MELVINS (left to right): Steven McDonald, Buzz Osborne, Dale Crover, and Coady Willis. Photo by Toshi Kasai
The Savage Imperial Death March thunders into Georgia when Melvins and Napalm Death co-headline a double dose of doom, noise, and grinding intensity.
On Sunday, April 27, Melvins and Napalm Death come together for a massive display of sound and fury on the Masquerade’s Heaven stage. On Tuesday, April 29, the same bill rolls into Athens’ 40 Watt Club, bringing chaos to the Classic City.
The tour falls on the heels of the February 2025 release of Savage Imperial Death March, a six-song collaborative LP released via Amphetimine Reptile Records. The six-song release is a crushing, howling monster of an album that finds both bands playing together, seamlessly merging Melvins’ sludge-soaked throb and Napalm Death’s relentless grind.
Melvins are also touring behind their latest release, titled Thunderball (Ipecac Recordings). It’s also the group’s most recent full-length released under the Melvins 1983 moniker, featuring Buzz Osborne, Mike Dillard, Ni Maitres, and Atlanta-based abstract electronic project Void Manes.
For this tour, King Buzzo’s riffs steer the ship, backed by the dual-drum assault of Dale Crover and Coady Willis and Steven McDonald’s fuzzed-out basslines. This incarnation of the band reignites the early Melvins aesthetic with renewed purpose and fire.
Meanwhile, Napalm Death continues its decades-long campaign of sonic obliteration, riding high on the aftershocks of 2022’s Resentment is Always Seismic–A Final Throw of Throes. Vocalist Barney Greenway remains a force of nature, while the band’s grindcore assault remains both savage and surgical.
North Carolina sludge lords Dark Sky Burial—a bleak, ambient-industrial project helmed by Napalm Death’s bass player Shane Embury—and Weedeater set the tone for each night’s proceedings.
86: Max Koshewa (from left), Ken Schenck, and Mac McNeilly. Photo by Mary Alexander.
Chunklet Industries is dusting off a crucial piece of Atlanta’s post-punk and new wave past with an online reissue of 86’s first two singles. The trio—featuring Mac McNeilly (before his seismic drumming found a home in the Jesus Lizard), Ken Schenck’s jagged guitar lines, and Max Koshewa’s brooding bass—captured a restless energy that redefined the city’s underground music scene in the early ’80s.
“Useless” and “Behind My Back” were recorded at Southern Sound in Knoxville, Tenn. in July of 1983. “Youth Culture” and “Inside” were laid down a year later 1984. Both singles were originally released via Knoxville’s short-lived indie label OHP Records. Placed together here, both singles channel the urgency of the era while hinting at the band’s singular presence in Atlanta.
Audio restoration duties for this new issue fell to Jason NeSmith at Chase Park Transduction, where the songs were delicately digitized from the original vinyl 7-inches. NeSmith applied subtle de-clicking and EQ adjustments, preserving the grit and urgency of the recordings while amplifying their visceral punch.
86: Max Koshewa (from left), Ken Schenck, and Mac McNeilly. Photo by Mary Alexander.
While 86 is often remembered as the band that gave McNeilly his start, these singles cement the group’s place as a vital force in Atlanta’s music history. And this is only the beginning: Chunklet reportedly has a trove of unreleased recordings from the 86 archives queued up for release later this year.
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HEX ERROR: David Lane (from left), Jason Hatcher, and Greg Stevens.
On June 19, 2003, bass player David Lane, drummer Greg Stevens, and singer and guitar player Jason Hatcher of Hex Error went into Zero Return Studios with Rob del Bueno, aka Coco the Electronic Monkey Wizard of Man? Or Astro-Man?.
The plan was to cut the instrumental tracks for six new songs the group had been working on since releasing their self-titled debut CD in 2001. Vocals were to be recorded during another session later on down the line. The rising noise rock three-piece was slashing its way through the local scene, playing shows at venues such as Lenny’s and the Earl, and landing spots at the day-long Corndogorama indie rock festival.
