. They always have been and always will be. It does not matter when they play, where they play or how many are watching them play. It does not matter what the media says about them or how the crowd reacts to them. It does not matter what is hip or cool or successful at any given time. They are the Melvins.”

Indeed, even though this was Melvins year XL, there was no huge “40th anniversary tour” or Merch Drop that said something like “Melvins- since 1983.” (They did play one of their classic albums entirely on tour, but that almost seemed like the idea was brought to them-more on that later). What they did do, instead of beating their chests and screaming “look at what we did,” was crank out a BUNCH of new stuff.

New Melvs material released this year: A Throbbing gristle covers album recorded with Void Manes that actually had original, non TG songs on it; a 10-inch that had them re-recording their first release; a new EP recorded with Helms Alee; an EP of Melvins-inspired material recorded with Matt Cameron of Pearl Jam.

Most bands put out something about once every two years. Melvins are at FOUR releases this year so far… and there are still a few hours left.

Oh wait- they also reissued a bunch of stuff this year, too: Their 2005 live album wherein they covered the iconic Houdini album; Their Bulls and the Bees compilation that stitches together one of their sonic-attack sound-chaos albums and one of their most beloved Eps; Tres Cabrones the album where they got back together with their original drummer Mike Dillard… also, they also reissued about 20-30 other albums presented in a hyper limited CD and vinyl editions that the band literally makes themselves in an antique printing press (along with artist Mackie Osborne- Buzz’s wife). That’s right, the band has 30+ albums available at their fingertips to REISSUE. By contrast, Mick and Keith, now 60 years as a band, and maybe the greatest rock band of all time (tied with the Melvins, of course) only have a paltry 25 platters.

So, you’d think Osborne would be running around saluting his great achievement or at least toasting himself. James Brown always talked about how great he was. So did Little Richard. But, Osborne seems almost annoyed that I want to talk to him about it. When I thank him at the beginning of an interview for doing the interview he draws out his reply, “noooooooo problem…”

In a way, you can’t blame his lean. Over the past ten years or so, Osborne has been doing a TON of interviews and he has fielded A LOT of the same questions. “What was Kurt like?” “Isn’t Kiss awesome?” “What was it like playing music in Seattle during the grunge era?” “What was Kurt like?”

“Most of the interviews I do are pretty much the same questions,” Osborne says. “Basically, I live a pretty conservative lifestyle and wildness comes out in the music.”

To that end, it seems that the Melvins-Interview open door policy might be closing a little. What’s interesting, is that for all the hundreds of interviews Osborne has done, we’re only marginally closer to understanding him than we were in say, 2005… or maybe not at all. He often gives short, direct answers, but they’re so intense that they don’t open up room for discussion. Or sometimes, like Jello Biafra or Rob Halford or Lemmy, he’ll load a pre-saved answer to a question he’s been asked 37 times before. And sometimes, you get lucky and he goes off on to an interesting topic, like the one time he mused on the idea that there’s no scientific reason why people can’t be brought back from the dead. But even then, he doesn’t really provide much context for what he’s actually feeling or thinking internally. “I don’t mind people trying to dissect my thought process,” Osborne mentions. “I’m glad to get asked questions I haven’t been asked before.”

But listen, we’re just never going to know what makes Buzz be Buzz. Many, many writers have tried to get the definitive Dr. Freud interview with Buzz and all have failed. I’ve failed three times myself. Buzz Osborne is the walnut that will not crack. He is what he is and as he tells me, somewhat firmly, he does draw a line between revealing what goes on in his music life and his personal life.

He says, “People don’t need to know everything. Revealing that kind of information is not going to do me any good. I am very selective about what I talk about. The Internet is like a giant National Enquirer, except it’s bigger than that, even. People get infuriated by a lot of things and they are usually wrong, so I don’t want to open myself up to that. I don’t want people to look at what I’m doing and think anything about it. I’m not afraid of ANYTHING and it’s NONE of your business.”

If all you knew of Osborne was built from his interviews, you won’t get the full picture though. In his interviews, Osborne comes across as intelligent and thoughtful, but also direct, maybe blunt, and maybe kinda, sorta perennially annoyed. But the thing is, that everyone that actually does know him, says he’s a nice, warm, friendly guy!

“Buzz and Dale are some of the nicest people I know,” says collaborator pal Void Manes. “They are humble and kind. They are good people that I can trust with anything.”

Werckman adds, “Buzz is how I would imagine Mr. Rogers would be in person. He is kind, loving, well groomed and always teaching life lessons to those willing to learn.”

“Buzz has a high IQ and I know that because he’s told me,” laughs Melvins bassist Steven McDonald- the guy from Redd Kross and also formerly of Off! And Sparks. “When you talk with Buzz, you can see the wheels turning. He’s taking full advantage of those IQ points. He’s a little bruised, a little scuffed up, like the rest of us. That one thing I relate to him. We’re emotional alley cats.”

McDonald holds an interesting position in the band. He’s been with them for over a decade, but from the outside looking in, it seems that even such a tenure isn’t permanent. The Melvins have had five “permanent bassists,” each which were either let go from or quit the band, due to the usual rock n roll issues- I don’t want to get sued for defamation but you can figure out what they are. Since the departure of Kevin Rutmanis in 2005, the band has had four additional bassists, including Trevor Dunn, Jared Warren (during the period where the Melvins incorporated the entire Big Business band into their own lineup), Jeff Pinkus, and now McDonald who currently is the longest serving Melvins bassist even though fans still often consider him “the new guy.” Since Rutmanis, the band has stated in multiple interviews that they never want to have a permanent bassist again because it has caused so many problems in the past- only people that collaborate with the band.

Osborne says, “Some of the bass players, you find that you are in a situation that isn’t going to work. There have been situations were some members have had extracurricular activities where you can try to continue and you give them every chance and it still doesn’t work and you just have to walk away. You hope for the best because what you really want to see is for them to get it to together. With the bass players, the issues are arrogance and inability to see things for what they are.”

“We’ve never had a sit down discussion about the band relationship,” McDonald explains. “Buzz has been somewhat guarded. I understand that as a band leader or co-leader myself. We’ve never had a ‘so what is this?’ discussion. It works and feels good, so why question it?”

McDonald’s existence as a Melvin shocked many long-term fans at first. The Melvins are known for making heavy, mean, loud music whereas Redd Kross, is something of a malleable power-pop, neo-psyche, glam, self-aware AM radio kind of thing. But, to Osborne’s credit, he could see what others could not and the addition of McDonald shifted the band towards a snappier, rocking territory.

“Performance is probably why they wanted me in the band. I am as big of a ham as they are,” McDonald says. “Buzz and Dale, as much as musicians as they are, they are performers. The other very common thread between the three of us, is similar music taste- Kiss was a very foundational band for us. As much as I love those early Kiss records, it was the Kiss performance that pulled me in. I think that’s something Buzz and Dale like- the ability to entertain as well as create a good musical statement.”

Osborne adds, “I was already a big fan of Steve long before he was in the band, since the late ‘80s or so. Playing in a band with him is a big deal. I despise anyone who doesn’t like Redd Kross. Those people are out of their minds! He’s an amazing talent and an eccentric weirdo like the rest of us! You have to understand that the most creative people in the world are like that because the other aspects of their life have fallen away. You’re not going to find an amazing painter like Francis Bacon and then find out that person is standard and well-rounded! The most talented people I have ever dealt with are awkward in other situations- any good musician is, otherwise I don’t know what they are doing.”

But whereas the exit for Melvins bassists is usually rocky, it was McDonald’s entrance into the band that was a bit bumpy. When McDonald joined the band, he was part of Off!, the Keith Morris fronted act that shifted Morris from being an on-the-oldies-circuit act to a vital piece of the contemporary punk rock landscape. For a time, McDonald switched between Off! and the Melvins (where at first he was just a guest on tour and even switched in and out with Pinkus). But then, Off! came crashing down and imploded. Off! resurrected for the excellent Free LSD LP… which didn’t include McDonald or original drummer Mario Rubalcaba. With Off! Shattered, McDonald appeared to make the Melvins his main squeeze.

“The transition from Off! to Melvins was not easy,” McDonald says. “I was trying to keep Off! happy and they wanted more from me. I was keeping all the balls in the air. In their opinion, I dropped one. I thought I didn’t. it’s a bummer because it ended not the way I wanted it to end… But, recently Keith did an interview for our Redd Kross documentary, so there is some love there. I’m proud of what I did with them. I tried to keep everyone happy and they wanted more… so that’s that. It does get difficult doing things the way I do them- saying ‘yes’ as much as possible and worrying how to get it done later rather than being a closed system. I try to be open to possibilities. What can I say? People are complicated.”

