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Written by Glenn BurnSilver   
Wednesday, 13 September 2006

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The Hatchetman Cometh
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Buzz “King Buzzo” Osborne doesn’t like to talk about his hair.

“Not really,” he said from his Hollywood, Calif., home.

Yet, his hair—a mop-fro of gray and black that projects from his head like some gravity-defying creature—is the perfect analogy for his band The Melvins: frizzy, fuzzy, wild, out of control and slightly beyond categorization.

Putting a finger on The Melvins doesn’t come easy. The Melvins kept the punk flame alive when punk “died,” redefined the meaning of heavy metal, and were grunge before grunge — the latter of which they are not credited. Also featuring bassist Kevin Rutmanis and drummer Dale Crover, The Melvins machine gun fire sound oscillates between chocolate pudding enhanced Black Sabbath heaviness and the industrial pounding of Ministry, all with a constant Black Flag-styled in-your-face-I-do-it-my-way-no-matter-what-you-think-commerciality-be-damned ethos that predates anything Nirvana or Soundgarden could have conjured up.

Only now just getting the recognition they deserve, and even then just barely, Osborne laughed when reminded of The Melvins importance to the grunge movement.

“When people talk about our first album and how glorious it was, well, I’m sorry people, I was there,” he recalled about The Mevlins’ 1986 debut, “Gluey Porch Treatment.” “Nobody liked that record when it came out. It was not some golden era or good old days, believe me.

“You just can’t worry about it,” he added. “I like it.”

Little has changed for The Melvins since that debut. Oh, the production value of the albums has increased, and The Melvins continue to “make records we’d appreciate as fans of bands.” But, Osborne continued, the critics have “universally” panned “every album since the first one.”

“Unfortunately, most people are sad, pathetic morons and there is not much we can do about it,” he said.

But much to their credit, members of The Melvins haven’t changed for anyone except themselves. In the last few years they have worked recently with techno guru Lord Lustmord and outspoken activist Jello Biafra. Their next release, recorded with members of Big Business, “(A) Senile Animal,” is due in October. Whatever the direction, Osborne understands that The Melvins alone must make people aware of its music.

“I can’t rely on radio or TV to get the word out,” he said. “They have nothing to do with us. If you don’t bring it to the people, who’s going to?”

But living Hollywood, he must be doing all right by music?

“The world’s not a right place. If the world was a right place we’d be billionaires by now,” he continued. “Maybe if we were a chick band it would work out better.”

Now there’s a scary thought, especially since Osborne usually performs in a dress.
Maybe cornrows would help?



 


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