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Midnight Oil on the cover of Maximum Ink in July 2002

Midnight Oil


by David A. Kulczyk
July 2002

Midnight Oil has been playing their own kind of music for twenty-seven years now with only two changes in personnel. They actually started in 1971 as The Farm. That says a lot when you think about it and think is what Midnight Oil does. Throughout their thirteen releases Midnight Oil has never let up on their causes of social awareness, inequalities and environmental justice. They have also never let up on their hard rocking and sing-along passionate music. 

Fronted by the seven foot tall, shaven head singer, Peter Garrett, Midnight Oil is loud and energetic in their live performances. They have been known to play guerrilla shows on flatbed trucks, once even in front of Exxon’s New York City headquarters, midday during the week. Garrett, who has a law degree, ran for the Australian Senate on a Nuclear Disarmament ticket, losing by only a small margin. The defeat only strengthened his objective of speaking out on political matters as his conscience saw fit. You can’t really argue with a seven-foot tall bald man, can you?

Selling millions of records all over the world, Midnight Oil broke onto the American scene with 1987’s “Diesel and Dust,” a monumental album with unforgettable songs like “Beds Are Burning,” “Sell My Soul,” “Sometimes” and “Put Down That Weapon.” The follow up, 1990’s “Blue Sky Mining” was just as great with the anti-war song “Forgotten Years” and “Shakers and Movers” being as good as anything recorded in that decade.

Midnight Oil’s new CD is “Capricornia” and they are touring the world in support of it. I interviewed Peter Garrett, via e-mail as he was at his home in Sydney Australia. 

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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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Monster Magnet on the cover of Maximum Ink in September 1998

Monster Magnet


by Paul Gargano
September 1998

Monster Magnet may unleash the most bombastic arena rock this side of the Reagan administration, but frontman Dave Wyndorf is as misplaced today as he would have been in 1988. His music glows with flash and fire, a hard rock amalgamation of everything guitar-driven and melody-laced, and onstage he plays equal parts Paul Stanley, badass biker, and teenager enchanted by the allure of sex, drugs and rock ‘n roll. With a brilliant new release, Powertrip, that rivals Guns ‘N’ Roses’ Appetite for Destruction in sheer audacity, tenacity, and musical virtuosity, he is currently wrapping a month of amphitheater dates with Aerosmith before kicking off a blockbuster tour with Rob Zombie and Fear Factory in October. ``In 1998, there is no alternative but to just physically get out there and pound people over the fucking heads and celebrate excess,” Wyndorf said over lunch recently at a New York City tavern. “Fuck this symphonic turntable going ‘wacka wacka wacka,’ it’s time to fuck people!”

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the Grateful Dead's Mickey Hart and Planet Drum on the cover of Maximum Ink in October 1998

Mickey Hart’s Planet Drum


by John Noyd
October 1998

To say world percussionist Mickey Hart is embarking on a new adventure is like saying the Pope is going to church this Sunday. Author, student, artist, composer, Mickey’s musical curiosity in all things cosmic has produced seventeen discs for Rykodisc’s “World” series, two books on the history and mythology of rhythm and countless shows and solos. His latest disc, “Supralingua,” continues to explore new worlds with a strong bent on digital technology and sampling. While best known for his association with the Grateful Dead, it soon became evident that the only past he was interested in conjuring happened long before there was any Haight-Asbury scene.

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

Must


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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The Mekons in Maximum Ink in March 2008 - photo by Derrick Santini

Mekons


by Mike Huberty
March 2008

From straightforward rock and loud punk to reggae and alt-country, UK band, The Mekons, have been kicking out the jams almost as long as this phrase has been around. Formed in Leeds by art students in 1977 (and named after a villain in the popular British comic, Dan Dare), they’ve existed as a loosely-knit group of musicians, almost a collective, for over thirty years. These years have included taking time off and reforming whenever the mood called. While they’ve been popular with critics and hipsters forever (including rock uber-critic, Lester Bangs, who wrote that they were “better than The Beatles” on the liner notes of their 1982 album, The Story of The Mekons), their sometimes awkwardly eclectic mix of music has brought them near to commercial success (as well as high profile releases on A&M Records in the 1990’s) but never brought them completely over into the pop world.

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Ministry's Burton C. Bell

Ministry’s Burton Bell


by Kimberly E. McDaniel
May 2008

What can be said about Ministry that hasn’t been said before?  This is a band that people love or hate, or possibly love to hate, but rarely does the band’s sound inspire any middle-of-the-road feelings.  There is no complacency when discussing Ministry, and one would guess that is just the way the band’s founder and fearless leader, Al Jourgensen, wants it to be.  Love him or hate him, Jourgensen could hardly be described as complacent.

Jourgensen is credited with creating the industrial sound, inspiring multitudes of musicians to follow him down the same dark path of pounding danceable beats and screaming electric guitars.  After twenty-five years of performing and releasing not only Ministry records, but also records from his various side projects, Jourgensen is putting the industrial giant to sleep.  Permanently.

Ministry released two new CD’s this year, “The Last Sucker” and “Cover-Up.”  Currently, Jourgensen is making one last round on his C U Later Tour, which began March 25 in Spokane, Washington and finishes up on May 10 in Chicago, Illinois with the final three dates taking place at Chicago’s House of Blues. 

Joining Jourgensen on stage are guitarists Tommy Victor (Prong) and Sin Quirin (Revolting Cocks), keyboardist John Bedchel (Ascension of the Watchers, False Icons, ex-Prong), drummer Jimmy DeGrasso (formerly of Megadeth, Suicidal Tendencies and Alice Cooper) and Static-X’s Tony Campos on bass, filling in for Paul Raven (ex-Ministry and Killing Joke) who died last year.  Also joining the band as a Special Featured Artist is Burton C. Bell (Fear Factory/AotW), who joined Maximum Ink for a chat about the final days of Ministry.

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