So, one does wonder, even with a ten year Melvin chip in his pocket, does McDonald worry about the band drifting on to a new bassist, or maybe having no bassist at all?

McDonald says, “At times, it has been challenging to step into an organization that is so established, that has such a dedicated following… and I try not to read any chatboards! I am sure earlier on there was a lot of skepticism about me. But, I am one of these people that gets into things and you basically have to kick me out. That’s the same with Buzz. You have dump him or just keep going. There are not big conversations to be had and it keeps working and it keeps getting better. I’m trying to not get too much into expectations and layout the plans. I cooperate! I don’t have the answers to what the future holds.”

Ironically, the future had some devious plans for the Melvins. 2023 was supposed to be the band’s 40th year victory lap, even though to a degree, it felt like they were down playing the event. Early in the year, Japanese metalers Boris (who took their name from the famed Melvins tune) had the idea to go on a full USA tour with the Melvins. On top of that, Boris was going to play all of their Heavy Rocks album while Melvins were going to play all of the iconic Bullhead album, one of the two or three albums that may very well have created the concept of drone metal.

Interestingly, Osborne insisted that the Melvins play BEFORE Boris. Most bands like to beat their chest and play last as the top-dawg headliners. But Osborne, ever the counter-ist, wanted to play before Boris. His stated reason was pragmatic- he’d rather get done earlier in the day.

But, just before the band was ready to launch their victory ship, Crover had to have an emergency back surgery. For most bands, that would put the kibosh on a tour and any future plans. We’ll never know how Osborne truly felt at the time- defeated? Angry at the world? Mildly annoyed? But, instead of folding, he quickly drew Big Business (and former Melvins drummer) Cody Willis back into the band for the tour and with about three practices, they were on the road.

The Bullhead shows were great, but a little odd- the band rumbled and smashed and did justice to the titanic record. As Osborne was up there thrashing in his Mumu, his grey, corkscrew hair flying around wildly, it did seem like he was having a good time. I’ll also add that over the past few years, Osborne has developed a certain stage presentation, as suggested by McDonald, where he leans over his guitar and scowls, and then lumbers around the stage like a stomping giant, almost like he is looking for little Jack and the singing harp. Really, it’s a lot of fun to see and even more fun to hear.

“Buzz loves that ‘Take on Me’ song by A-Ha, so it opened the Bullhead shows,” McDonald says. “When it came out, I hated it with all my heart! They played it constantly at my first job out of high school, which was a sketchy telemarking job. So, at the show, I would come out and do a new wave dance like in a John Hughes film… then I tried to get Buzz to do it with me. ‘You really want to surprise people?! Show ‘em how weird you are? Do a fucking new wave dance with me!’ I think it might be unobtainable, though.”

But, while the shows rocked, it was a little odd that it was Willis behind the kit, not Crover. Not that Willis is a bad drummer- he’s probably the only guy that even attempt to fill Crover’s stool. But still, just when the band was getting ready to celebrate a monumental four decades by playing one of their most renown LPs (which is reknown in part due to Crover's heavy-as-hell drumming), fate wrapped its fingers around Crover’s vertebrae and twisted. Ironic and cruel, no?

Osborne says, “We plan things sometimes two years in advance. But, like the pandemic, you often have to adapt. When the pandemic happened, I didn’t sit there and cry about it. That’s just the way things are. So, we adapted and moved forward.”

Osborne continues, “Dale is my brother, my friend, my co-worker, my bandmate, my working associate, all of those things. All of that combined in any given day. He has his family with kids and all the things that go along with that. I don’t have kids but I have my wife and own home life. We are around each other the whole time nearly half the year. We didn’t see each other that much during the pandemic.”

Werckman comments on Crover, “You know the cliche of the egotistical, spoiled, drug addled, and preening rock star? Dale is the opposite of that. He smells great too.”

As much as an enigma as Osborne can be, at times it seems that Crover is even more alien. He always comes across as friendly. He always seems calm. But every so often, those blonde eyebrows will twitch and Crover will say the darkest, most warped joke or comment, throwing it out there with little delivery until you think about just how dark and twisted that comment was five hours after it lands.

“Dale is a soft-spoken baritone. He does have a very subtle sense of humor,” McDonald says.” I am bit hearing challenged and I had to get hearing device based on his recommendation because I forced him to be too deliberate when speaking to me. It was kind of killing his comedic timing which was subtle . He is of another era, a country western singer, if you will. He’s no bullshit and he makes perfect sense playing in the Melvins. He might not have been writing lyrics or singing the songs but he is the perfect drummer for the Melvins. He has a fucking dry wit, and you have to be sharp to keep up with him. Both Dale and Buzz come from humble backgrounds and they are not pretentious in any way. But, they are also not dummies.”

It’s interesting that McDonald voluntarily mentions the Melvins’ humble background without any prompting. Both Buzz and Dale come from rural Washington state, and while post-grunge people like to romanticize the cold, wet north, both members, Buzz especially, seems kick against those notions. In fact, they both moved to San Francisco fairly early in the band before permanently relocating down to So-Cal. In fact, Crover has now moved into the desert, the least Washingtonian place there is.

Well never truly know just how much of a mark those rural, early years left on the band, in part because even though Buzz will answer pretty much any question you ask him, he’s quite good at withholding details that may have import, all while pushing the conversation forward. But, allow me to speculate.

Osborne admittedly didn’t like high school at all. There wasn’t a ton of money to go around. He didn’t have many friends. He says, “I don’t have a lot of close friends. I know a lot of people. I’m pretty intense person when it comes to that sort of thing. I do things to the limit. Whatever I am involved in, I’m massively into it. So that can drive some people away. I don’t spend a lot of time vegging out. I don’t drink or do drugs, I haven’t in a long time.”

But, here’s what might be most telling. Osborne time and time again, has talked about how he doesn’t like parties, and despite the fact that he moved to LA, schmooze-and-network capital of the world, he hates to schmooze and network.

“Partying or going to the Rainbow or whatever?” he asks. “I hate bullshit like that. I don’t do things like that. I don’t go to parties where I would see rock n rollers. I don’t go to any parties anywhere. If I got to a bar I’m getting paid to be there because I’m working. I wouldn’t go to a Grammy party or an Oscars party… it’s not that I don’t think those things shouldn’t exist, I just don’t… feel comfortable at them. People have asked me to do those kinds of things and I’ve always said, ‘no.’ If that what it takes to rub elbows with the big boys and make it, I’m not cut out for it!”

I asked Buzz why he doesn’t feel comfortable at parties, and he offers this for an answer, that I feel, reveals as much about buzz Osborne as will be revealed; “I’m not intimated by anyone! Not at all! Most of them infuriate me! The business, the music business or the movie business aren’t something I want to be a big part of. I don’t want that to be the case. I’ve steered clear of it for most of my adult music life!”

Indeed, as mentioned before, instead of doing the usual music biz thing and pimping out a 40th anniversary brand for as many income streams as possible, the Melvins released a bunch of new material and went on tour, playing BEFORE another band and kicking out one of their best LPs, albeit, sadly without Crover. So, the Bullhead tour came and went and even the Melvins didn’t seem to make a huge deal out of it- they didn’t have a special reissue of the album at the merch table (though the did have dozens of other handmade reissues). They didn’t sell Bullhead t-shirts. There wasn’t even a big 40th anniversary hoedown show or tour/ And now that their 40th anniversary year is wrapping up, they’ve posted a few social media pictures recapping what they released this year, but if anything, it seems like they are more eager to move on to the next mountain instead of resting on their laurels.

The good news is that Dale has seemingly recovered and is working on a new solo LP. Osborne has already mentioned off hand that there’s an entire NEW Melvins album already completed. There are unconfirmed rumblings of more King Dunn material (Osborne and Trevor Dunn) and there are also rumors of new Redd Kross. In some ways, it almost feels like the band was just trying to get their 40th anniversary out of the way so they could move on to all brand-new stuff.

Osborne says, “We’re working for a living. We’re not a nostalgia act. This is fun, but it’s also a job and not every day is going to be fun. Some days it’s going to be Tuesday in Tallahassee and you are expected to get on stage and play like it is New York City on a Friday. You are a professional and you’re expected to act like a professional. We’re all out here to make a living. We’re not here to rest on our laurels.”

