Buzz Osbourne of the Melvins once said in order to make a perfect song, “you have to… be able to hide what you’re stealing from really well.” Evidently, new Relapse Records signing Mose Giganticus haven’t quite figured that out just yet, because the verse to their song “The Left Path” seems like a seriously obvious rip off of “The Talking Horse,” the lead track off the Melvins’ 2006 LP A Senile Animal. Visit Mose Giganticus’ MySpace page and give that track a listen. Then check out the (quite bizarre) Melvins video below the cut.

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People who become “a fan” of some bullshit on Facebook really grind my gears, and as such I’ve avoided joining such asinine groups as “Dear ghetto moms, no one is going to hire your kid named Shanaqualeesha” on principle. Yet one of the few I’ve followed is the one for Amphetamine Reptile fan page, which is actually maintained by the otherwise mostly dormant label.

Today, my noise rock geek-o-meter went directly into the red when I saw the following status update:

25 years ago AmRep released it’s first 7″. Aug. 28th 2010 is going to be a huge live birthday party in Minneapolis. Melvins, Boss Hog, God Bullies, Today Is The Day, and more!!!! Stay tuned – - – more updates – - – exclusive show only releases!!! Invite any and all to sign up here to get updates – and please help spread the word.

Holy crap!

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Jello Biafra is one of the very few people living today who can honestly be called a musical pioneer. The importance of the Dead Kennedys cannot be overstated, and as that hardcore punk act’s frontman and voice, Jello’s words continue to influence generations of people worldwide dissatisfied with the status quo, whether that apply to the music scene or the socio-political climate. Fortunately, he continues to rail against the crimes inflicted by governments and corporations in his own unique way, whether it be through bitingly witty spoken word performances or those from his new band, The Guantanamo School of Medicine. Yet after all of these years, Jello still prides himself on not stagnating or repeating himself. In his own words:

One thing we’ve gone out of our way to do with [The Guantanamo School of Medicine] and what I do in general, I’m kinda proud that no two music albums of mine have ever sounded alike. Not even the Lard albums or the two I did with the Melvins, let alone Dead Kennedys. There’s so much punk and so much metal that gets put into these little genres and sounds so much like other bands that you wonder, “what’s the point?” This is like drawing in a coloring book instead of making a picture from your imagination as a kid. Part of what that comes from is drawing my sources and my ideas from other parts of music besides punk, including even that weird tiki cocktail lounge music from the Fifties… You wanna put a unique stamp on your band, you’ve gotta draw from forces outside your favorite kind of music. I didn’t even realize until years later that when I’d hide out at my parents’ place in Colorado to write songs and plan out the next Dead Kennedys album that I was listening to almost no punk whatsoever when I was doing it.

Below, check out more from my interview with Jello.

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While there are more obvious statements than “supergroups more often than not fail to meet our expectations” – “fire will ruin your house” and “Guns N’ Roses have gone through numerous line-up changes” are tied with it – there aren’t many. And yet, with the announcement of a formation of one, excitement is usually the first emotion called upon. And while saying that supergroup prospects should immediately be met with caution is like saying a new car should be approached with the attitude that you will most likely wrap it around a tree, the failure/success ratio is sadly stacked toward the former. However, this usually isn’t the fault of the uber-collective, but our own gargantuan expectations assuming that this new band featuring members of other bands we like will be as good as all the involved bandmembers main projects COMBINED. And while there have been some out and out failures as of late (cough Greymachine cough), the other two most notable supergroups that reared their heads this year – scraggly doom metal gathering of titans Shrinebuilder and semi-unkempt gathering of some dudes from your uncle’s favorite bands Them Crooked Vultures – have gotten an unfair rap in the wake of their respective debuts’ releases. While to say the bands’ detractors dislike their albums because they don’t rival Neurosis, Sleep, the Melvins, Nirvana, Queens of the Stone Age, or Led fucking Zeppelin is unfairly ignoring their actual grievances, to write off either Shrinebuilder or Them Crooked Vultures would be a damn shame, in that, while not reinventing any sort of wheel, in a year where the biggest supergroup commercially was Chickenfoot, a solid doom metal album and a solid stoner rock album are two pretty significant things to dismiss.

