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Mudvayne on the cover of Maximum Ink January 2001


by Michelle Harper
January 2001

An interview with sPaG of Mudvayne before the face paint came off.


Mudvayne 2009


by Chris Fox
August 2009

Madison welcomes MUDVAYNE for the second time this year, headlining the main stage at WJJO’s Bandcamp. After fourteen years of playing together this quartet find themselves enjoying every minute of music. With all the music they have produced “there is no pinnacle song that is MUDVAYNE, we are everything from Death Blooms to Scarlet Letters to Not Falling,” explains vocalist Chad Gray.

The consistent mentality of MUDVAYNE is to challenge everything with their music,  push the envelope and develop themselves. Their philosophy is “living to challenge people… break up the norm of what metal is supposed to be,” says Gray. Taking their music as an artist approaches a canvas they “don’t want to use the same colors every time,” and allowing fans to delve into the music so they “become a part of what we are.”


The Murder Dolls

The Murderdolls

An interview with frontman Wednesday 13
by Aaron Manogue
November 2010

After an eight-year hiatus, Wednesday 13 and Joey Jordison have resurrected their brilliantly twisted concoction, the Murderdolls. They have pumped life back into the undead with their latest album Women and Children Last and are currently wreaking havoc around the country on the Halloween Hootenanny tour, along side the Godfather of shock rock, Alice Cooper and Rob Zombie. Maximum Ink Magazine sat down with Wednesday 13 to talk about the new record and his new direction he took for writing it.

Maximum Ink: Were you guys pretty excited to get back out on tour?
Wednesday 13: Yeah man, it’s great. That’s the craziest thing about recording a record is it just takes so long for it to finally come out, so when it finally comes out, you’re like “Oh my God!” and you only want to play those songs; you’re sick of playing the old songs. It’s been tough making a set list out for the (Rob) Zombie- (Alice) Cooper tour because we’re not headlining so we had to make a short set, only a 30 minute set, so it’s tough trying to decide what we’re going to play.


Madison's MUST - Men Under Sexual Tension on the cover of Maximum Ink in March 2005


by Mike Huberty
March 2005

With Hendrix style lead guitars fueled by tongue-in-cheek boozy vocals that range from lilting to Gwar-esque, Madison rockers, MUST (Men Under Sexual Tension) are, in the words of their bassist, Matt Mueller, “moving to the next stage of the game.” Mueller, formerly of funk-rockers, Fungusamungus, is also owner of the fashionable Madison nightclub, The Cardinal Bar, home of the ever-popular and infamous Fetish Night. He speaks with a certifiable gusto for both the art and business side of music that’s rare in a band member. “We’re doing it to get our art, insights, and mission to the masses. We’re almost like mediums, channels for a higher purpose, not just a bunch of guys onstage to get laid.”


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Jordan Lee of Mutual Benefit

Mutual Benefit

An Email Correspondence with Jordan Lee of Mutual Benefit
by John Noyd
August 2014

As the mastermind behind chamber-folk collective MUTUAL BENEFIT, Jordan Lee epitomizes the wandering minstrel, moving from Ohio to Austin, Boston and Brooklyn where he encountered musical scenes and collected a cavalcade of talented colleagues. The songs on the band’s full-length debut, “Love’s Crushing Diamond,” reflect his restless curiosity with scenic side-trips and unexpected twists stringing epic adventures between imaginative art-pop canvases. We caught up with Jordan before he resumed touring to better prepare ourselves for his visit to Wisconsin, September 29th at Madison’s The Frequency.

MAXIMUM INK: Your tunes are full of light yet also very deep. Is this an accurate reflection of you who are?

JORDAN LEE: I suppose you can say that but I don’t know anyone who would be able to describe themselves accurately; our eyes are cracked mirrors after all!

MI: Did you always aspire to write long winding songs or did something happen to change how you write music?