Hazelmyer reflects on the band’s unrelenting work ethic, “The Melvins have a working class professionalism that this is their trade. Touring, recording, all of it, is all taken more seriously than most bands tend to which allows the creative process for a lot of bands to become a burden distracting from their other ‘pursuits.’ Buzz has mentioned other aspects, like touring isn't ‘hard’ if you're not hung over EVERY DAY!… Or comparing the life of a musician to that of his fathers in a sawmill. Considering what the alternatives are for those of us lucky enough to have made a living in the 'biz,' all go a long way to keeping it professional when those alternatives are not discounted or forgotten.”

“I don’t even know what weekend is,” Osborne says. “That makes no sense! 9 to 5 makes no sense! I don’t understand what a vacation is. I don’t know what a holiday is. I’ll work when I fucking want to work. I don’t like people telling me I’m off the clock! If you want to wallow in that kind of thing, weekends off, paid vacations off, then you will wind up in hideous mediocrity for the rest of your life! If that is the dream someone has given you, it’s like they put an anchor to your leg. I will work as hard and as long as I can as I fucking want! If I sat there with a 9 to 5 mentality, I’d have nothing! Stop thinking like a worker bee and start thinking like a champion!”

It is interesting that even when expounding on his own mentality and work ethic, Osborne, without prompting seems to be attacking and arguing with a ghost- a ghost that pops up by Osborne’s own summoning and, like Jacob Marley, wags its finger at Buzz and tells him to stop working. Are there really that many people that go around telling people to work less? That you should only pursue goals from 9 to 5 on weekdays, only? Osborne seems to suggest that this ghost emanates from particular group of people, but I speculate that it’s really the combinate of a select group of people that Buzz encountered in his youth. Yet, interestingly, Buzz still barks at this ghost, or concept, with such vitriol that as much as he doesn’t want to admit, it seems to scare him…

McDonald’s perspective may offer some clarity: “The thing with all the bands I’ve worked with- none of us are mainstream pop bands with one big song that everyone remembers you by, that you are forced to play at whatever casino… not that there is anything wrong with that. I’m sure it’s great if you have that song because the audience is bigger. But in a weird sort of way, it puts us in a forever hopeful up-and-coming position. It feels vital. It definitely keeps me looking to what’s next? What can I prove? I think this job attracts a certain mental profile that is perhaps fragile. Buzz Osborne for instance, you speculated that he is sensitive. He seems grumpy and he doesn’t take shit from anybody and he calls it the way he sees it always… but everything I’m expressing, maybe he identifies with it in some way…”

Void Manes adds an additional way to view the Melvins as moving forward from 40 years of accomplishment: “We should consider the vast range they have covered musically over the past 40 years – so many records that are completely different. They do what they want, and it’s always good and interesting. Most of the best rock bands have had maybe two good albums in them. Melvins probably have at least twenty more good albums still to come on top of what they have already put out. They have a willingness to do weird things. They thrive on that.”

Werckman adds, “They Melvins have lasted forty years they don't pay attention to anyone else. They just concentrate on what they do. They are content to be exactly who they are and where they are.”

Osborne pauses (a rare event) when he ponders the next era of the Melvins and the Melvins legacy, something he is adamant that he doesn’t consider often. He says, “We’ve achieved a lot. I don’t have a lot of other lofty goals. I just want to continue working. I… I… don’t know. I’m very grateful for what I’ve achieved and what I have. I don’t take it for granted. I don’t spend a lot time thinking about what I should have. I think about what I get. I find you’ll be a much happier person that way.”

He continues, “I don’t have an idea the we will sell millions of records or have hot records or have the respect of platinum stars or that they will take us under their wings and sell bazillion for records. I’m very happy with what we have and what we can do. If that’s as good as it gets, I’m happy with that. I don’t have an end plan for the band. I hear professional skateboarders retire when they don’t want to do it anymore or they can’t or no one cares. So far, we haven’t reached that point.”

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4 decades of MELVINS: How a weird band from Washington changed heavy music forever

Order Revolver's Melvins 40th anniversary issue and exclusive, limited-edition vinyl at our shop .

The end of the road is never exactly the end for the Melvins . It's Halloween weekend back home in Los Angeles, and showtime is still five hours away on this final night of the band's third U.S. tour of 2022. Melvins mastermind Buzz Osborne is already thinking about next year — and taking their heavily amped walls of noise and melody on another round of gigs and recording sessions, in time to mark their 40th year as a band.

"We do 40 shows. We play for 40 minutes. It's 40 bucks to get in," Osborne says with a laugh, an explosion of gray curls piled high and wide above his impish joker's grin. The singer-guitarist isn't serious (or is he?), and as he sits with the band backstage at the Lodge Room, the man reveals nothing about how the Melvins will actually celebrate this inexplicable, monumental anniversary beyond the usual hundred or more shows they play every year, virtually without fail.

Whatever form they will take in 2023, concerts are being booked. But after tonight's show, Osborne is planning a little time off. He will return home to his wife, Mackie, and their dogs. He will sleep in his own bed for a while, and his travels will go no further than the golf course. He will be King Buzzo at rest.

Four decades is a lot of history to grapple with, and during that time about a dozen musicians and collaborators have come and gone (bass players, mostly), serving alongside the Melvins' core duo of Osborne and drummer Dale Crover, lifetime creative partners. Tonight's set in this 100-year-old dance hall and former Masonic Lodge will span a bit of that history, from 1989's slamming "Oven" to songs off their newest album, Bad Mood Rising , including the sludgy 14-minute opening track, "Mr. Dog Is Totally Right."

"Let me dream for a second," says Steven Shane McDonald, Melvins' bassist since 2016, long hair past his shoulders. He then offers his own unserious proposal for that anniversary. "What about Aberdeen in 2023, and we have all 10 of your bass players onstage?"

Crover calls that "a little Spinal Tap-ish." And Buzzo jokes that McDonald should just play a set of songs in the styles of each former bassist himself. It's not the craziest idea Osborne ever had.

The original Melvins emerged from the Pacific Northwest at the beginning of the Eighties, a trio of teenage rockers exploring the sonic universe from the middle of nowhere. They began life as a speedy hardcore-punk band, before evolving into something heavier. Largely inspired by early Black Sabbath and side two of Black Flag's My War album, they slowed down and cranked up.

By the end of that first decade, their slabs of sound were unhurried and unstoppable, a musical style as timeless and elemental as Motörhead, Slayer or the Ramones. There have been wild experiments along the way, veering in unexpected directions, but the Melvins will always be credited (and blamed) for inspiring the Nineties grunge explosion that launched Nirvana, Soundgarden, Alice in Chains and more from the clubs and streets of Seattle.

"We're much weirder than the bands that sold millions of records out of that. But things that I was involved in — and the way I thought music should work — helped change things completely on a global level," says Buzzo. "That's the facts. I wasn't wrong then. I'm not wrong now."

The Melvins are now one of the last bands standing from that generation, and they're still operating at full power. Buzzo stalks stages like a high priest in a custom muumuu covered in evil eyeballs and Crover pounds the drums with gloved fists — still an inspiring marvel to witness after all these years.

"The Melvins have their own sound and it's relentless. They pummel you," says Faith No More singer Mike Patton, another musical daredevil and sometime collaborator, and the co-founder of Ipecac Recordings. "When people try to describe the Melvins or compare them to someone else they always fail. They are a genre unto themselves."

THE 1980S The Melvins' story begins in the small town of Montesano, Washington, "Monte" to locals, where 12-year-old Buzz Osborne discovered the ways of hard rock through the songs of Aerosmith, Ted Nugent and KISS in the mid-Seventies. He was a recent transplant from the even tinier hamlet of Morton, with a population of barely more than a thousand residents. Osborne felt like an outcast, the stranger with unruly hair and attitude.

"Some people would say he was kind of an outsider," remembers his friend Mike Dillard, who knew Osborne in high school and would become the Melvins' first drummer. "He looked different than what other kids did. He didn't do what everybody else did. I just instantly gravitated towards him."

Osborne's musical horizons expanded with the help of Creem magazine, which introduced him to punk rock. He liked what he saw and mail-ordered albums from subversive, snarling acts like the Clash and the Sex Pistols. "I simply bought those records because of the way they looked," he says now. And from there he discovered essential protopunk acts like the Stooges and the MC5. Osborne shared both his love of punk and passionate distaste for Montesano with another younger local kid named Kurt Cobain. Buzz would share his Creem mags and later take Cobain to his first Black Flag show, which just might have altered the course of the future Nirvana leader's entire life.

