The
Melvins and Sunn 0))) were two of many cult bands I have always
intended to get obsessed by, without ever quite getting round to it.
But more than that, their sounds seemed to have something of an
overlap – not just slow
is the new fast, but also heavy is the new loud. So bliss
it was in that dawn, for everyone and everything except for eardrums,
when they played Brighton within a couple of weeks of each other.
(Actually Earth, who played earlier in the year, made something of a
trilogy of it, but
I couldn't wait to write something about them.)
THE
MELVINS
Concorde
2, Mon 28th May
“What's
the most horrible way to die?”
“To
have a nail banged through the back of my neck. Slowly.”
That
quote, from Lindsey Anderson's 'If', sums up the
sound of the Melvins better than anything I could imagine. Often
described as Black Flag meeting Black Sabbath, they've been at their
distillation of hardcore punk and pounding metal for nearly three
decades now. Which is more than long enough to get good at this.
The
twin drummers don't just keep time, like an onstage click track, but
make up much of the body of the sound. You feel
the set as much as you hear it. The room vibrates. People headbang.
Not just nod merrily along, but proper actual headbanging. I can't
remember when I last saw that at a gig!
There's
a virtuous combination to them. With their Simpsons-style look, they
seem like four crazy guys found in some nearby alley were thrust on
stage after the actual band failed to show. But they also put on the
smartest, tightest, kick-ass show you will ever see. They push one
riff to the very limit of endurance, then seamlessly break off into
something else. Though (whatever naysayers claim) you can perfectly
easy tell their tracks apart, they pretty much run them together
live, sensing their sound's about relentless intensity. We cram in
cheering when we can, like an upstaged understudy.
There's
a clear 'take it or leave it' attitude from the band, like they're
long-used to polarising audiences and there's precious use talking
about it. But let's make some attempt...
Actually,
there's a double virtuous combination to them.
They don't have a fusion sound, stirring elements of hardcore and
metal into a concoction, they fuse them together into a single sonic
assault. They're a malt not a blend! They unceremoniously jettison
the downside of metal, the uber-theatrical stageyness, the
chest-puffing frontman, the overlong screechy guitar solos. But they
also play the same trick on hardcore...
The
best hardcore bands (Bad Brains, Fugazi, the Minutemen) were wild but
disciplined, with a surprising but distinct undertone of restraint.
The worst hardcore bands were wild and undisciplined; listening to
them was like thumbing a lift with an inexperienced joyrider, one big
jolt and it was all over. The Melvins took Bad Brains' discipline and
combined it with the lumbering force of metal.
The
worst hardcore bands were like one of those latter-day zombies who
move fast, they'd constantly jump up only to get dispatched. The
Melvins are like the true, original zombies. They're slow, but you
just know they're going to get you.
Music
histories, when they mention the band at all, pair them with Flipper
as an influence on grunge. Which is an influence that can't be
denied. First drummer (they now have two) Dale Crover played on
Nirvana's 'Bleach' while their original bassist,
Matt Lukin, formed Mudhoney. But this rather limits their influence
to a single direction. The doom drone band Boris named themselves
after a Melvins song, while there's an obvious overlap between their
sound and noise
rock bands such as Live Skull. Wikipedia claims they
pioneered a whole genre of 'sludge metal.'
(No, I've not heard of any of the bands either.)
But
beyond that pairing them with Flipper blunts the unique appeal of
both bands. There's no real metal element to Flipper's sound.
Unusually for a West Coast hardcore band, their music was made by
bohemians - languid, arch and disdainful. A huge part of their appeal
was the combination of overwhelming force with the sense they could
barely be bothered to play. Perhaps relatedly they were a volatile
element, which burnt brightly but briefly. No wonder they weren't
heavy metal, they were actually something more sparky - maybe
magnesium.
The
Melvins are much more like a bluecollar band, they play a gig like
they're working it. 'The Water
Glass' is almost their anthem, their equivalent to the
Ramones' 'Blitzkrieg Bop', or perhaps even the
Seven Dwarves 'Heigh Ho': “Here we
go/Everyday/Here we go/All the way/In the groove/On the move...
Pain!/In my head/Pain!/In my back/We don't care/We like it there.”
But
worse this influence business makes the band a mere linking device, a
component, not a thing in their own right. If they were a huge
influence on others, that's hardly their story spent. There were many
bands in that era who were influential without being particularly
good. (Have you listened much to MDC in recent years?) Yet I saw
Mudhoney in this self-same venue a couple of years ago, and as
the record shows I thought them awesome. But the Melvins
were better still - more out there, more relentless, more doing their
own thing.