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How could I take over this stupid-website-for-jerks for an entire day without doing a Melvins post?! Well, I guess the answer is “I can’t” because this is a Melvins post.

Amphetamine Reptile doesn’t actively sign or release just about anything anymore, which is a damn shame considering the number of amazing acts it unleashed upon the music world in its heyday. Thankfully, one of the few acts still affiliated with the Minneapolis-based label is The Melvins, who discreetly release a preposterously limited 7″ through AmRep roughly once a year to satisfy fanatical completists. (One such release featured a rendition of “The Star Spangled Banner” on the A-side and an unflinchingly true-to-the-original cover of Kiss’ “Detroit Rock City.” Yeah.)

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The notion of a remix album is a strange one. First of all, what purpose do they serve – to provide intriguing reinterpretations of their catalog, or to throw a bone to fans hungry for a new album? Secondly, are remixes to be judged on their own merits as songs, or do they need to be permanently attached to their point of origin? Third of all, what in the fuck IS a remix, exactly? In the hip-hop community, it’s the same backing track with a slew of different rappers of wildly varying quality contributing new verses along with the original artist. In the pop world, it’s the original song with a throbbing nightclub beat thrown underneath. In the metal world, it’s a weird prospect: it’s either a collection of ambient, noise, or ambient/noise pieces built upon the tiniest shred of the source material, or a rearranging of the original tracks into a violent, messy reimagining (For the latter, see Justin Broadrick’s take on Isis’ “Hym” for how it can be done well, and his take on Pantera’s “Fucking Hostile” to see how it can be done horribly). Needless to say, metal remix albums tend to be geared toward metalheads with noise sympathies or strictly for fans only, if not both. The Melvins’ new remix collection, Chicken Switch, appears to fall into both, but actually falls pretty hard into the latter. Those in search of a worthwhile remix album should probably ignore this one.

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Don’t you agree?

(Due out Tuesday October 6 on Merge Records, Lou Barlow’s Goodnight Unknown features drumming by Melvins’ Dale Crover. Check out more videos here.)

-GS

[Gary Suarez is a jerk. He usually manages the consistently off-topic No Yoko No. Say, why don't you follow him on Twitter?]

Despite being such a huge fan of Big Business’ Here Come The Waterworks, 2009′s Mind The Drift honestly doesn’t stand much of a chance of making it into my year-end Top 10 list. The same cannot be said, however, for Sculpted Beef, the brief vinyl (and digital) debut from White Shit, Jared Warren and Coady Willis’ side-project with Andy Coronado of Wrangler Brutes and Monorchid. Contrasting significantly with the slightly proggy art-metal Warren and Willis explore with their other bands, White Shit make brash, lo-fi hardcore in the Black Flag/Minor Threat tradition. Here, sprawling riffage and avant-garde percussion is violently tossed aside and replaced with filth, fury, and snot-nosed wit. And it’s all done pretty fucking well.

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Down, Melvins, and Weedeater are playing a show in New York City tonight. Holy crap in my pants, I cannot recall the last time I was this excited about a metal show. Three of my favorite stoner metal artists on one bill! The tour continues throughout September, wrapping up in Louisville, KY on the 28th. Perhaps the most surprising thing about this incredible tour is that none of these bands have new albums out. So basically, this one is for the fans. And the money. WIN-WIN!

In related news, those darned Melvins will be releasing a remix album called Chicken Switch via Mike Patton’s Ipecac imprint the day after the Down tour ends. Of course, ever the contrarians, the band has opted to provide entire albums as source material, as opposed to single songs. Participants include a whole mess of freaks, including Merzbow, Sonic Youth’s Lee Ranaldo, and David Scott Stone, the latter of these boasting an impressive resume recording and playing with Big Business, Fantomas, and The Locust (as well as the Melvins). Drummer Dale Crover is also a member of the doom colossus known as Shrinebuilder, which finally revealed its FUCKING AMAZING first song to the public and is playing a handful of live gigs.