"That's where Cobain and all of us were from," Osborne told Revolver in 2021. "It was hopeless. I have no fond memories of it, none of the good-old-days stuff. It was nothing but a hellish nightmare for all of us." Cultivating an acerbic, offbeat sense of humor was an early coping mechanism. ("We have a very, very dark sense of humor. As did Cobain. Cobain had one of the darkest senses of humor of anybody I've ever known.") But when Osborne picked up a guitar at age 17, playing music became the ultimate release.

In those early '80s days, he would often jam with friends in a little room above Dillard's garage. "Very, very primitive," says the drummer. Matt Lukin joined on bass, and by 1983 they were a fully functional punk trio, playing shows in nearby Aberdeen, Olympia and Seattle. Osborne wrote original songs from the beginning.

Their initial mission was to play as fast and furious as they possibly could. They called themselves the Melvins, named after the manager of a local Thriftway grocery store where Dillard and Osborne worked. He went by Pete, "but his real name was Melvin," says Dillard.

The Melvins eventually pooled what little money they'd earned from playing shows and drove out to a small studio in Olympia to record some songs (released decades later as Mangled Demos .) "The studio we went to was a couple of beer hippies from Olympia," recalls Dillard. "We just burned through our set. I'm sure they were happy to see us leave."

That same year, the Melvins performed at the Elks Lodge in Aberdeen, at a talent show hosted by the town's radio station. A recording of the broadcast that night documents the moment a couple of goofy on-air hosts prepared listeners for the noisy band about to play: "They're tuning up ... We've got some pretty high-powered electronics floating around this room. ... I'm getting frightened. ... I have a hunch we're about to get our sinuses cleared." There's also a brief moment of teenage Buzz being interviewed, impatient to rock.

Crover lived in Aberdeen, so he was there too. He didn't know Buzz or the Melvins. Outside of watching the Ramones in Rock 'n' Roll High School , Crover had never seen a punk band perform. "It was great because they played really fast," he says. "There were no breaks in between their songs. And when the guy on the radio tried to talk, they just went right into another song."

That same night Osborne also got to see Crover's cover band play the hits: Led Zeppelin's "Stairway to Heaven," Lynyrd Skynyrd's "Free Bird," Loverboy's "The Kid Is Hot Tonight," Iron Maiden's "The Number of the Beast." Osborne watched with mixed emotions but noticed Crover behind the drumkit. "I remember thinking, This band is horrendous, but that kid's really good."

They were formally introduced by their mutual friend, Krist Novoselic, an especially tall bass player that worked at Taco Bell (and would eventually go on to conquer the world in Nirvana). When Dillard began drifting toward other interests, Osborne pulled Crover into the Melvins

Mosh pits were receptive to their brand of aggression, but Osborne's songwriting was evolving. "I switched to something along the lines of what I felt was missing in music," he says. "It was slower and weirder — more of a Captain Beefheart-meets-heavy metal vibe."

In 1986, the Melvins attempted their first U.S. tour, packing up a 1972 Dodge van, and the slow, sludgier songs were not happily received. "People still wanted to hear superfast hardcore," says Crover. "We went down to Florida and had to deal with skinheads. Going back down there in '89 … all those people had long hair. It took them a few years to catch up, I guess."

Osborne finally felt like he landed on the sound forming in his head with "Eye Flys," the opening track on the Melvins' debut album, 1987's Gluey Porch Treatments (which was released on San Francisco-based Alchemy Records). The song is over six minutes of noise, beats and aggression, with Osborne's surreal madman growl: "I lay like you/I feel the same/Eye flys like you/In touch between."

Working on that first album as executive producer was Victor Hayden, a onetime member of Captain Beefheart's Magic Band who was better known as the Mascara Snake. "He saw immediately the potential of what we were doing," says Osborne. "He was the first person. He was like, 'That is really good.'"

Osborne left the Pacific Northwest for San Francisco, inspired by a new relationship with Lori Black, bassist for the punk band Clown Alley. She called herself "Lorax," and was the daughter of '30s child star Shirley Temple. Crover soon followed, but Lukin was left behind. (Within a year, Lukin co-founded the explosive Mudhoney.) Before Crover left town, he sat in on some Nirvana sessions with his friends Cobain and Novoselic. Three of those tracks would appear on Nirvana's debut, Bleach , in 1989.

In San Francisco, the Melvins were resurrected as Buzzo, Crover and Black, and were welcomed in ways they'd never experienced further north. They played shows at The Covered Wagon, and connected with a supportive local record company, Boner Records. The alternative scene was just beginning to take off up in Seattle, but Osborne never looked back.

What followed were three albums in quick succession, starting with 1989's Ozma , which established the Melvins' reputation for possessing a new and ominous sound — colliding the heaviest metal with an uncompromising punk ethos. Many songs on Ozma were under two minutes, but left a lasting impression with downtuned guitars, relentless beats and upstrokes on bass from Lorax that helped lock in Osborne's weird time signatures.

"She could do it and that says a lot," Osborne tells Revolver today. "There's a lot of guys that we played with who would have a hard time with that stuff. It was right at the edge of what all of us were capable of doing. I was writing wacky stuff that was out of the middle of nowhere."

THE 1990S The nineties is when the Melvins brought their weirdness to the world at large. It was a prolific, highly successful era in which Buzz and Co.'s creative output cemented their legacy as alternative-music heroes. And that all started with 1991's Bullhead .

Fittingly, the Melvins' third studio album kicked off with a massive eight-minute-plus statement. "Boris" opened with a creeping, heavy riff and Crover's prominent, chopping beats — sounding as bleak as Sabbath at their scariest and as bizarre as a David Lynch film. What Buzzo was singing about is anyone's guess.

Before he was in Mastodon, singer-bassist Troy Sanders first heard Bullhead after guitarist Brent Hinds shared a copy. He was converted for life. "I've always been especially attracted to raw, dirty, hairy, unpolished, rock & roll," he says. "I just recognized that they were carving their own unique path."

When the Melvins began recording Lysol , Black was not in the band, replaced by Joe Preston. Songs were organized on the release not as individual tracks but as one continuous piece of music. The final song is "With Teeth," featuring deliberate, muscular drumbeats that left a mark.

"That's where Dale's drumming style really shines," says Coady Willis, drummer for Big Business and, later, the Melvins. "There's this tension where it feels like he's just waiting until the last possible second to smash these drums. And when that beat finally hits, it just destroys you."

When the Lysol company objected to use of its registered trademark, the 1992 album was eventually redubbed Melvins and later repackaged as Lice-All . That same year, the Melvins dropped a trio of solo EPs in the style of the solo records KISS released in 1978. Likewise, each Melvins EP cover had the face of Osborne, Crover or Preston (who was destined to be the Melvins' bassist for just one year).

By now, the scene in Seattle had exploded into the mainstream, led by their old friends Nirvana, and the music of the Melvins was rightfully credited as hugely influential on the grunge movement. Osborne and Crover were first to deliver a particular brand of sludge. They were also part of a continuum of raging underground rock known to generations of outsiders and misfits, stretching from the Stooges and the MC5 to Black Flag and Sonic Youth.

The Melvins watched the grunge explosion from afar — at first from San Francisco and later from Los Angeles (the latter of which remains their home to this day) — but it hardly mattered that they were no longer based in the rock & roll hotspot of the moment. Their old friend Cobain openly championed them, just as major labels desperately searched for their own lucrative grunge ambassadors. They got nearly 20 offers, including from labels that had previously turned them down. The Melvins signed to Atlantic and were given total freedom.

"I want to be on the same label as the Stones and Led Zeppelin and Aretha Franklin," says Osborne. "The ironic nature of all that makes total sense to me."

Cobain signed up to produce. It was his first time in that role, and he knew enough to lean toward the Steve Albini approach, looking more to capture the band's sound rather than shape it. "I think he came into it thinking, OK, I like this band. I don't really want to fuck with what they do musically," says Crover. Even so, Cobain was clearly distracted by drug issues and the demands of his own band, and barely completed recording half of the songs before the Melvins moved on without him.

That first Atlantic album, Houdini , remains their best-selling release, a grunge-era epic stretching from the quiet-loud-quiet pummeling of "Lizzy" to the whiplash riffing on "Honey Bucket," as Osborne rages in a gibberish tongue. Sessions were scattered across studios in San Francisco and Seattle, producers coming and going. Lorax had returned briefly to the Melvins, but even Buzzo is uncertain whether she is on the final album. "That record was made in pieces and kind of all over the place," Osborne says now. "Most of that's me and Dale."