They're
are a classic band who's stayed cultish, filling the venue with a
clearly devoted following but without a 'Nevermind'
to their name. We might wonder why not. Perhaps the greater success
of Mudhoney, let alone Nirvana, stems not just from them sounding
more accessible but also being more personalised.
See them live and Mark Arm comes out at you, confrontational and
engaging. The two drummers and two guitarists of the Melvins are
arranged symmetrically, with a distinct centre-stage gap where Arm
had stood. Vocals sit inside the general mix, rather than riding on
the top. Audience banter is not prevalent. (Disclaimer: they made two
albums with Jello Biafra, one of the great frontmen of punk if not of
music. But that's the exception, not the rule.)
But if
the game is getting down to the essence of rock and roll, isn't this
nearer to it? Adolescence isn't challenging and articulate, it's
sullen and noisily introspective, disdainful of communication. This
sound channels the black cloud of adolescence much better.
Before
the gig, I get drawn into a conversation on how it took American
bands to marry metal to punk. On first sight it's odd.
People argue about who pioneered heavy riffing (early Kinks or Black
Sabbath), but either way it's a British band. And at the height of
British punk came the perfect crossover invite, Motorhead, a metal
band loved by punks to a man. Why no British punk band who completed
the circle by appealing to the metal heads? (The one exception to
this rule, Discharge, I confess have never appealed to me as much as
to others.)
Perhaps
coming from Britain was the very problem. Only when seen from outside
did it become clear how well the pieces could join together. And in
Britain music was notoriously tribal. In America, Talking Heads could
play bills with the Ramones without comment. In fact, greater
geographical distances instead made for city tribalism within
music scenes, as evidenced by the notoriously titled Boston hardcore
compilation 'This is Boston Not LA.' Joining
sounds was easier, joining people was harder.
As I
suspect you need to hear a few tracks to get the band, I'm posting
longer links than usual. If you like this (the first of two
twelve-minute clips from Brighton)...
...then
I think you'll love this. (Over an hour live at Hellfest, from last
year. Sit back. Enjoy.)
My
Spotify playlist for American hardcore and punk...
SUNN
O)))
Brighton
Coalition, Sun 10th June
You
could probably spend all night playing compare and contrast between
the Melvins and doom drone outfit Sunn 0))). Both do slow/heavy like
you've never heard it before. But against those double drummers Sunn
0))) have little if any percussion. And if the Melvins eschew metal's
theatricality, this lot actively play it up. They poured so much dry
ice over us I swear at times I had trouble seeing the person standing
next to me. Combined with the feedback, reverb and delay which
characterises their sound, there were times where the band could have
left the stage ten minutes ago and we would be yet to notice. When a
passing break in the clouds allows you to see the band, they're
cowelled like monks. They go in for upraised fists and held-aloft
guitars.
It
helps that we're in a venue hollowed out from the seafront arches,
which is essentially a cave. But that image of monks with guitars
before a wall of speakers, like some Seventies SF-on-drugs film, will
stay with me a while. Yes it was ritualised. But in the good
sense of the word. What might sound gimmicky or just plain daft,
works so well with the music you wouldn't wish it
any other way.
If
with the Melvins you felt the music almost as much as you heard it,
here you hear it almost as much as you feel it. It wasn't (no small
boast) just one of the loudest gigs I've attended. The music was
omnipotent and all-embracing, as if it was a physical object, filling
the room as much as the dry ice. You don't stand outside listening to
it, like the audial equivalent of looking at a picture, you're
in it.
...which
means the way you need to hear them is live. The Melvins may be
primarily a live band, but Sunn O))) are a live
experience. There's recordings of them in the same way there's fuzzy
photos of the Loch Ness Monster, that's just after-the-fact
documentation.
It's
certainly an approach that splits reaction. As soon as you agree some
music has to be loud, some get dismissive. Just
like your parents used to cluelessly complain, they repeat the mantra
“it's just a noise.” But it's like saying the pyramids have to be
big. That doesn't mean they're just big, just that
the bigness is an essential component. And if they seem to sound like
thrash slooooooowed doooooooown, you're not the first to say that. And besides, that's a good
thing.
And
being somewhere where you had to be there, having an experience that
isn't YouTubeable in our streaming, twittering age... that's
appealing in and of itself. (I don't bother reading YouTube comments
much, but it's notable how negative a reaction Sunn O))) clips tend
to invoke. One clip poster was driven to mention “Drone metal, if
you don't like it, don't listen to it.”)
