7/22/2023 0 Comments Big business band album![]() From drummer battles to “The Star-Spangled Banner” to a stunningly perfect cover of “My Generation”, the Melvins put on more than just a show. But how would the older, heavier, dirtier tracks sound mixed in with the band’s recent penchant for classic-rock-tinged songs? My answer: The word seamless comes to mind. Of course, the Melvins were going to spend time promoting and rollicking through their latest album, Nude With Boots. Altogether, the three rockers droned through tracks that caught most of the crowd’s attention.As I had expressed in my review of the Boris show at the Middle East last month, my expectations going into the Paradise Rock Club were similarly mixed to say the least. Dale Crover, whose intricate drumming matched Moss’ incessant wall of sound and Kasai, who was on the other end of the stage, where he could be found playing a glitched keyboard, joined him. ![]() The band’s frontman, Tim Moss, used loops, feedback, and noise to create an insane ambiance that bounced around the walls for nearly 20 minutes. The night’s opening act was Porn, also known as the worst band name to search for online. The trio’s tight set included Here Comes the Waterworks standouts like crowd-favorite “Hands Up” and “Start Your Digging”. The duo was joined onstage by new member Toshi Kasai, who plays guitar and shares vocal duties. He even broke the tip off one of his drumsticks. And, of course, Willis played the hell out of his drums. Warren, who wore a tight white T-shirt featuring a unicorn and rainbow, wasn’t terribly interactive, but he still put on a great performance. And like any good band mate, Warren brought along his rhythm section anchor Coady Willis, an absolute maniac on the skins.Before taking the stage with the Melvins, Big Business slammed through several choice tracks from their own previous efforts. Well, that’s a bit of an exaggeration, but they are on their sixth bassist with Big Business’s Jarred Warren currently providing the low end. (Boris, a Japanese-doom, garage-punk, stoner-metal, always-experimenting group, named themselves after the Melvins track of the same name off Bullhead.) Just as the Melvins switched styles from one album to the next, they had a similar revolving door policy for bassists. Besides the whole Seattle movement that many ’90s children remember with somber glee, the Melvins helped mold acts that continue to remain relevant. To say they were (and are) influential would be an understatement. They experimented with traditional metal when other acts were simply trying to catch up. They were sludge before that particular genre’s odd moniker was created. They were grunge before flannel and dirty long hair became fashionable. Since their inception in the early 1980s, the Melvins have always been slightly ahead of the musical curve.
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