Lorax was gone from the Melvins by the time Houdini came out in 1993. Her substance issues were a distraction, but not the reason, Osborne says. Their romance had ended. "I would never have kicked her out because of her health issues. When me and her weren't an item anymore, it just became obvious that wasn't going to work," he explains. "She played on great records. I learned a lot from her. The good times were more than the bad times."

That same year as Houdini 's release, Gene Simmons from KISS wore a "Melvins Army" T-shirt designed to look like the KISS Army logo at a magazine photo shoot. Soon after, the singer-bassist joined the Melvins at the Hollywood Palladium. Together, they played the bottom-heavy 1974 KISS song "Going Blind," which the Melvins covered on Houdini . The performance shook the old dance hall as Simmons and Buzzo roared: "You're much younger, can't you see?/There is nothing more for you and I/I'm ninety-three, you're sixteen/And I think I'm goin' blind!"

"If you told me when I was a kid that something like that would happen I would never have believed it," says Osborne. The Melvins have remained friends with Simmons and KISS singer-guitarist Paul Stanley ever since. "Those guys have only ever been totally nice to me. They have not been the rock-star fuck-heads that a lot of other lower-level jerk-offs have been to me."

Osborne and Crover appeared on MTV's Headbangers Ball in 1993 to talk up Houdini . Host Riki Rachtman wanted to know: "How many bass players have you had in this band?"

"Uh, a lot," Osborne answered, clad in a Blondie T-shirt, his hair a globe of dark curls. Buzz held up a snapshot of their new bassist, Mark Deutrom, notably absent, and explained, "This time we got a guitar player to play bass, because we realized that bass players are inherently dumb." He was joking (probably).

Deutrom was their 10-gallon-hat-wearing bassist for the next few years, but he already had a history with the band, producing and engineering their first two albums, Gluey Porch Treatments and Ozma . (He was also co-founder of Alchemy Records, which released Gluey .) He joined Osborne and Crover on their next Atlantic album, Stoner Witch , long a favorite of true believers. It was recorded at A&M Studios in Los Angeles.

"It was the same studio that the Stones recorded in," Crover says, still marveling. "U2 recorded The Joshua Tree in the same room we recorded Stoner Witch in. It's funny to think about."

The band's third and final Atlantic album was Stag . It opens with "The Bit," Crover building a mysterious ringing tone on sitar, leading into Buzzo's growling riff. For the future members of Mastodon, Stag was unforgettable, and the band recorded their own studio version of "The Bit" for a Record Store Day release.

" Stag came out and really blew my mind," Sanders remembers. "When the four of us in Mastodon met in the first week of the year 2000, one of the few questions that we asked before we got in a room to jam was: 'Do you respect and love the Melvins?' All four of us said, 'Absolutely.'"

Sanders says he once had a vivid, memorable dream of being a member of the Melvins, and in 2008 it came true when the Melvins joined Mastodon for "The Bit" during their encore at All Tomorrow's Parties in Minehead, England. "We're playing this song and the crowd is going ape," Sanders says. "In my mind, I'm losing it, but I'm trying to be solid player. We're jamming with the Melvins right now in front of people. Let's do this! I remember turning around realizing, holy shit, this is a literal dream come true. For this three-and-a-half minutes, I'm in the Melvins."

The Melvins ended the Nineties with a new musical home. In 1998, Osborne began moonlighting in Fantômas, a new band with the all-star cast of singer Mike Patton, Mr. Bungle bassist Trevor Dunn and Slayer drummer Dave Lombardo. Amazingly, this promising new act got an especially insulting rejection from a prominent indie hard-rock label. Patton and his manager, Greg Werckman, were incensed enough to create their own record company for the album called Ipecac Recordings.

Osborne immediately wanted the Melvins to be part of it. He also wanted to immediately release three albums in rapid succession: The Maggot , The Bootlicker and The Crybaby . Ipecac has released most Melvins projects ever since.

"When the Melvins asked to be part of Ipecac, before we launched, it instantly made it a real record label," says Patton. "Of course, the first thing they requested was that we help them commit career suicide by releasing three albums in one year. We happily agreed — 23 years later they are still very much alive."

THE 2000S "My job is to not be normal," says Buzz Osborne, and he's good at it. Nearly two decades into their career, the Melvins showed no signs of slowing down as they kept adding strange new layers to their story.

The band recorded two albums with former Dead Kennedys singer Jello Biafra: Never Breathe What You Can't See and Sieg Howdy! The San Francisco punk pioneer hadn't worked regularly with a band in many years, and the Melvins admired his history and stand against music censorship.

"We felt like he should be in a band and playing," says Crover. "We spent a lot of long hours working on stuff. Practices would be super long because half of them would be just bullshitting the whole time. He likes to talk; we like to talk. We never really worked with anybody quite like that before. It was pretty interesting."

Biafra is also an insomniac, so their sessions would begin in the afternoons at the earliest. The Melvins spent the rest of those days working with another unexpected collaborator, electronic musician and experimental composer Lustmord. Colliding sludge and dark ambient waves, the result was 2004's brooding epic Pigs of the Roman Empire .

In 2005, they parted ways with their bassist Kevin Rutmanis, who had been Deutrom's replacement since the late-Nineties but had started slipping deeper into substance-abuse issues. Though traumatic, Rutmanis credits his forced exit with saving his life. With his departure, Crover and Osborne were wary of adding a new face yet again, so their attitude going forward changed. "Basically, we want to have an open relationship," Crover explains. Osborne adds: "We're not getting mired down ever again with one guy."

After a rare break from active touring, the Melvins took another left turn: absorbing the metal duo Big Business into the band. Singer-bassist Jared Warren and drummer Coady Willis joined in 2006.

In the final days of Nirvana, Buzz says the Melvins had talked with Dave Grohl about a dual-drum collab that "was supposed to be on the Stoner Witch album." That never came together, but Big Business fit right in with their own frazzled walls of sound. In the double-drum setup, Willis and Crover played in tandem or layered their beats, depending on the song. Because Willis is left-handed, and Crover is right-handed, onstage they were often a thundering mirror image of each other.

"I don't think they've ever been afraid of anything creatively," says Willis. "They are pretty fearless in that realm. Once they decide on doing something, they jump right in and they do it, and they don't look back."

Big Business made four full albums with the Melvins, starting with (A) Senile Animal in 2006. And on the road, the longtime Melvins fans within Big Business dove headfirst into the depths of the band's huge catalog. But some mysteries remained forever unsolved.

"I had questions, and people I knew had questions, about lyrics. Like, 'What's he saying?'" reveals Warren, often called on to sing backup on the classic material. "I never got a straight answer about what the lyrics were. There's a bunch of songs that are notorious for sounding like he's making up words. I was never told any different, so I just sang the made-up words I thought he was singing and that was that."

THE 2010S The Melvins stretched forward and backward during the 2010s. They toured as Melvins Lite with Trevor Dunn on acoustic double-bass and pulled him into one of Buzzo's craziest ideas yet: touring all 50 states (plus Washington, D.C.) in 51 days in 2012. They launched from Alaska and closed in Honolulu, a colossal challenge of routing and endurance.

Buzz and Dale also reconvened with the band's original drummer, Mike Dillard, who had remained close with them over the years. As Melvins 1983, the new trio was described by Osborne as a project "as close to the original lineup as we're willing to get." Working around Dillard's vacation days from his job as a machinist in Washington, they began recording new music — Dillard on drums and Crover on bass — so far releasing 2013's Tres Cabrones and 2021's Working With God . "The fact that [Buzz] brought me back into the fold was an amazing thing for me," says Dillard. "I honestly couldn't believe it."

After nearly a decade, the band's time with Big Business concluded without angst or even much of a discussion. Warren and Willis were told the Melvins were going to tour with McDonald the following year, which didn't seem out of character for a band that had recently toured as Melvins 1983 and Melvins Lite. But it was soon clear they were parting ways with Big Business, at least for now.

"I had one conversation with Buzz ... about royalties," Willis recalls. "I was like, 'Oh, I was just wondering because we're not in the band anymore ...' And he said, 'Who said you aren't in the band anymore?' I was like, 'Oh, OK.'"

They last appeared on 2016's Basses Loaded , a collection of songs recorded with six different bass players. One of them was McDonald, best known then for his work with Redd Kross and OFF! Also on the record were Dunn, Butthole Surfers' Jeff Pinkus and Krist Novoselic. (The ex-Nirvana bassist also played accordion, a first for the Melvins.)

"It's almost like a Spinal Tap joke about bass players with them. Instead of drummers, it's exploding bass players," says McDonald, who first met the Melvins at a 1996 Yoko Ono concert at the Roxy Theatre in West Hollywood. Osborne and Crover joined Yoko onstage for a show-closing jam session.