...which
isn't to say that the band have assembled some cross between a wind
tunnel and a travelling fairground ride. At first their resounding
drone sound hits you so hard it might appear merely a sound. But as
it progresses and your ears become more accustomed to it, more and
more variety within it opens up. The gig posters and tickets were in
sheer black, which on closer inspection turned out to be slightly
different shades of off-black. (Leading me to wonder if there had
been a brisk trade in counterfeit tickets cut from black card.) Which
seems a pretty good metaphor for their music. It's like going into a
dark room where all seems indistinguishable, but the longer you stay
there the more objects take form. (Disclaimer, I
did previously use this metaphor for Mechanical Children.
But if the shoe fits...)
In
fact, conversely to such expectations, the whole set was one long
piece which seemed closer in structure to classical music than to
rock songs - not just composed of movements but reliant on you
discerning the overall shape of it.
Andrew
Rilstone (aka World's Smartest Fan) once said of fantasy fans: “This is the key to why Tolkien
became so very important to me... What I wanted was the
idea-of-elves, the idea-of-orcs, the idea-of-caves and the
idea-of-dwarves. I read Tolkien because it was the only place I knew
where I could get them... If you could find a way of separating the
archetypes from the boring business of having to read then that would
do the trick.”
It
seems to me there's something very similar for us out-there music
fans, except with us we found a way to make it happen. Take a classic
rock song like the Stones''Satisfaction.' The
words are sharp, witty and at times eminently quotable. But they're
entirely secondary. Their job is to hang out with the music,
complementing it where necessary. It's the music
that lets us plug into that yearning, burning feeling.
Haven't
you at some point found yourself obsessively playing one track over
and over? By ceaselessly pressing the replay button you can almost
put it on a loop. But what you really want is to
dispense with the intro, the guitar solo in the middle, the
verse/chorus structure, all the intrusive paraphernalia that turn the
track into a song. You want the audial equivalent of an art
installation, something you can step inside and stay there as long as
you want.
Not
that adolescent angst of 'Satisfaction' is
necessarily the emotional experience on offer here. In a music scene
dogged by accusations of Satanism since the Black Sabbath days, all
that religious imagery may seem a hostage to fortune. (Though
'Satanism' strikes me as tedious rather than threatening, quite
frankly.) But, having
only recently questioned the quasi-religious iconography of
'Live_Transmission', this time I found it the thing to do.
(Perhaps partly because it wasn't focused on an individual.) The amps
as altars, the guitars as crucifixes... they're intended not to wind
up Moral Majority types so much as celebrate the transforming power
of sound.
That
name conveys our solar system's most powerful force, the band's
preferred supplier of amps and a pictogram of the waves of force
emanating from both. (You're not expected, incidentally, to try and
pronounce the 0))) part.) One day I will post something which
just lists the axioms of Lucid Frenzy. (We had “beware
all projects” only recently.) This time let's go with the
one about art being at root a shamanic process, a ritual event aimed
at inducing altered states of consciousness. It feels entirely
appropriate for Sunn 0))) to be playing on a Sunday. It really does.
The
assembled crowd are part of the sense of the event but, especially
when the dry ice settles around you, the experience is very
individualised. If headbanging was the audience response of choice to
the Melvins, many in the crowd here keep their eyes closed. You're
aware of the mass of people, but the focus is the effect upon
you. It's individualised and
collective. You couldn't get more shamanic than that.
Only
recently I was arguing that folk music combines a sense of
the strange with one of the strangely familiar. Something similar
seems true of this seemingly quite different style of music. Just as
it initially appears an overwhelming monolithic force which later
reveals subtleties, similarly the sonic assault appears dark and
menacing but inexplicably shifts into something warm and even
peaceful. As one (unusually
articulate) YouTube poster puts it, “it sounds like
heaven and hell have just come together, that's the only way I can
explain this
song.”
And yes. Yes it does.
Seeing
gigs... even good gigs... starts out as a thrillingly unpredictable
venture but becomes like seeing films after a while. It stops feeling
like a physical, interactive experience, it becomes safe and
measured. You know what time you'll be in and out, and pretty much
what will happen inbetween. Then sometimes you go to a gig which
seems so strange and other-worldly, it's like you need a whole new
set of words to describe it.
Go
and see Sunn O))) if you ever get the chance. It's beyond
description. It really is.
After
telling you the whole thing was non-YouTubeable, I am inevitably
about to post a YouTube clip. Particularly with a set that's one long
track this snippet is woefully inadequacy, but might serve to give
you some flavour...
There's
plenty other tracks and live clips on YouTube (if bugger all on
Spotify), but this one was my favourite, 'Orthodox
Caveman' playing (in a stroke of genius) over a video of
the critical point of water.
My YouTube playlist for 'Slow is the New Fast' (Suggestions for additions gratefully
received.)
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