-GS

[Gary Suarez is erecting a pillamyd. He usually manages the consistently off-topic No Yoko No. Say, why don't you follow him on Twitter?]

I suspect that, save for the weirdos and closeted avant-jazz heads lurking among our readership, many of you are unaware of or oblivious to the work of Trevor Dunn. Of course, any Mr. Bungle fan will instantly recognize the name of that seminal band’s bassist. Produced by the influential and infamous John Zorn, its 1991 self-titled debut might be one of most bizarre albums in my collection of bizarre albums, blending bombastic hard rock, demented circus music, and freak jazz with thematic wit, irreverence, and depravity. In subsequent years, the Mike Patton-fronted group took a proverbial backseat to the vocalist’s work in the comparatively more successful Faith No More, leaving Dunn and his cohorts to pursue other musical ventures including Secret Chiefs 3. Though Mr. Bungle ultimately and mysteriously disbanded after the release of its third album California, Patton and Dunn would continue their musical partnership in the experimental metal supergroup Fantomas–a still technically active quartet that also includes Melvins’ esteemed axeman Buzz Osbourne and Slayer’s revered drummer Dave Lombardo–as well as the related Fantomas-Melvins Big Band and Zorn’s “Moonchild”. Separately, Dunn has spent much of this decade as a major player in New York’s avant-jazz community, featuring in countless groups and albums including his own Trio-Convulsant. MadLove, however, might be the most extraordinary (and frustrating) release of Dunn’s career given its curious straightforwardness and accessibility.

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It should come as no surprise that we’re all pretty excited about Shrinebuilder here. And how could we not? It’s a fucking indie metal supergroup featuring Scott “Wino” Weinrich (Saint Vitus, The Obssessed), Scott Kelly (Neurosis, Tribes of Neurot), Al Cisneros (Sleep, Om, Asbestosdeath), and Dale Crover (Melvins, Altamont, Nirvana). Without hearing a single note–since the band has yet to release a single song–it is pretty much understood that its forthcoming self-titled debut shall destroy us all. I firmly belief that these men are the long promised Four Horsemen of the Apocalypse.

Hopefully the particularly nasty bits in the Book of Revelation will take place after I get a chance to see the band play live. As of now, three Shrinebuilder shows have been announced, two on November 14 at The Empty Bottle in Chicago (one early, one late) and a third on November 15 at Le Poisson Rouge in New York City.

-GS

[Gary Suarez watched as the Lamb opened the first of the seven seals. He usually manages the consistently off-topic No Yoko No. Say, why don't you follow him on Twitter?]

Even if you’re one of those people who only listen to metal, hardcore, or other such heavy music styles, you have to concede the fact that many of the musicians you love do not share that singular devotion to one genre. Some artists go even further and apply their broad tastes to the music they make. (Mike Patton might be one of the best examples of this.) That being said, I was admittedly quite surprised to learn that Melvins drummer Dale Crover plays on indie rocker Lou Barlow’s forthcoming solo album Goodnight Unknown. And not just on one track…

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I can’t say I’ve followed everything that Jello Biafra’s done post-Dead Kennedys, but I was quite excited when I heard that Faith No More bassist Billy Gould is part of his new band The Guantanamo School of Medicine. Those familiar with Jello’s two collaborative albums with the Melvins (2004′s Never Breathe What You Can’t See and 2005′s Sieg Howdy) will find the new songs streaming at the band’s MySpace page familiar in style: punky, quirky, and political.

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“Highly anticipated” does not even begin to describe the hype surrounding Shrinebuilder’s debut album. The doom supergroup features Saint Vitus / Obsessed / Spirit Caravan / Hidden Hand guitar hero Scott “Wino” Weinrich, Neurosis / Tribes of Neurot leader Scott Kelly, former Sleep and current Om bassist Al Cisneros, and Melvins drummer Dale Crover… basically THE definitive who’s who of doomo all-stars. Roadburn.com is now reporting that the album is finally coming this autumn via Neurot Recordings, and they’ve posted the breathtaking artwork by A Storm of Light’s Josh Graham (a small portion of which I’ve posted above). They also report that the band will play several gigs in the U.S. later this year with European dates to possibly follow.

