Over the years, we’ve been fortunate to engage with many legendary alternative music icons. One such figure is a man who is truly unique in his field. His band, the Melvins, has produced over 30 exceptional records in their 43-year career, a testament to their refusal to conform and their commitment to innovation. And they’re not even close to stopping.
In their Melvins 1983 guise, they present their thunderous album, ‘Thunderball’, released through Ipecac Recordings on April 18th. George had the honour of speaking with Buzz Osborne, their iconic frontman.
Melvins 1983 refers to the band’s early incarnation, featuring you and the original drummer, Mike Dillard. This is your third album released under this name. Can you provide some insight into what the Melvins were like in 1983?
“Well, original Melvins 1983, we were trying to just figure out how to play our instruments and so it was a little less complicated music than we ended up doing. Then by 84 we had a different drummer Dale Crover and so we kind of moved into more complicated time signatures and all those kinds of things. Then years and years later, we put out a record on Ipecac, where we had demos that we’d made in 1983. We put it out called Mangled Demos from 1983. That’s when we decided, let’s get the original drummer Mike Dillard back and we’ll do some shows with him playing, doing that old stuff with Dale playing bass and so that’s what we did. Then while we were doing the rehearsals for that, Mike Dillard said, “Why don’t we try writing some new songs?” And I was like, “oh, I didn’t think of that!” So, I started writing some songs that we could play with just the three of us that would work because Mike Dillard’s a much more straightforward drummer. So I had to write things that I knew he could play. So that’s what we did and then we ended up doing that for three albums. Now this new album, it’s just me and Dillard. So I played all the bass, guitar and all the vocals and Dillard did the drumming. But he’s in his day gig, he’s in Union Machinist. So we had to work around his schedules, so that meant I would have all the songs written and after listening to demos he would come down and we would record him, you know relatively quickly while he was up to take a few days of vacation time.”
I read that you and Mike bonded over the fact that he was the only person who liked the same kind of crazy music you did back in the early days. I’m interested in knowing what crazy music that was. What was it like on your stereo back in those days?
“Well, I kinda grew up in a vacuum where I would buy records just from the way the bands looked in magazines. I didn’t live near any record stores; there certainly wasn’t any internet. So I would read magazines like Creem Magazine or Hit Parader and various other music magazines that covered everything. Once in a while, they’d have pictures of these strange bands, like the Sex Pistols, The Clash, or the Ramones, or stuff like Talking Heads and Blondie, and I would mail order those records. Bowie, this is all in the 70s, the Damned and all these bands like that. So I would have been, you know, eighth grade, ninth grade, something like that. So I’m buying these records online or on mail order and then waiting weeks and then getting them delivered and listening to them. The town I lived in was very small. I didn’t know anybody who was interested in the same kind of music that I was interested in but, at the same time, I liked all the same bands that I ever did, bands like Aerosmith, Led Zeppelin, Thin Lizzy, all those bands, Pink Floyd. I never stopped liking that stuff; even when I got really into hardcore punk rock, I always still had a fascination with Zeppelin, The Who, and bands like that.
I felt like not only did I like a lot of the music that normal people liked, but I also liked a lot of other stuff that wasn’t in the normal mainstream, certainly where I was at. So, he was the first person that when I played him stuff, he was like, “Oh, wow, that’s really good!” Everybody else hated it; they couldn’t get past Johnny Rotten’s vocals or whatever, but he was very receptive to it. So, then he played drums, which is how we got together. I was just starting to learn to play guitar and we kind of figured out how to play music together by just practicing together. So that’s how it worked. Then later, after our band was going, that’s when I turned on the guys in Nirvana onto weird music, and that’s kind of where that all started as well. So, it’s been a strange journey. But the people that I was around, that I grew up around were not receptive to anything that I was interested in, not at all. So, I didn’t really try too hard to make that happen because it was not really worth it to me.”
You’re joined by two electronic artists, Void Manes and Ni-Maitres, on this album as well. How did that collaboration come about?
“Well, I’ve known those guys for a long time. I always wanted to do something with them, and this seemed like the perfect opportunity to do that. I really liked that kind of stuff, so I thought I’d have them record a bunch of stuff and send it to me, and then I would add it in as I see fit.”
On the album, the electronica feeds each track into the other, like connective tissue. I noticed on this record as well that there’s a return to straight-up heavy rock riffing in a lot of it. Was that the intention behind this album, to make it that bombastic?
“Exactly. I was thinking bombastic from the beginning. This one doesn’t have any cover songs or the humour that the other Melvins 1983 records have. I was like, “I’m done with humour for the moment. Let’s see what else I can do.”
Some tracks keep you guessing, which is what I love about your records in general.
“I’m glad you like it. My favourite song on there is called Venus Blood. It’s the last song on the record, that’s probably my favourite one.”
You’ve now made more studio albums than most bands could make in five careers. How do you stay inspired to be as prolific as you are?
“Well, this is what I do. I’m a songwriter, and I make music. So I work out a tremendous amount, and I’m not afraid of work, so I always have ideas for things, and I try it, and a lot of it isn’t very good, but you just have to sift through all those things and look for the good stuff.”
You’re releasing through Ipecac Records, which has an incredible roster of acts. Do you think some of the artists featured on that label, the acts from the 80s and 90s, were just built differently, and built for longevity, because you had to fight harder for your place in the music industry?
