The Melvins' Buzz... ...and Dale. (Uncredited photos from the web)

Anyone who has followed the Melvins has learned not to develop preconceived notions, because they are sure to be incorrect. But no matter how odd the Melvins' recorded work may seem, it's nothing compared to their live show. In front of a crowd of about 250, the Melvins twisted anything I had expected into a little ball and then stomped on it.

The show was broken into two sets, and if the Melvins hadn't been wearing the same floral dresses and black t-shirts both times, I wouldn't have guessed that it was the same band. For the first set, the band stayed away from their trademark blistering metal attack, opting to open with "Tequila". After fixing some sound problems, guitarist/singer Buzz introduced new guitarist Dave, explaining that Dave's job was to play all of the guitar lines Buzz was too lazy to play himself. This wasn't the case at all, and in fact Dave spent his time adding little squeaks and trills, giving the songs more depth. This unexpected opening was followed by two Merle Haggard tunes including "Okee from Muskogee", which appears on The Crybaby, the third of the three album cycle the Melvins released this year.

Between songs, guitarist/singer Buzz chatted breezily with the audience. This did not appease certain attendees, with one punk continually screaming, "Play something HARD!" Buzz responded to this with "Why are you so aggro, man? You are the angriest hippies I've ever seen." (If you've ever been to Eugene, you understand why that was so damn funny.)

Rather than cater to the audience, the band continued to play softer, dreamier material such as "Skin Horse" and "Black Bock". At the end of the first set, things got really strange when they brought out 70's pop-icon Leif Garrett, who looked downright menacing with a black stocking cap pulled low over his eyes. Here, they turned up the volume for two covers: "Smells Like Teen Spirit" (which appears on The Crybaby) and Queen's "Now I'm Here". Garrett looked amazingly uncomfortable, not quite sure whether to dance or just stand there. On the other hand, he could've been drunk -- it was hard to tell. Either way, he forgot the lines to "Teen Spirit" and looked like he was seriously debating just running away (perhaps he saw Kurt's ghost arising on the anniversary of his passing).

In between sets, my girlfriend Colleen (who is George Michael's most devoted fan) said that she actually thought the Melvins were pretty good. I was floored, since she hates most every show I take her to. Then again, the night was young.

The second set was the complete opposite of the first. Beginning with a fifteen minute feedback noisefest, the band tore through a sixty minute set of heavy, twisted rock. Now the songs were connected by feedback interludes rather than stage banter. Barreling through weighty songs like "Revolver" and "Bar-x-the rocking M", the band looked possessed. Buzz jumped back and forth as he tore howling power chords from his guitar while bassist Mark pivoted like he was twirling a cement hula-hoop. In the center of it all sat the truly remarkable drummer, Dale, who pounded his kit with such ferocity I expected him to give up and simply start smashing it to pieces. Dave, on the other hand, hid in his corner of the stage and cuddled up to his amp to get the most feedback he could.

The second half of the show ended abruptly and the band walked off without even a goodbye.

I found this set breathtaking in its sheer weight and, after listening to the trance-like instrumentals, gained new insight into way so many rock luminaries point to the Melvins as an inspiration. Colleen, however, hated every second of it (I guess that means I'll have to go to the ballet now).

As a whole, the show was a schizophrenic masterpiece, which is a reasonable summation of the Melvins themselves.