11 Songs, 49 Minutes

EDITORS’ NOTES

Perhaps sensing that their unexpected detour into the mainstream was about to end, the Melvins went all-out for Stoner Witch, their second and final album for Atlantic. While Houdini felt like the Melvins’ version of a major-label album, Stoner Witch just sounds like a straight Melvins record. The band streamlined its studio team and brought onboard bassist Mark Deutrom. For the first time in years, the Melvins were a functional, democratic trio, and their triangulated chemistry is what brings Stoner Witch to life. “Sweet Willy Rollbar,” “Revolve,” “June Bug” and “Magic Pig Detective” exhibit the band’s tightest playing to date. After years of experiments in deconstruction, here they are simply a smoking-hot rock band. “Queen,” “Roadbull” and “At the Stake” are unrelentingly evil — arguably the most intense assaults since the trio’s early days. “Shevil” and “Lividity” bring the band full circle, uniting the weighty assault of the new band with the abstract drone of early works like Gluey Porch Treatments.

EDITORS’ NOTES

Perhaps sensing that their unexpected detour into the mainstream was about to end, the Melvins went all-out for Stoner Witch, their second and final album for Atlantic. While Houdini felt like the Melvins’ version of a major-label album, Stoner Witch just sounds like a straight Melvins record. The band streamlined its studio team and brought onboard bassist Mark Deutrom. For the first time in years, the Melvins were a functional, democratic trio, and their triangulated chemistry is what brings Stoner Witch to life. “Sweet Willy Rollbar,” “Revolve,” “June Bug” and “Magic Pig Detective” exhibit the band’s tightest playing to date. After years of experiments in deconstruction, here they are simply a smoking-hot rock band. “Queen,” “Roadbull” and “At the Stake” are unrelentingly evil — arguably the most intense assaults since the trio’s early days. “Shevil” and “Lividity” bring the band full circle, uniting the weighty assault of the new band with the abstract drone of early works like Gluey Porch Treatments.

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About Melvins

The Melvins weren't the first band to acknowledge the heavy metal influences that most left-of-center bands had been trying to shake off since punk rock broke in 1977 (that honor would go to Black Flag on their polarizing 1984 album, My War). But no other band to emerge from the punk/alternative underground would mine Black Sabbath's slow, monolithic roar with greater effect than the Melvins, and they would prove to be wildly influential despite barely breaking out of cult status. The drop-D tunings and brontosaurus stomp of grunge icons such as Tad, Mudhoney, and Soundgarden would be unthinkable without the trails the Melvins blazed, and Kurt Cobain often sang their praises, helping them land their first major-label recording deal in 1993. They became a bridge between the edges of the punk and metal communities, who would find greater common ground from the '90s onward. (Their debut EP, 1986's 6 Songs, found them wavering between speedier punk-oriented numbers and full-on heaviness, but by 1991's Bullhead, the Melvins' trademark gargantuan sound was firmly in place.) And while the Melvins were as recognizable as any band of their day, they also proved to be more creatively flexible than nearly all their peers, willing to experiment with different styles (the massive suite on 1992's Melvins [aka Lysol], the ambitious studio experimentation of 1996's Stag, the noisy soundscapes in 2017's A Walk with Love and Death) and a variety of musical configurations (bringing in multiple guest vocalists on 2000's The Crybaby, using two drummers on 2006's A Senile Animal, working with a rotating team of bassists on 2016's Basses Loaded, recording with two bassists at once on 2018's Pinkus Abortion Technician), all of which helped the band remain productive and prolific more than three decades after it launched.

The band formed in Aberdeen, Washington, the same town that produced Nirvana's Cobain and Krist Novoselic. For Nirvana and many other Seattle-area bands, the Melvins' sludge was inspirational; the younger bands took the Sabbath-styled heaviness of the Melvins, while adding an equally important pop song structure, which the group tended to lack. While all of their disciples became famous after Nirvana broke big in 1991 (including Mudhoney, which featured former Melvins bassist Matt Lukin), the Melvins only expanded their cult slightly. They did earn a major-label contract with Atlantic, but after releasing three records for the label, they were dropped in late 1996 and the group returned to indie status, landing with Amphetamine Reptile for 1998's Alive at the F*cker Club. The late '90s and early 2000s century saw a flurry of releases by the band: The Maggot, The Bootlicker, The Crybaby, Electroretard, The Colossus of Destiny, Hostile Ambient Takeover, Pigs of the Roman Empire, and Houdini Live 2005: A Live History of Gluttony and Lust, all of which (except for the fourth one) were issued on Mike Patton's Ipecac label.

In addition to their Melvins activities, singer/guitarist Buzz Osborne joined Patton (and former Slayer drummer Dave Lombardo and Mr. Bungle bassist Trevor Dunn) for the experimental outfit Fantômas, resulting in a number of releases (1999's self-titled debut, 2001's The Director's Cut, 2002's Millennium Monsterwork by "the Fantômas Melvins Big Band" (recorded live in San Francisco on New Year's Eve 2000 but not released until two years later), 2004's Delirium Cordia, and 2005's Suspended Animation), while the Melvins' latest bassist, Kevin Rutmanis, joined Patton in another side project, Tomahawk. In 2006, Big Business bassist Jared Warren and drummer Coady Willis joined the Melvins, appearing on that year's Senile Animal album. The follow-ups, 2008's Nude with Boots, 2010's The Bride Screamed Murder, and a live album titled Sugar Daddy Live, were recorded with the same lineup and released by Ipecac.

The band returned in 2012 with a stripped-down lineup, dubbed Melvins Lite, for Freak Puke, which found Crover and Osborne recording without the boys from Big Business, instead adding standup bassist Dunn to their roster to round out the band's already formidable bottom-end sound. Mixing things up even further, the band teamed up with a host of guests, including the likes of Jello Biafra and J.G. Thirlwell, for Everybody Loves Sausages, an album of covers that arrived in 2013. Another new album, Tres Cabrones, released in November of that same year, saw them reunited with original drummer Mike Dillard -- who had previously appeared only on their early demo tapes -- while usual drummer Dale Crover took over on bass duties. Another odd team-up occurred in 2014, as Crover and Osborne joined the Butthole Surfers' Jeff "J.D." Pinkus and Paul Leary on the eclectic Hold It In.

Two unusual releases from the Melvins arrived in 2016. An album the group began recording in 1999 with Mike Kunka of Godheadsilo was finally completed and released as Three Men and a Baby, credited to Mike & the Melvins. And in mid-2016 they issued Basses Loaded, where the group recruited a handful of favorite bass players to collaborate on songs. The guest artists included Krist Novoselic of Nirvana, Steve McDonald of Redd Kross and OFF!, J.D. Pinkus, Trevor Dunn, and Jared Warren. One of the few things the Melvins hadn't done was release a double album, but finally they were able to cross that off their list in 2017 with A Walk with Love and Death. The 23-track release included material written and recorded as the score to a film by Jesse Nieminen. In 2018, the Melvins broke ground with a lineup featuring two bassists on the album Pinkus Abortion Technician. The sessions found J.D. Pinkus (returning from his previous appearances on Hold It In and Basses Loaded) handling the bottom end along with Steve McDonald (also heard on Basses Loaded), while King Buzzo and Dale Crover took their usual places on guitar and drums. ~ Stephen Thomas Erlewine & Greg Prato

ORIGIN
Aberdeen, WA
GENRE
Rock
FORMED
1985

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