Alas, this fatal afternoon at Zero Return, now dubbed Maze Studios, was Hex Error’s last studio session. Hatcher, Stevens, and Lane broke up before vocals were recorded and the three never looked back.
Since then, Lane has long served as singer and guitar player with the band Skin Jobs, who released their debut album Def Bods in 2021. Stevens has spent time playing with various bands, and currently plays in the groups Uneven Lanes with Benjamin, as well as Total Peace Band. Lane and Stevens also currently play in the post-punk outfit Scratch Offs.
Hatcher died on February 20, 2022.
While doing some housekeeping during the pandemic, del Bueno discovered a 2-inch reel of the sessions and passed it along to Stevens.
The recordings offering a stark and compelling glimpse at what was a quickly evolving musical outfit. The crushing grooves that drive the opening number, “Death From Above,” and the dissonant energy of “Greed” capture a mastery of songwriting dynamics. “Social Leprosy” and the wide-eyed “Time” show off instincts that move far beyond the nascent, teeth-gnashing dirges of their self-titled 2001 debut. The instrumental recordings as they are rendered here capture Hex Error in gloriously muscular and sophisticated form.
Stevens took a few minutes to talk more about the recording.
Chad Radford: Where have these tapes been for the last 20 years?
Greg Stevens: The tapes had been in storage at Zero Return until the pandemic. During that time, Rob del Bueno let me know he had come across this 2-inch reel of tape from our final recording session. Jason passed away a year or so ago, so we figured it would be a fitting memorial to him to release this EP 20 years after the initial recording.
Did you alter the recordings in any way?
The initial recording wasn’t altered in any way. We had completed all of the basic tracking at the session on 6/29/03. That said, we broke up before we could complete the vocals, so these are instrumental tracks only. Given that Jason had passed, there wasn’t an opportunity to add vocals to anything. So we ended up putting the finishing touches on it, as is. We worked with David Barbe for the mixing of the 2-inch tape out at Chase Park in Athens and Carl Saff for the mastering.
Have you had any realizations about these songs or the band in general now that you have released this final recording?
David Lane and I have been playing music together off and on for the past 20 years. It has been interesting releasing these tracks from 20 years ago while at the same time we are putting the finishing touches on the upcoming Scratch Offs record. So from that perspective it’s interesting to see how much we have both grown as musicians over the past couple of decades. We’re really proud of how far we took the Hex Error sound all those years ago, and we’re excited about exploring different sonic territories with Scratch Offs.
What’s your favorite song from this session?
The opening track, “Death from Above,” really highlights what we could have accomplished had we not called it a day. We had started working within longer song structures and more intricate polyrhythms. That one was a crowd favorite, whether we were playing in Atlanta or out on the road.
Where there lyrics written and performed with these songs that are now just lost to the sands of time?
All of these songs had lyrics. We performed all of them live back in the day. So, yes, lost to the sands of time.
Any plans for a physical release with this one?
Not at this time. We decided to self-release this digitally mainly for archival purposes. But if a label was so inclined, we’d definitely be into it.
Do you have a release date in mind for the Scratch Offs LP? Does it have a title yet?
We just got the final master back from Carl Saff a couple of days ago. We’re aiming for a digital release in the next couple months, before we do our next batch of shows. We’re playing with Bass Drum of Death and Small at the Earl on September 7, and then headed to Florida for some dates shortly after that. So it would be good for people to have a frame of reference aside from the live experience. Right now, the consensus is to call the record Tidal Wave.
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Warm Red is (clockwise from left) Stephen Lewis, Tony Gary, Bryan Sherer, and Jacob Armando. Photo by Eric Brooks.
Press Play on “Super Bowl,” the latest single from Atlanta post-punk and noise rock outfit Warm Red.
“Super Bowl” is the first single to be released from the group’s forthcoming debut album, titled Decades Of Breakfast. The LP is due out in October via Atlanta punk label State Laughter.
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