So you slept on snagging tickets to the Melvins show June 16 at the Pyramid Scheme. And, like clockwork, it sold out quickly. Well, we’ve got the next best thing: a conversation with guitarist/vocalist Buzz Osborne, the heavy-as-hell sludge band’s chief songwriter.
King Buzzo chatted about the band’s latest LP, Hold It In, which features Osborne and drummer Dale Crover – but also Butthole Surfers members Paul Leary (guitar) and bassist JD Pinkus. The veteran doom band is also reissuing Electroretard on June 2 – it will be packaged with The Bulls & The Bees EP. Here’s what Osborne had to say.
Throughout the mid-to-late ‘90s, the ethereal image of a long-haired and lanky Marilyn Manson squirming about on stage while shouting about sodomy engrossed rebellious teens — but more importantly it horrified worrywart parents. That’s a trick from the ol’ Alice Cooper playbook: Terrify old people and the kids will flock to it.
Life on tour agrees with Colony House, and things have only gotten better since the group found a sound representational of its true inspirations. Since two of the members are children of Steven Curtis Chapman, a Grammy-Award winning Christian singer-songwriter, the pressure from record labels to head in their father’s direction could have nudged Colony House to follow someone else’s vision. But the trio has ultimately played to their strengths to churn out melodic, guitar-driven indie rock.
More than a decade after hitchhiking his way out of small town Illinois, singer-songwriter Pokey LaFarge has come to proudly embrace his Midwestern roots. Fresh-faced and 17, LaFarge left home in 2001 with little more than a mandolin, an honest appreciation for American history – both musical and otherwise – and the sort of audacious ambition only greats like Hemingway and Kerouac can rouse in a young man.
Even though Built To Spill founder Doug Martsch has been an indie-rock icon for more than two decades with a direct influence on bands like Modest Mouse, Death Cab For Cutie and others, he remains humbly honest about what he does for a living and his title as an innovator.
Two California-based post-hardcore bands, A Lot Like Birds and I the Mighty, open the ’68 show at The Stache. The two bands, both on the Equal Vision Records imprint, are no stranger to the road or touring together.
As Meijer Gardens & Sculpture Park gears up for another summer of concerts, one could hearken back to the American Express slogan of yore — membership has its privileges. With the members-only presale launching on April 25, the annual scrum for the most popular of the season’s 30 performances will begin.
Growing up in southern Arkansas, Larry McCray has been steeped in music since day one. His grandparents were musicians, as were his parents — eventually, he and his nine siblings followed in their elders’ melodic footsteps.
Any room with the Jon Spencer Blues Explosion playing is a tough room. Civilization takes a back seat. So imagine two decades-plus later to find that a talk with Russell Simins, the drummer from the JSBX, explores the Oscar Niemeyer architecture of Brasilia and the ramen joints of Fukuoka, Japan.
Bands with any sort of depth tend to sprout from unorthodox beginnings. The Ramones perfected its stage show at the gritty CBGB. The Velvet Underground preferred to get weird with Andy Warhol at The Factory. For La Dispute, its genesis can be traced back to one particular DIY spot: the Division Avenue Arts Collective (DAAC).
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