“You know, I’m not really sure; I’m not sure what motivates other people. All I know is that when it became evident to me that I could make a go at being a full-time musician, then I didn’t really want to go in any other direction. So, I thought, okay, I’m going to do this as hardcore as I can, it’s what I do. So, I take it seriously and work very hard at it. We managed to make a living doing what we’re doing, but I’m not out there trying to figure out “what people will like?” I have no idea what people will like, no clue. All I know is that I make music the way that I like it, that I would appreciate bands making music and figuring that there are other people out there that will like it too. I just don’t know how many.”
It’s caused a lot of excitement over this side of the pond that you’ve just been announced at this year’s ArcTanGent Festival. I understand you’re turning up with two drummers on this tour. Is that correct?
“Yep, we went back to the two drummers, Cody Willis. He played with us before, quite a while ago, about 10 years ago, and we’ve got him back in the band. We just did six warm-up shows in the US, and then we’re just about to embark on a 53-day tour with Napalm Death in the United States. Then we go to Europe with Redd Kross. I don’t know if they’re playing that festival as well, but we’re playing most of our headlining shows with Redd Kross.”
How is Dale Crover recovering from his recent health scare?
“He seems to be doing good; we just played six shows, and he’s been playing with Redd Kross, so hopefully all will be ready and cooking by the time we get there.”
I have a fan question: of all the collaborations you’ve done over the years, are there any that stick out that you’re most proud of?
“I really like the one we did with Flipper, I mean, I’ll be leaving stuff out, it’s not fair. Off the top of my head we did one with Helms Alee I really liked. We did one with two of the Mudhoney guys. It was really cool. The Napalm Death one, I think, came out really great. There’s four right there.”
As you mentioned, you’ve got a collaborative album with Napalm Death on Amphetamine Reptile Records entitled Imperial Death March. How was that experience, recording with Napalm Death?
“That was great! It’s me, Dale, Shane, John and Barney. So it’s a collaboration. So it’s not both bands doing separate stuff. It’s members of each band coming together and playing all the songs together as one band.”
This leads me to my special guest question from a fellow called Shane. He’s from Birmingham, and he asks, “What favourite food did Buzz buy me when Venomous Concept played our first show in Chicago?”
“A $10 speciality burrito.”
That’s the answer I have here. He says a very, very big burrito the size of his arm.
“That’s right. It was the most expensive burrito that they had so I go, “I’m going to get that for him!” $10, now you can’t buy anything for $10.”
It’s clearly appreciated if he’s still talking about it.
“Oh yeah, it was really funny because it was huge! Here you go! He’s laughing his head off, you know.”
As you said, you’re about to embark on your US tour with Napalm Death, and Shane’s Dark Sky Burial is supporting you. I know this is the first time he’s toured this, so you must be excited to see what Shane has in store.
“You know, the Napalm Death guys are some of my favourite guys in the whole world. I’m a big fan of Shane’s, and I’m very excited, you know; he kind of timidly asked, “Is it okay if I do this?” And I was like, “Yeah, of course, you can do it. I’d love to have you do it.” So that was great, that was really fun, and I’m very excited that he’s so excited to do it too, and I can’t wait for it.”
You’ve always maintained 100% creative control throughout your career and written what you wanted to hear first. Do you think sticking to your guns is the key to longevity?
“Well, probably for me, like I say, I don’t know what motivates other people, but I’m not one to take a lot of… I mean, I’ve never been in a situation where people would have been giving me orders. You know, “You got to do this.” I’ve heard people say stuff like that. Like Caroline Records a long time ago, in the 80s, said that our stupid band name and our stupid record covers were really going to hurt our career and it was dumb for us to do that. I was like, “… Okay.” I’ve heard stupid shit like that. I was like, “Well, you know a stupid band name like our name, The Melvins? It’s not unlike The Ramones; it didn’t seem to hurt them.”
And years later, here we are.
“I mean, what kind of name do they think we should have? And what kind of a dumb shit do they think I am? It’s just like, why don’t you just let me do the driving and you can fuck off?”
Do you ever allow yourself to take stock of all that you’ve done, or do you just keep pushing forward? Do you ever give yourself a pat on the back and say, “We did alright there!”
“I guess you know it’s a success as long as I can… This is what I do for a living, and I think it’s great. I really feel fortunate and that I worked as hard as I have to get to the point that I’m at, as far as being able to make a living playing music, which is all I really ever wanted to do. But as far as looking back at my career and going, “Wow!” You know, Eh? “I’m More of a ‘What Have I Done Lately?’ Kind of Guy.”
That’s what I thought you’d say, given the nature of your music and output. You seem to always be on to the next thing.
“Yeah, pretty much. I’m happy with the stuff I did in the past. I wouldn’t change it, but I’m not married to it as far as, “Oh my god, we have to sound exactly like that!” Meh, we’re okay, I think I can do whatever I want to.”
Are there other artists on your radar that have caught your ear?
“I really like anything Trevor Dunn’s doing; I think he’s a super exciting and fun guy. I did a big acoustic tour last year with him, and that was great. He played stand-up bass, and I played acoustic. And then I like this band called Taipei Houston. We did some shows with them; they’re really good. I like Helms Alee; I think they’re one of the better bands out there, and of course, I really like Red Kross; I play with Steven, who’s in Melvins and Dale, who also plays in Melvins. So that’s great. I like that stuff a great deal.”
Our closing question – If the Board of Education came to you and said, “We want a song to put on the national curriculum for formative youths to hear,” what song do you think would equip a young 18-year-old for future life?
“What would I pick?”
Any genre.
“I would say Subhuman by Throbbing Gristle or my alternate pick would be Love is a Losing Game by Amy Winehouse.”
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Interview By George Miller