Speaking of A Storm of Light, they’ve got a crushing new track called “Midnight” streaming on their own website (take that, MySpace!). The track comes from the new double-disc record Forgive Us Our Trespasses, due in September via Neurot as well.

Thanks to MS Maniac Charlie F. for the tips.

-VN

As one of the founding members of arguably one of the most important metal bands, Scott Kelly helped navigate Neurosis from a crust punk genesis to the lords of abstract doom they’ve become. Despite going on to semi-normal adult lives not built around touring, they’ve still managed to put out some of the most challenging and, ultimately, best music of the decade. Kelly himself splits his non-Neurosis time among Tribes of Neurot (the band’s ambient side project), an acoustic solo career, the post-apocalyptic folk of Blood & Time, and, most recently, stoner metal wet dream Shrinebuilder, featuring Melvins drummer Dale Crover, Sleep/Om bassist Al Cisneros, and doom icon Wino. In an interview Scott was kind enough to grant MetalSucks – conducted during his trip to the airport on his way to some European Neurosis shows, stopping once to get through airport security and ending when the plane was ready to take off – he discussed his collaboration with the gentlemen in Shrinebuilder, his history with Neurosis and long-time collaborator Steve von Till, and punk’s limiting ethos vs. metal’s acceptance.

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A couple of months back I complained about the expensive All Tomorrow’s Parties weekender in the Catskills region of New York. Though noise rock royals The Jesus Lizard and The Melvins are both scheduled to appear at the September festival, I just haven’t been able to justify the hundreds of dollars I’d have to shell out for tickets and to stay at some bullshit resort swarming with trustafarians. Thankfully, it turns out that we can all save our hard-earned dough (and avoid contracting swine flu), as both of these bands are planning other U.S. performances that wont break the bank.

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This Friday, the one-and-only Melvins kick off a 25th anniversary celebration at New York’s Webster Hall, where (as I’ve mentioned before) the group will perform the classic Houdini LP in its entirety, followed by a set of tracks from the founding 1983 incarnation featuring original drummer Mike Dillard. The talented Trevor Dunn, who played some shows with his new band MadLove a couple weeks ago, will fill in on bass duties as the Big Business boys are currently touring in support of the just-released Mind The Drift album. Yet incidentally there’s another former Melvin who just happens to be in the Big Apple this weekend: Joe Preston.

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While headbanging and throwing the horns at an indie metal act along with countless others in a packed crowd, the last person you expect to see rocking out is a dude from The Sopranos. Well, that’s exactly what I spied with my little eye during the Big Business show in New York City last night.

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A few years ago Slayer performed Reign in Blood in its entirety, a year later Metallica did Master of Puppets, and now Exodus are gonna do Bonded by Blood, Judas Priest are doing British Steel, Motley Crue are doing Dr. Feelgood, Ratt are doing Out of the Cellar, Aerosmith are doing Toys in the Attic, Melvins are doing Houdini, etc. What does the MetalSucks Haterade Mafia think; is this trend lame, or is it cool?

n

This provocative and entirely untrue headline was my way of:

1) capitalizing on the goodwill fostered by our previous swine flu posts,

2) letting you know that the recently reunited Boss Hog has joined the ATP NY weekender lineup, which also includes The Jesus Lizard, Melvins, Boredoms, and Black Dice.

Echoing my earlier sentiments about this overpriced music fest, even this new addition isn’t enough to convince me to shell out over $250 for tickets and a couple hundred more for accommodations. I mean, come on.

-GS

[Gary Suarez is still gonna call it swine flu. He also writes for Brainwashed and usually manages the consistently off-topic No Yoko No. Say, why don't you follow him on Twitter?]