Prior to that, the Melvins mostly knew of McDonald for his decades of work with Redd Kross, the genre-blending punk/rock/pop/psychedelic band that he formed with his brother Jeff when they were 11 and 15, respectively. Crover has since signed up as drummer for Redd Kross as well. "There's a lot of musical common threads," says McDonald of Crover's playing. "As beastly as he can attack the drums, he can also have a light touch and be groovy and he can Ringo it up too. He's a really broad drummer and he's got deep taste."

The trio's first full-length project together was 2017's A Walk With Love & Death double-album (one record of songs, plus a second of soundtrack music for a 33-minute experimental film directed by Jesse Nieminen), which was followed by 2018's Pinkus Abortion Technician (which also featured bass contributions from Jeff Pinkus). "Anytime people think they've got his number, he changes it," McDonald says of Osborne's adventurous creativity.

THE 2020S AND BEYOND Fittingly, the first post-pandemic album by the Melvins was absurd. The previously mentioned Working With God , released in February 2021, kicked off with a joyously madcap cover of the Beach Boys' "I Get Around," reworked as "I Fuck Around." "We'd been saying we should do an exact replica because it would be hilarious," Osborne told Revolver upon its release. "And then what we realized was replicating the Beach Boys is not that easy of a task." In October, they unleashed Five Legged Dog , which included acoustic reworkings of songs from throughout their entire catalog.

One year later, the indefatigable Melvins surprise-released their latest album, Bad Mood Rising , while on the final leg of their 2022 U.S. tour. These days, the trio is fully in sync onstage. McDonald describes the well-known glowering stage presence of Buzzo in his evil-eye garb as "grim disapproval." He laughs. "That's his equivalent of Paul Stanley blowing kisses," says McDonald. "He's a showman and he's been very encouraging for me to flex that muscle as well."

And no matter what wild moves they unveil to celebrate their forthcoming 40th anniversary, it will no doubt be an entertaining, unpredictable experience … one that only the Melvins could cook up.

Osborne and Tool's Adam Jones — who shot the photos for this cover story — have been close friends for years. Even their dogs are related. They met when Tool and the Melvins opened for Bad Religion a few decades back. "He says I was mean to him, which is total bullshit," Osborne says. Tool and the Melvins have occasionally toured together, and Jones has appeared on Melvins tracks. "He sees the viability of my insane playing in a way that some people may not. He under-stands it on a level that most people that are on the level he's at don't really get."

Floating around the internet is an undated photograph of Osborne, Jones and Patton sharing an intense moment, tipping over the falls together on Disneyland's Splash Mountain ride. At the rear of the canoe is Buzzo, eyes bulging and his black curls streaked with a bolt of gray. In the middle is Jones, in shades and a Motörhead T-shirt, facing the abyss like a man enduring a wind-tunnel test. And up front is Patton, face caught in gnarled mid-scream.

"All Melvins band meetings take place at Disneyland," Patton says. "Adam and I have both been summoned to several Melvins band meetings over the years. Is there anything better than going to a band meeting and getting a pineapple whip and riding Space Mountain? It's the Melvins' way."

After 40 years as a band, the Melvins are still far from the end, operating on instinct and unexpected left turns, facing mosh pits with gray heads vastly out-numbered by newer generations of fans. The lineups change, and there have been personal losses along the way (Cobain, Chris Cornell and more), but the commitment of Osborne and Crover to push forward and stay weird never wavers.

They are a remarkably self-contained operation, and they like it that way. At home, Buzzo's wife Mackie Osborne continues to design all album covers, singles, posters and more, as she has since the mid-Nineties. And the band still maintain a space on the outskirts of Los Angeles that they share with musician-producer-engineer Toshi Kasai. It's where the Melvins rehearse and record without interruption.

"It's a DIY thing. I think we're probably the biggest DIY band there is. We put the 'D' in DIY," Buzzo says with a laugh. " DO ."

Photo Assistant: Travis Shinn; Contributing Designer: Mackie Osborne

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THE MELVINS CELEBRATE THEIR 40TH ANNIVERSARY WITH THE “TWINS OF EVIL TOUR.”

Music News | News

Jun 7, 2023.

Posted By Tracy Fuller

In the realm of iconic bands, few can match the longevity and influence of The Melvins. With an incredible 40 years under their belt, they continue to captivate audiences with their unique sound and unforgettable performances. To commemorate this impressive milestone, The Melvins have announced the highly anticipated “Twins of Evil Tour,” a seven-week musical journey that promises to be extraordinary. Joining them on this co-headlining trek is the renowned Japanese trio, Boris. Together, these two legendary groups will be performing classic albums in their entirety, taking their fans on a musical adventure like no other.

A Legendary Setlist: Bullhead and Heavy Rocks

At the heart of the “Twins of Evil Tour” lies an exceptional selection of albums that have left an indelible mark on the music world. The Melvins will be treating their fans to the beloved Bullhead album in its entirety, a masterpiece that has solidified their status as trailblazers in the industry. As the iconic band takes the stage, their performance will be a testament to their enduring creativity and the raw power of their sound. Additionally, fans can expect to hear additional tracks from The Melvins’ extensive discography, ensuring a truly unforgettable experience.

Joining The Melvins on this extraordinary journey is the acclaimed Japanese band Boris. Having drawn inspiration from The Melvins since their formation in the mid-1980s, Boris pays homage to their heroes by taking their name from a song title off The Melvins’ 1991 album, Bullhead. The opportunity to witness these two influential groups unite for a nationwide tour is an astonishing event that has thrilled music lovers around the United States. Boris’ own contribution to the tour comes in the form of their album Heavy Rocks, a landmark record that showcases their own unique style and musical prowess.

A Milestone Worth Celebrating

The “Twins of Evil Tour” marks another significant chapter in The Melvins’ 40-year journey. The band has already enjoyed an eventful anniversary year, beginning with a successful stint on the Ipecac Geek Show tour alongside labelmates Mr. Bungle and Spotlights. This thrilling tour was followed by their much-anticipated return to European stages for the first time since 2018. To commemorate their remarkable inception in 1983, The Melvins were recently featured on a series of eye-catching Revolver covers. These captivating portraits, shot by Tool’s Adam Jones, served as a visual tribute to their enduring legacy.

Furthermore, Ipecac Recordings, the band’s record label, has dedicated this year to celebrating The Melvins’ illustrious discography. Vinyl reissues of previously released albums have been met with overwhelming demand, quickly selling out to dedicated fans. Among the albums available are Tres Cabrones, Houdini Live 2005, and The Bulls & The Bees + Electroretard, each showcasing the band’s unique sound and creative evolution.

A Nationwide Tour: Dates and Ticket Information

Fans eagerly anticipating the “Twins of Evil Tour” can mark their calendars for the upcoming on-sale date. Tickets for this once-in-a-lifetime musical experience will be available starting Friday, June 9, at 10 am local time. The tour promises to be an electrifying talent showcase and celebration of The Melvins’ unparalleled contribution to the music industry.

The following is a comprehensive list of tour dates for the “Twins of Evil Tour”:

In the realm of music, few bands can match the influential journey of The Melvins. Celebrating their 40th anniversary , they embark on the “Twins of Evil Tour” alongside Boris, uniting two iconic groups for an unforgettable co-headlining trek. Performing classic albums in their entirety, The Melvins will showcase their beloved Bullhead, while Boris will astound audiences with Heavy Rocks. This nationwide tour promises to be an extraordinary experience, paying homage to four decades of groundbreaking music. Join The Melvins and Boris as they take their fans on a remarkable journey, celebrating their legacy and continuing to push the boundaries of rock music.

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Melvins Announce 43-Date Fall U.S. Tour

With 27 dates already on the books for this summer, Melvins will head back out on the road in the United States this September on the 43-date "Five Legged Tour" with special guest We Are the Asteroid.

Aside from exhaustive touring, which is the norm for Melvins, the group has been especially busy lately, having released the  Working With God studio album last year as well as  Five Legged Dog , which featured three dozen classic tracks reworked as acoustic versions.

While the tour's name is adapted from that acoustic compilation record, the tour will not take on the same approach, meaning Melvins will perform plugged in and fully electrified on the run that begins on Sept. 5 in San Francisco, California and wraps up back on the West Coast in Los Angeles on Oct. 29.

See the full list of stops further down the page and look for tickets to go on sale at 10AM local time on June 3 at the band's website .