JL: I started out listening to straight forward three and a half minute pop songs and wrote pretty similar music, in fact most of my early songs were really short because I had this internal rule that I’d rather a song end quickly than for someone to get bored of it. I’m not quite sure when the compositions started getting longer. I guess it was when the musical ideas started getting larger over the past couple years.

MI: While not completely surprised to read how much field recordings played a part in your album, my initial impression was that your compositions came from deep inside you. How do field recordings affect the creative process?

JL: I think this was the first album to incorporate field recordings and I’m not sure I’ll do it again since I don’t want for it to become “my thing” but for that span of time it seemed to really make a lot of sense… If I just sit down with a guitar and try to play chords I never get too inspired but little conversations or sounds can trigger the part of my brain that feels compelled to make art.

MI: Your full-length debut, ““Love’s Crushing Diamond,” was pick up by Other Music from another label and reissued due to high demand; why do you think it ended up connecting with so many people?

JL: I have absolutely no idea! It is still so surreal to go to places like Norway or Belgium and meet fans of the band. It is kind of messing with my head as I try and write new songs.

MI: What’s the next thing you’d like to tackle musically?

JL: Because all the other records have come from a position of limitation whether it be time, money, or instruments I’m having trouble conceptualizing what I want to do with more ability to make exactly what I want to. Maybe collab with a whole string section for a couple days?? Brass and woodwind?? Modular synths? I have no idea.

MI: Your itinerant lifestyle suggests you make friends easily and yet much of, “Diamonds,” emanates from a somewhat introspective perspective. Do you ever have trouble balancing your public and private personas?

JL: Yeah, I guess you could say that. I think I can easily connect with people on a surface level but never staying in one place too long can definitely lead to a feeling of deep down isolation and loneliness. This year has felt different since I’ve mostly been traveling with the same band and I have a wonderful partner back home… More than ever we all just feel like a weird little family.


Muzzy Luctin's Paul Schluter - photo by Craig Gieck

Muzzy Luctin

by John Noyd
October 1999

Even though they have only been together a short time, Muzzy Luctin already has enough history for a VH-1, “Behind the Music.” It’s been ten years since Muzzy Luctin’s guitar Paul Schluter kicked out the jams with Last Crack’s, Sinister Funkhouse #17, a wild rampage of hard rock boogie that brought the band legions of fans and a promising future. Promises being what they are, Last Crack disintegrated before national fame came calling, but the future arrived regardless and brought with it post-Crack bands White Chain , Spiritus, Mind Ox and ultimately Magic 7 a three quarters reforming of Last Crack halfway through the nineties. This new group took the original’s sonic squalor and added an element of eloquence, becoming steel plated shamans who moved beyond the thundering riffs into mature melodies and progressive six string slinging. Along with its members, Magic 7 brought Last Crack’s devoted following and again the future looked bright. Perhaps too bright, for before too long Schluter and vocalist and principal lyricist Buddo found themselves with a new rhythm section and the same old strains that brought Last Crack to its knees.


Madison's Muzzy Luctin featuring former members of Inner Sanctum, Last Crack and Magic 7

Muzzy Luctin

by Sarah Klosterbuer
March 2002

The release of Symptoms of a Simple Life has been a long time coming for Muzzy Luctin.  Initial writing and recording for the album began in 1999, but scarce studio time and busy personal and professional lives for Muzzy Luctin’s members caused the final release to actually materialize almost three years later.

The time stretch proved to be a positive aspect in a number of ways for the band. Guitarist Paul Schluter took on mixing responsibilities for the disc, and quickly admits to being a perfectionist, refusing to be satisfied with anything less than excellence.  Perhaps even more significant than studio perfections, or even a more accepting rock scene than that of two years ago, is what the time has done for the personal dynamics of the band.  “You really find out whether or not you can stay together as a band, because we went through [a lot],” recalls Schluter.  “At least as bad or worse than some bands, and we stayed together.” Stressing the variety within the band, he continues, “[We have] different personalities, but we’ve all been able to compromise and work together and make it work, and that’s what’s gonna make us stay together.”


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