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Articles in Reverse

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Iron Maiden's Bruce Dickinson on the cover of Maximum Ink in June 2005 - photo by Paul Gargano

Iron Maiden

by Paul Gargano
August 2005

Simply put, Iron Maiden had to co-headline OZZfest 2005. From the band’s perspective, spending the summer on OZZfest would expose the legendary Maiden machine to a vast new, younger audience. And from OZZfest’s perspective, Iron Maiden were the only remaining band left to headline the summer caravan. It was the best of both worlds for both parties, and creates an even better world for fans of heavy metal, as the double-billing of Black Sabbath and Iron Maiden creates one of the most potent top-heavy package tours in music history. Ironically, while neither band are boasting new material, there are three solo albums being released this summer from their cumulative forces, two from Sabbath guitarist Tony Iommi and bassist Geezer Butler, and one from Iron Maiden frontman Bruce Dickinson. We won’t be hearing any of the new material this summer, and there’s only a possibility that any of them will tour solo this fall, which makes their presence on the road this summer even more monumental. Especially in the case of Iron Maiden. While Black Sabbath tours have become an annual occurrence as of late, there’s no telling what the future holds for Maiden, especially in America. Their last album, Dance Of Death, was a chart success for the band, but it resulted in only two domestic tour stops in New York and Los Angeles. And with frontman Bruce Dickinson being a full-time airline pilot outside of Iron Maiden, we have to approach any opportunity he takes to tour as privileged circumstances…


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Billy Idol on the cover of Maximum Ink

Billy Idol

by David A. Kulczyk
September 2005

What can you say about Billy Idol?  That the mold was broken after he arrived on the music scene with his pioneer punk band Generation X in 1976?  That he was music video pioneer?  That he lived the life of a rock star while retaining his punk rock beliefs?  After a serious motorcycle accident and some substance abuse problems, Billy Idol took a well-deserved twelve-year break from the music business.  His latest album, Devil’s Playground [Sanctuary Records] is pure unadulterated Billy Idol.  I interviewed Billy Idol via email while he was between tours in August 2005.


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Milwaukee's Carbellion in Maximum Ink in September 2005

Carbellion

by Mike Huberty
September 2005

American Heavy Rock, it’s the title of southeastern Wisconsin band, Carbellion’s first EP and according to lead singer, Cameron Kellenberger, the most apt description of their music. “Thematically, a lot of the songs are pro-United States, American culture”, he says, “heavy rock is a tag we put that just kinda stuck.”

Formed from the ashes of Milwaukee metal stalwarts, the Carbon Parlor and Whiskey Rebellion, Carbellion is a mash-up of the two former band’s names. But Cameron likes to tell unsuspecting fans that it’s a Spanish ghost-ship, a matador-killing Mexican bull, or a Civil War soldier. Carbellion has already played many of the Midwest’s biggest cities in support of bands like Corrosion of Conformity, Clutch (who the band feels are musical brothers-in-arms), and Alabama Thunderpussy.


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The Dirty Three on the cover of Maxmum Ink in October 2005

The Dirty Three

by Rökker
October 2005

I had no idea what to expect when I got to the door of the East End, the short-lived club on Madison’s east side in the mid-nineties. I was there for the Man… or Astro-Man show as they were on the cover that month. What I didn’t know was that the opening act, The Dirty Three, would be a band I would love for years to come. That was October of 1996.

Prior to the show, I hadn’t heard much about this Australian band, except that they traveled around the country, in an old, black Cadillac, going show to show without breaking. I’d heard stories about the band’s leader and violinist Warren Ellis, and his love for whiskey.

When I ran into him at the show, bottle in hand and wearing black, he was just as mysterious and foreboding a figure as I’d heard about. In fact, they were all very quiet.


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Nine Inch Nail's Trent Reznor - photo by Adam Bielawski

Nine Inch Nails

by Paul Gargano
October 2005

It’s been six years since Trent Reznor released The Fragile, and a lot has changed in Reznor’s world. Nowhere is that more present than in new release With Teeth. Less epic in its structure than The Fragile double-disc, With Teeth is Reznor refined to a songwriting sheen, rather than navigating a colossal musical landscape. The songs still radiate with the thrust and tenacity inherent in Nine Inch Nails, but they do so with a bounce and vibrancy that breathes new life into the band, now featuring former Marilyn Manson bassist Jeordie White, Icarus Line guitarist Aaron North, returning drummer Jerome Dillon, and keyboardist Alessandro Cortini. At their heaviest, they’re industrial-fueled with a metallic surge, but there’s also an adherence to structural simplicity that harkens back to Reznor’s Pretty Hate Machine. With Teeth isn’t as pissed-off and dark as The Downward Spiral, or as emotionally bogged-down and cumbersome as The Fragile . And rightfully so neither is Reznor.

Maximum Ink sat down with the Nine Inch Nails mastermind to discuss the changes in the new album, as well as the changes in his life… 

MAXIMUM INK: Was With Teeth approached with a different direction in mind than previous albums?

TRENT REZNOR: Well, I went about writing in a different way. The last couple records, Downward Spiral and The Fragile, I realized I had written in the studio. Being that I don’t have a band to rehearse songs with, the studio becomes my instrument, and I had finally gotten a really nice place with everything I needed in it. I was realizing that the writing process was starting to become the same as the arranging and production process. It was all happening at the same time, there weren’t any demos anymoreI’d just go in the studio and come out with the songs finished, pretty much. This time around, for whatever reason, I wanted to get back to doing demos and start from a different place. Instead of starting with sounds and textures and that sort of thing, I started with words and melodies. So I moved out to L.A. and set up a place that purposely didn’t have much in it, just a piano and a drum machine, and a computer to record into. I set an every-week-and-a-half kind of deadline that didn’t allow me any time to really go off on a tangent, and let me just focus on the core of the song, then go back later and flush things out. And I think working that way made the record turn out more song-based, and less soundscape. I don’t think that’s better or worse, it’s just a different way of working that seemed like the right thing to do.


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Bif Naked

by Mike Huberty
November 2005

Just the name, Bif Naked, conjures up pornstar imagery right off the bat and certainly the Canadian rocker and starlet (whose scene was the highlight of the otherwise cinematic bowel movement, House of the Dead) isn’t afraid to take advantage of her sex appeal, but that doesn’t mean she’s invulnerable.

“I’m a real gullible girl and I always believe anything a boy will ever tell me. I get suckered a lot, but always get back up on the love horse,” she explains when discussing the songs on her latest album, Superbeautifulmonster. “I just came off a big heartache and was enshrouded in despair when I wrote [album tracks] ‘Abandonment’ and ‘After A While’. I like to think that I better my efforts, my songwriting, and singing with every record and this one’s a little darker and sadder, it’s much more guitar-oriented. There’s something that everyone can relate to. I’m crazy about love, crazy about the whole process. I keep getting knocked down, but I keep getting back in the ring.”


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