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Sleeping in the Aviary


by Troy Johnson
November 2010

For Sleeping In The Aviary, lo-fi recordings, concerted effort band photographs, and dynamic live performances are all the building blocks to an indie-rock masterpiece. Guitar player and lead vocalist, Elliott Kozel, and bass player, Phil Mahlsedt, have been building a sound together since high school and officially became Sleeping In The Aviary over 6 years ago. After losing a couple drummers, their third and permanent drummer became Michael Sienkowski, and after the release of their first album “Oh, That Old Thing”, Celeste Heule joined the band in 2008, bringing with her a stage presence that fits along with her talents on accordion and musical saw.

In their live performances, Kozel is often in bare feet, stepping back and forth from the microphone with agile movements while their bass player Phil does a stupor to the rhythm. In all facets, Kozel is aesthetically conscious; he does macabre cover art that has a Tim Burton semblance, which has become a trademark for fans of the band.

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Slipknot on the cover of Maximum Ink in May 2000 - photo by Paul Gargano

Slipknot


by Paul Gargano
May 2000

Ten years ago, the Limelight was a landmark for bands who performed in New York City. Women danced in cages suspended from vaulted ceilings, stained glass surrounded a stage elevated on what used to be an altar, and men and women mingled in lines for unisex bathrooms. Built as a church decades earlier, the site had since been deconsecrated, converted to a nightclub, and angel-shaped disco balls hung where a crucifix was once suspended. It was the perfect not to mention haunting and eerie setting for the inspired debauchery of sex, drugs and rock ‘n’ roll that made the late ‘80s and early ‘90s such revered times.

And almost a decade later, recently reopened, it was the perfect venue to host the live chaos that is Slipknot.

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Slipknot's second time on the cover of Maximum Ink

Slipknot 2004


by Jason Mansavage
April 2004

Did you ever open a garbage can on a hot summer day only to be greeted by the offensive stench of a larva of freshly hatched maggots? While this image is enough to make your skin crawl and your nostrils flare, this summer will most definitely bring a new host of maggots to a mosh pit near you!

Slipknot is back and better than ever as each day brings us ever closer the release of their third album and several summer tours to get their army of maggots back into battle. I was contacted by one of the maggot leaders from their snow covered base in Iowa. He was simply called # 3 (aka Chris Fehn). We discussed Slipknot’s plans for world domination in 2004.

I often wondered what was behind the name Slipknot in the first place and since this year is really a rebirth for them as a band, I wanted to know where the idea for the now infamous moniker came from. “Basically, Slipknot was just a song title that we had at the beginning. And we were looking for a name and we just stuck with that. As far as any real significance, it’s definitely not the stupid noose thing. I don’t have a glorified answer for you about what it actually means.”

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Soulfly on the cover of Maximum Ink in February 2001

Soulfly


by Michelle Harper
February 2001

Out of the screaming vocals, grinding guitars and angry, emotionally churning beat of Soulfly emerges Max Cavalera . “Most people think our type of music is negative because it sounds negative. We’re trying to show it can be positive”.

Max Cavalera , former member of Brazilian metal band Sepultura, is keeping it amazingly positive. In less than a decade, he has left a band he was with for almost 15 years, buried his stepson and friend Dana, and suffered the loss of musical brothers such as Lynn Straight of Snot and Tunday from the underground Arizona rap band Cutthroat Logic. Yet in the face of despair and tragedy, Soulfly has released an incredible follow-up to their self-titled debut CD called “Primitive”, a polished, hard core effort with a message of spirituality and optimism.

Soulfly’s second project emphasizes Cavalera’s style of multiculturalism, partially attributed to recording “Primitive” near his home at Phoenix, Arizona’s Salt Mine Studios (not to mention his mother is a priestess of the Candomble religiona mix of Catholicism and African religions). Combining metal riffs with traditional Brazilian music and tribal rhythms, Cavalera pours passion for his heritage into every track. “I used the barumbau (a Brazilian instrument consisting of one string and a coconut) on the track “Catch-A-Spirit” off the “Straight Up” compilation (a multi-artist tribute CD to former Snot member Lynn Straight). It was a great experience. Mike (former member of Snot and current guitarist of Soulfly) did a great job putting it together, and it was like a presence was still here. A spirit.”

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Southern Culture On The Skids

Southern Culture On The Skids


by Andrew Frey
May 2004

From white trash and trailer homes to the toe sucking geek rockers touring the world and eating delicacies. Where did it all begin? Who came up with such a concept? “Me,” states Southern Culture on the Skids (SCOTS) founder, guitarist and singer Rick Miller in a recent phone interview. “When we started the band in the early to mid 80s in the Chapel Hill, NC area, every band was an REM cover band, and that pretty much sucked. We wanted to be more of a rockabilly, “Cramps” type band. So we were just looking for something. Some kind of name that would get us some attention, ya know? We were listening to the UNC radio (station) there and they were playing an REM song. I like REM fine, but at the end of it, the DJ says, “Ya that was REM, the sound of the new South.” I looked at my roommate and we said, “Gawd, if that’s the sound of the “new South,” I preferred it when it was on the skids.” That’s how we got the name.”

SCOTS’ new release is called “Mojo Box.” It was produced by Miller and recorded in his Kudzu Ranch recording studio. SCOTS lineup consists of Miller along with bass player and singer Mary Huff and percussionist Dave Hartman. What’s new on “Mojo Box?” Miller says “I think there are a few more surf sounds. Less of the white trash shtick. I think on this album we worked harder on our harmony vocals and that kinda countrified delivery. I think it’s kind of a transitional record for us. Our other records are a lot of concept type stuff. Like “Dirt Track Date,” and “Plastic Seat Sweat.”I know that sounds kinda funny for something that probably a lot of people consider kinda low-brow.

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Sparklefuck has figured out that we can't print their name in big bold letters without an edit, lol - photo by Chad Sutherland - Rise Up Photography

Sparklefuck

An interview with reunited Madison murder rockers Sparklefuck
by Mike Huberty
December 2016

With quirky songs about murder and mayhem, Madison’s SPARKLEFUCK is all about a punky and poppy sound about taboo topics and a ridiculous stage show. Male and female vocals collide with circus keyboards and aggressive bass to cultivate an unconventional sound that’s undeniably fun. While the band stopped playing regularly in 2015, they’re reuniting for a special pre-New Years party at The Frequency on December 30th. We talked with the whole band, including vocalists Sascha Strange and Susan Galasso, guitarist Kyle Jaco, and bassist Ryan Schremp.

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Static-X on the cover of Maximum Ink August 2007

Static-X


by Sarah H. Grant
August 2007

An interview with Static-X‘s Wayne Static covering their new album, Ozzfest and the departure of Tripp Eisen

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