"Nationwide once again! Nothing like touring the USA in the fall," exclaimed singer/guitarist Buzz Osborne , "Everyone’s a winner!"

See the band's previously announced Electric Roach tour dates, stretching from June 15 through July 20, here .

Melvins 2022 Tour Dates With We Are the Asteroid

Sept. 05 — San Francisco, Calif. @ Great American Music Hall Sept. 06 — San Jose, Calif. @ The Ritz Sept. 07 — Bakersfield, Calif. @ Temblor Brewing Company Sept. 08 — Petaluma, Calif. @ Mystic Theatre Sept. 09 — Felton, Calif. @ Felton Music Hall Sept. 10 — Fresno, Calif. @ Strummer’s Sept. 12 — Las Vegas, Nev. @ Backstage Bar & Billiards Sept. 13 — Flagstaff, Ariz. @ Yucca North Sept. 14 — Santa Fe, N.M. @ The Bridge at Santa Fe Brewing Company Sept. 16 — Boulder, Colo. @ Fox Theatre Sept. 17 — Ft. Collins, Colo. @ Aggie Theatre Sept. 19 — Omaha, Neb. @ The Waiting Room Sept. 20 — Kansas City, Kan. @ recordBar Sept. 21 — St. Louis, Mo. @ Old Rock House Sept. 22 — Louisville, Ky. @ Headliners Music Hall Sept. 23 — Indianapolis, Ind. @ The Vogue Theatre Sept. 24 — Grand Rapids, Mich. @ The Pyramid Scheme Sept. 26 — Columbus, Ohio @ A&R Music Bar Sept. 27 — Lancaster, Pa. @ Tellus360 Sept. 29 — New York, N.Y. @ Irving Plaza Sept. 30 — Asbury Park, N.J. @ The Stone Pony Oct. 01 — Washington, D.C. @ Black Cat Oct. 03 — Raleigh, N.C. @ The Pour House Music Hall Oct. 04 — Charlotte, N.C. @ Visulite Theatre Oct. 05 — Greenville, S.C. @ The Radio Room Oct. 06 — Savannah, Ga. @ District Live Oct. 07 — Athens, Ga. @ 40 Watt Club Oct. 09 — Jacksonville, Fla. @ Jack Rabbits Oct. 10 — Gainesville, Fla. @ High Dive Oct. 11 — Orlando, Fla. @ The Social Oct. 12 — Ft. Lauderdale, Fla. @ Culture Room Oct. 13 — Tampa, Fla. @ Orpheum Theater Oct. 15 — Pensacola, Fla. @ Vinyl Music Hall Oct. 16 — Baton Rouge, La. @ Chelsea’s Live Oct. 17 — Jackson, Miss. @ Duling Hall Oct. 18 — Memphis, Tenn. @ Growlers Oct. 19 — Little Rock, Ark. @ Revolution! Music Room Oct. 21 — Tulsa, Okla. @ Cain’s Ballroom Oct. 22 — Oklahoma City, Okla. @ Beer City Music Hall Oct. 23 — Denton, Texas @ Rubber Gloves Oct. 25 — El Paso, Texas @ Lowbrow Palace Oct. 28 — Palm Springs, Calif. @ The Alibi Oct. 29 — Los Angeles, Calif. @ The Halloween Freakout

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Melvins, Boris Plot 2023 Co-Headlining Tour

The trek will see both bands playing classic albums in their entirety

Later this summer, Melvins and Boris are mounting a co-headlining tour across the United States. The Twins of Evil trek kicks off on August 24 at the Belasco Theater in Los Angeles and wraps up on October 14 at the House of Blues in San Diego. Mr. Phylzzz will serve as special guests at every show.

Melvins, continuing their 40th anniversary celebrations, will perform their classic album Bullhead in its entirety, while Japanese trio Boris will play their hit LP Heavy Rocks  all the way through.

“Forty years as the Melvins,” frontman Buzz Osborne exclaimed. “What better way to celebrate that unlikely milestone than by setting off on the Twins of Evil Tour with our friends, Boris. This will be a stone groove!”

Boris’ Takeshi adds, “Could anyone have predicted such an astonishing event, that Boris and the Melvins would tour the entire USA together? Since the mid-1980s, the Melvins have had an enormous influence on artists of all genres not only limited to heavy music, and have brought forth a surge of faithful followers over the years. Needless to say, Boris is just one of these many bands influenced by the mighty Melvins, and we took our name from a song title off of the 1991 album,  Bullhead .”

Tickets go on sale this Friday, June 9, at 10am local time HERE .

August 24 – Los Angeles, CA – Belasco Theater August 25 – Pomona, CA – The Glass House August 26 – Fresno, CA – Strummer’s August 27 – San Francisco, CA – Great American Music Hall August 28 – San Francisco, CA – Great American Music Hall August 29 – Petaluma, CA – Mystic Theatre August 31 – Portland, OR – Roseland Theater September 1 – Seattle, WA – The Showbox September 2 – Spokane, WA – Knitting Factory Spokane September 3 – Bozeman, MT – The ELM September 5 – Fargo, ND – The Hall at Fargo Brewing Company September 6 – Minneapolis, MN – Varsity Theater September 7 – Milwaukee, WI – The Rave II September 8 – Chicago, IL – Metro September 9 – St. Louis, MO – Red Flag September 11 – Indianapolis, IN – The Vogue September 12 – Grand Rapids, MI – The Pyramid Scheme September 13 – Detroit, MI – St. Andrews Hall September 14 – Cleveland, OH – Beachland Ballroom  September 15 – Pittsburgh, PA – Roxian September 16 – Maspeth, NY – Desertfest NYC September 18 – Albany, NY – Empire Live September 19 – Boston, MA – Paradise Rock Club September 20 – Bethlehem, PA – MusicFest Café September 21 – Philadelphia, PA – Brooklyn Bowl September 22 – Washington, DC – The Howard Theatre September 23 – Virginia Beach, VA – Elevation 27 September 24 – Carrboro, NC – Cat’s Cradle September 26 – Nashville, TN – Brooklyn Bowl September 27 – Atlanta, GA – Variety Playhouse September 28 – Savannah, GA – District Live September 29 – Birmingham, AL – Saturn September 30 – New Orleans, LA – Tipitina’s October 2 – Houston, TX – Warehouse Live Studio October 3 – Austin, TX – Mohawk October 4 – Dallas, TX – Granada Theater October 5 – Oklahoma City, OK – Beer City Music Hall October 6 – Tulsa, OK – Cain’s Ballroom October 7 – Lawrence, KS – The Bottleneck October 9 – Denver, CO – Summit October 11 – Albuquerque, NM – Sunshine Theater October 13 – Tempe, AZ – Marquee Theatre October 14 – San Diego, CA – House of Blues

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MELVINS Announces 40th Anniversary European Tour

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Melvins announce 40th anniversary tour dates for the UK and Europe

Nirvana's favourite grunge band, Melvins, line up 40th anniversary visit to Europe

Melvins have shared the details of their 40th anniversary UK and Europe tour itinerary.

Buzz Osborne 's enduring sludge-grunge pioneers, who released their 26th studio album, Bad Moon Rising , last September, will launch the trek in Bristol, England on May 30 and roll through mainland Europe in June - slotting in an appearance at Hellfest - before closing out the run with a brace of shows in Tel Aviv, Israel on July 5 and July 6.

The confirmed dates are: May 30: Bristol The Exchange, UK Jun 01: Glasgow The Garage, UK Jun 02: Newcastle Boiler Shop, UK Jun 03: Leed Stylus, UK Jun 04: Manchester Gorilla, UK Jun 05: Birmingham O2 Institute 2, UK Jun 06: London lectric Ballroom, UK Jun 08: Paris Le Trabendo, FRA Jun 09: Cologne Freak Valley Festival, GER Jun 10: Hamburg Knust, GER Jun 11: Berlin Hole 44, GER Jun 12: Prague Lucerna Music Bar, CZE Jun 13: Vienna Arena, AUT Jun 14: Zagreb The Culture Factory, CRO Jun 17: Vitoria-Gasteiz Azkena, SPA Jun 18: Clisson Hellfest, FRA Jun 20: Geneva PTR, SWI Jun 21 Zurich Rote Fabrik Clubraum, SWI Jun 22: Strasbourg La Laiterie, FRA Jun 24: Leffinge De Zwerver, BEL Jun 25: Antwerp Trix, BEL Jun 26: Amsterdam Paradiso Main Hall, HOL Jun 27: Nijmegen Doornroosj, HOL Jun 29: Brighton Chalk, UK Jun 03: Athens Technopolis, GRE July 05 Tel Aviv Barby, ISR July 06 Tel Aviv Barby, ISR

Before heading to the UK, Melvins will join Mr. Bungle and Spotlights for an Ipecac Recordings mini-tour in the US under the Geek Show banner.  The label – co-founded by Mike Patton – previously hosted bills featuring the likes of Tomahawk, Fantômas, and Melt Banana.

