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The Red Elvises on the cover of Maximum Ink in April 2001

The Red Elvises

by David A. Kulczyk
April 2001

Imagine growing up in the old Soviet Union and playing Rock and Roll music? But you have a bigger dream, to play Rock and Roll in the country where it all started, The United States of America.

That’s what the Red Elvises did and have been making America a better place to live. The “now” Venice Beach, California based band have been taking their Eastern Europe style of Rock and Roll to everywhere and anywhere they can plug in their amplifiers.  “We speak the language that people understand,” said Oleg, the former balalaika player.

Oleg Bernov, Igor Yuzoz and Zhenya Kolykhanov have throughout their Red Elvises career, played bass, guitar, and lead guitar respectively, but now because of the loss of their longtime American drummer Avi Sills, the Red Elvises all take turns playing bass, drums and guitar.  “Now it’s a 3 piece band,” said Oleg.  “Our American drummer is gone, spontaneously combusted like in Spinal Tap.”


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Rockford's now defunct 420 on the cover of Maximum Ink in March 2001

Four Twenty

by Michelle Harper
March 2001

420 is not a band with a story of California glitz and glamour. 420 is not a band recounting brutal management dramas or record label feuds. 420 is not about image. According to vocalist Mike Kerry, 420 is about limitless musical boundaries, finding truth in life, and following a dream out of the Midwest into the great beyond.

Formed in early 1998, Mike Kerry, Tom Parrott, John Pond and Mike “Bunj” Bunjan have been causing quite a stir in their hometown of Rockford, Illinois.  In 1999, the group won the Rockford Area Music Industry’s Critic’s Choice for “Composer of the Year” for their debut EP “In Four Twenty”. Another RAMI followed the same year for the song “Hands or Time”. Although the band is fairly new to the music scene, Mike and Tom Parrott have been expressing their passion for innovation for over a decade.  “The thing about the members of the band”, Mike explains, “is that we all either own businesses or have huge responsibilities to them. We want to succeed, but we have lives too.”  This has kept 420 fairly localized for 3 years.


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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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The Residents on the cover of Maximum Ink in February 2001

The Residents

by David A. Kulczyk
February 2001

The Residents have kept their identity secret for twenty-eight years.  They have no faces, no gender, no race and no personality.  This decision was reached because they wanted a separation between their personal and professional lives.  Anonymity was and is their only rule.  These faceless anti-stars have stood on the fringes of the music world happily releasing their often-disturbing music to critical acclaim.  They are supposedly originally from Shreveport, Louisiana, and one is the father of Siamese Twins.  Maybe one is a former Protestant Minister and another has one of the largest model railroad collections in the world. 

Regarded by many to be the original pioneers of the music video, The Residents produced their first video in 1972 (Vileness Fats), but really came into their own when they released Third Reich ‘n Roll in 1977.  In this video, the band is dressed entirely in newspapers, as well as the instruments and set.  There is crude stop action animation filmed in black and white color that makes the hair on your neck stand up.


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Les Percussions De Guinee on cover of Maximum Ink in January 2001

Les Percussions De Guinee

by John Noyd
January 2001

A heavenly outpouring of throbbing jubilation, forceful uplifting beats and pounding enthusiasm, Les Percussions de Guinee’s djembe drumming is vibrant and hypnotic, a tumbling tapestry of blustery resonance and driving rhythms. International cultural ambassadors, this government sponsored ensemble takes the most talented players from their Les Ballet Africains and competing regional companies to showcase this rhythm nation’s complete complement of percussion instruments, including log drums, water drums, five headed drums and a xylophone predecessor called a balafon.  Playing with celebrities as diverse as Harry Belafonte, Elvin Jones, and the Police, this dancing, drumming storytelling troupe represented their country in the worldwide touring company of Africa Oye as well as Imax’s new production of global rhythms hosted by British performance artists Stomp.

Thunderous and uproarious, the fifteen-member troupe presents thousands of years of tradition with decades of experience. Their groundbreaking use of female drummers reinforces Mickey Hart’s belief that before man took over the drum for their military communications, the women were the principal performers, linked to various fertility rituals. Historical speculation aside, the current version of the Ensemble is one of the best. With three new members, bringing one of Guinee’s chief folklorist out of retirement, the addition of flute and the twenty-two stringed kora, Les Percussions de Guinee 2001 blends youth, wisdom and perspective, moving the group from a remarkable drum circle to a phenomenal panorama of a rich musical culture.


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Mudvayne on the cover of Maximum Ink January 2001

Mudvayne

by Michelle Harper
January 2001

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


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Factory 81 on the cover of Maximum Ink in December of 2000

Factory 81

by Michelle Harper
December 2000

Fiery conviction.  Justified rebellion.  Protest with soul.  These concepts amply describe the sounds of Factory 81.  Best described as a refined hybrid of Slipknot and Rage Against The Machine, Factory 81 combines violently convicted philosophies with blood curdling screams and aching melodies.  The four-piece band out of Detroit, Michigan was recently asked to contribute a track of their choice to the compilation “Take A Bite Outta Rhyme: A Rock Tribute To Rap.”  The cover they chose to perform?  Cypress Hill’s “Insane In the Membrane”.  Why?  Andy Cyrulnik, drummer of Factory 81, believes Cypress Hill closely resembles the sound of his own group.  That and he’s a long time fan.