"The 'Geek Show' tours of the past were some of the best live show experiences I've ever had," said Patton. "Hanging out with friends that are also some of my favourite musicians is a great way to spend a couple weeks. This iteration is a mindblower. You will want to be the first one there and the last to leave this party! The mighty Melvins and Spotlights will prove to be a challenge for Mr. Bungle to follow. I only wish we could take this package around the globe."

The Geek Show tour will call at the following venues:

May 11: Los Angeles Palladium, CA May 13: Las Vegas Sick New World Festival, NV (no Spotlights) May 16: Denver Mission Ballroom, CO May 17: Salt Lake City Union Event Center, UT May 19: Seattle Showbox, WA May 21: Portland Crystal Ballroom, OR May 23: Oakland Fox Theater, CA

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40th anniversary tour

Started by Tobias, January 22, 2023, 07:52:30 PM

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Quote from: Dumpster D on January 23, 2023, 05:34:04 PM What does 'no spotlights' mean?

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Quote from: ))))(((( on January 23, 2023, 06:31:04 PM Quote from: Dumpster D on January 23, 2023, 05:34:04 PM What does 'no spotlights' mean?

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Quote from: Tobias on January 22, 2023, 07:52:30 PM Can we expect a 40th anniversary tour this year? Saw their 20th in 2004 then their 30th in 2013. Will it be this year or next?

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Quote from: Bad Guy Zero on January 28, 2023, 09:23:35 PM Quote from: Tobias on January 22, 2023, 07:52:30 PM Can we expect a 40th anniversary tour this year? Saw their 20th in 2004 then their 30th in 2013. Will it be this year or next?

Quote from: laptop sorcery on January 28, 2023, 11:33:42 PM Where my confusion comes in is, how come 2004 is 20yrs? Isnt it 2003? Obv it makes sense that 2013 is 30th anniversary (83-13')

THEPRP News

Melvins Announce European/UK Leg Of Their 40th Anniversary Tour

Melvins will be heading overseas this spring/summer for their first European/UK tour in roughly five years. That trek will also find the veteran alternative metal legends celebrating their 40th anniversary. Tickets for the headlining shows of the trek will be on sale this Friday, February 10th.

05/30 Bristol, UK – The Exchange 06/01 Glasgow, UK – The Garage 06/02 Newcastle, UK – Boiler Shop 06/03 Leeds, UK – Stylus 06/04 Manchester, UK – Gorilla 06/05 Birmingham, UK – O2 Institute 2 06/06 London, UK – Electric Ballroom 06/08 Paris, FRA – Le Trabendo 06/09 Cologne, GER – Freak Valley Festival 06/10 Hamburg, GER – Knust 06/11 Berlin, GER – Hole 44 06/12 Prague, CZE – Lucerna Music Bar 06/13 Vienna, AUT – Arena 06/14 Zagreb, CRO – The Culture Factory 06/17 Vitoria-Gasteiz, SPA – Azkena 06/18 Clisson, FRA – Hellfest 06/20 Geneva, SWI – PTR 06/21 Zurich, SWI – Rote Fabrik Clubraum 06/22 Strasbourg, FRA – La Laiterie 06/24 Leffinge, BEL – De Zwerver 06/25 Antwerp, BEL – Trix 06/26 Amsterdam, NET – Paradiso Main Hall 06/27 Nijmegen, NET – Doornroosj 06/29 Brighton, UK – Chalk 07/03 Athens, GRE – Technopolis 07/05-06 Tel Aviv, ISR – Barby

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• April 23, 2022 Setlist

Alan Parsons Live Project Setlist at Genesee Theatre, Waukegan, IL, USA

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Tour: Eye in the Sky - 40th Anniversary Tour statistics Add setlist

• Standing on Higher Ground ( The Alan Parsons Project  cover) Play Video
• Don't Answer Me ( The Alan Parsons Project  cover) Play Video
• Time ( The Alan Parsons Project  cover) Play Video
• Eye in the Sky
• Sirius ( The Alan Parsons Project  cover) Play Video
• Eye in the Sky ( The Alan Parsons Project  cover) Play Video
• Children of the Moon ( The Alan Parsons Project  cover) Play Video
• Gemini ( The Alan Parsons Project  cover) Play Video
• Silence and I ( The Alan Parsons Project  cover) Play Video
• You're Gonna Get Your Fingers Burned ( The Alan Parsons Project  cover) Play Video
• Psychobabble ( The Alan Parsons Project  cover) Play Video
• Mammagamma ( The Alan Parsons Project  cover) Play Video
• Step by Step ( The Alan Parsons Project  cover) Play Video
• Old and Wise ( The Alan Parsons Project  cover) Play Video
• One Note Symphony ( Alan Parsons  song) Play Video
• I Wouldn't Want to Be Like You ( The Alan Parsons Project  cover) Play Video
• Breakdown / The Raven ( The Alan Parsons Project  cover) Play Video
• Prime Time ( The Alan Parsons Project  cover) Play Video
• (The System of) Dr. Tarr and Professor Fether ( The Alan Parsons Project  cover) Play Video
• Damned If I Do ( The Alan Parsons Project  cover) Play Video
• Games People Play ( The Alan Parsons Project  cover) Play Video

Edits and Comments

7 activities (last edit by Rockharder , 11 Apr 2024, 18:42 Etc/UTC )

Songs on Albums

• (The System of) Dr. Tarr and Professor Fether by The Alan Parsons Project
• Breakdown / The Raven by The Alan Parsons Project
• Children of the Moon by The Alan Parsons Project
• Damned If I Do by The Alan Parsons Project
• Don't Answer Me by The Alan Parsons Project
• Eye in the Sky by The Alan Parsons Project
• Games People Play by The Alan Parsons Project
• Gemini by The Alan Parsons Project
• I Wouldn't Want to Be Like You by The Alan Parsons Project
• Mammagamma by The Alan Parsons Project
• Old and Wise by The Alan Parsons Project
• One Note Symphony by Alan Parsons
• Prime Time by The Alan Parsons Project
• Psychobabble by The Alan Parsons Project
• Silence and I by The Alan Parsons Project
• Sirius by The Alan Parsons Project
• Standing on Higher Ground by The Alan Parsons Project
• Step by Step by The Alan Parsons Project
• Time by The Alan Parsons Project
• You're Gonna Get Your Fingers Burned by The Alan Parsons Project

Alan Parsons Live Project

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Alan Parsons Live Project Gig Timeline

• Apr 21 2022 State Theatre Minneapolis, MN, USA Start time: 8:05 PM 8:05 PM
• Apr 22 2022 Adler Theatre Davenport, IA, USA Add time Add time
• Apr 23 2022 Genesee Theatre This Setlist Waukegan, IL, USA Add time Add time
• Apr 25 2022 Pabst Theater Milwaukee, WI, USA Add time Add time
• Apr 26 2022 Schuster Performing Arts Center Dayton, OH, USA Add time Add time

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<div style="text-align: center;" class="setlistImage"><a href="https://www.setlist.fm/setlist/alan-parsons-live-project/2022/genesee-theatre-waukegan-il-4bb6732a.html" title="Alan Parsons Live Project Setlist Genesee Theatre, Waukegan, IL, USA 2022, Eye in the Sky - 40th Anniversary" target="_blank"><img src="https://www.setlist.fm/widgets/setlist-image-v1?id=4bb6732a" alt="Alan Parsons Live Project Setlist Genesee Theatre, Waukegan, IL, USA 2022, Eye in the Sky - 40th Anniversary" style="border: 0;" /></a> <div><a href="https://www.setlist.fm/edit?setlist=4bb6732a&amp;step=song">Edit this setlist</a> | <a href="https://www.setlist.fm/setlists/alan-parsons-live-project-bf00906.html">More Alan Parsons Live Project setlists</a></div></div>

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[url=https://www.setlist.fm/setlist/alan-parsons-live-project/2022/genesee-theatre-waukegan-il-4bb6732a.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=4bb6732a[/img][/url] [url=https://www.setlist.fm/edit?setlist=4bb6732a&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/alan-parsons-live-project-bf00906.html]More Alan Parsons Live Project setlists[/url]

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