On Factory 81’s full-length debut CD entitled “Mankind”, vocalist Nate Wallace states in the insert, “Not all the lyrics are submitted.  I decided to leave it open for interpretation”.  The inside cover contains a fantastic combination of thought provoking poetry, essays and lyrics of action.  The words written under the track “Peace Officer” tell a personal story of injustice and police brutality.  The story concludes, “This song is dedicated to all police & all the power tripping pigs.  How can I be free?  Slap the cuffs on me, I’m just a freak”.  Another powerful track entitled “Rotten Strawberries” has an accompanying tale of a man that died as he rescues a girl about to be hit by a speeding car.  “Hating himself as he thought others did, he did all within his simple mind & power to earn their love or at least a smile.  He died never knowing either one.”  Through passionate words such as these, Factory 81 encourages fans to question their experiences, realize their beliefs and remain aware.

Their profound words alone make Factory 81 a band deserving of high recognition and merit.  What lies behind this furious and intriguing band?  Bill Schultz, guitarist of the band, recently took some time out from the hectic touring schedule to answer a few questions about the band.


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Marilyn Manson on the cover of Maximum Ink in November 2000

Marilyn Manson

by Paul Gargano
November 2000

Marilyn Manson knows a thing or two about fire and brimstone. His music scorches the earth like flames from the fingertips of an angry God, blazing through anything in its path and pulsing with an industrial-strength rage and heavy metal-inspired bravado, offering the perfect rough-and-tumble accompaniment to vocals that spray from the speakers like a hailstorm unleashed from the heavens, pelting the skin and piercing the psyche. Driven by equal parts rebellious fervor and spiritually charged dogma, he knows no path other than that of the philosophically profound and socially rehabilitative, but to hear his critics offer their take on his rock ‘n’ roll tantrums, he’s a disease in which every one of society’s self-serving watchdogs has a cure. His Portrait Of An American Family debut laid the groundwork for a band that would revolutionize the face of modern music with Antichrist Superstar, a release that gave the American youth a figure to rally behind, and American powers-that-be a figure to rally against. Manson shifted outward gears from religiously tempered to sexually shape-changing with Mechanical Animals, but his message stayed the same within music that took on a more refined and high-polished sheen. He’s been one of the most chronicled artists of the past decade, but consider it all the calm before the storm. Holy Wood (In the Shadow of the Valley of Death) is his outfit’s most ambitious outing yet, swirling their heaviest music to date within a soundscape that turns the hypocrisy of an American culture on end. His physical image is eerie enough to scare his Omega character into submission, and the music has hooks that scrape the skin with an infectious blend of heavy metal thunder and punk rock lightning. Marilyn Manson offered this exclusive look at the vast array of forces that shaped his entertainment Eden Holy Wood and its shadow-filled photo negative Death Valley. Welcome to Holy Wood…


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Stone Temple Pilots on the cover of Maximum Ink October 2000

Stone Temple Pilots

by Paul Gargano
October 2000

an interview with Stone Temple Pilots’ vocalist Scott Weiland who talks about touring, Pearl Jam similarities from their early days, Bad-asses, porn stars, strippers, Limp Bizkit and the Doors


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Chicago's Rebels Without Applause on the cover of Maximum Ink in September 2000 - photo by Craig Gieck

Rebels Without Applause

by John Noyd
September 2000

“It doesn’t matter, we just do what we do.” Day after day, year after year, this has become the motto of guitarist Greg Fulton, singer and songwriter for the explosive metal outfit Rebels Without Applause.  Weathering a rotating line-up of musicians that made up the speed and thrash metal projects Znowhite and Cyclone Temple, Greg, along with bassist Scott Schafer, has seen metal firsthand since 1986.  From opening up for Vanilla Ice to experiencing record label runarounds, the Chicago natives have withstood the trials of regular commutes to play New York clubs and confronting the black man playing white music complex.  From holding down multiple part-time jobs to pretending to be the band’s manager only to hear how that guitarist has got a real attitude, Greg has seen more than his fair share of music’s peculiar brand of justice.

“A lot of people think when they join a band it’s a short trip from their day jobs to the tour bus.”  Having already gone through a string of lead singers Greg was not eager to deal with teaching someone else how he wanted them to sing his songs.  Greg would sing his songs into a tape machine to show how he wanted his songs to be sung, but he never thought his voice was up to snuff.  With friend and former Cyclone Temple guitar tech, Mark Alano, working alongside Greg’s blast furnace fretwork, RWA’s two-guitar assault allows Greg plenty of space to play front man.  A soul-inspired delivery smothered in machine tooled rhythms, Greg’s evangelical vocals are thunderbolts in a raging storm.


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