Photos by Greg Maki (more…)
Photos by Greg Maki (more…)
Photos by Greg Maki (more…)
Los Angeles based hip-hop/metal veterans Hollywood Undead have announced the release date of their forthcoming studio album, Day of the Dead. The album (the band’s first since 2013’s Notes from the Underground), will be released March 31st on Interscope Records and will feature the current single and title track, “Day of the Dead.” Leading up to the release, the band will be unveiling five new tracks from the album, beginning with “Usual Suspects”on February 17th.
Queens, New York’s Emmure has been going hard and fast since 2007 and just released its new album, Eternal Enemies, earlier this year. (Victory Records called it Emmure’s “most cohesive, dynamic and utterly violent offering yet.”) Over the years, Emmure’s style of hardcore, death metal and hip-hop has developed an ever-growing rabid fan base, which culminated with them headlining the Victory Records stage on the 2014 Rockstar Energy Drink Mayhem Festival. Victory also goes on to cite Emmure frontman Frankie Palmeri’s “brutal openness and honesty” as a connection with its fans. However, it’s this same honesty and openness that has made Palmeri one of the more vilified and controversial figures in the metal scene. It’s been a love/hate relationship for Frankie and the metal media over the years, with certain websites hanging on his every word and following his every move. Like it or not, he’s almost reaching a Fred Durst-level of intrigue (minus MTV and the TRL following). So it’s probably no coincidence that when I did this quick interview with him at the Bristow, Va., stop of the Mayhem Festival, we both confessed our admiration for Durst and Limp Bizkit, and touched on the controversy and tabloids that surround him. And he did make some strong statements, some of which are likely to be quoted across the interwebs. But I also found him to be a chill and cool dude. Just face the facts, Emmure is here to stay, and here’s Frankie to tell you about it.
By Jeff Maki
Founded by vocalist/guitarist Robb Flynn (formerly of thrash metal band Vio-lence) and bassist Adam Duce in 1991, Bay Area thrash metal titans Machine Head will leave behind a surefire legacy as one of the only bands I can recall having two successful eras dominating the metal scene—one from 1994 to 1999 and then again from 2003 to the present day. The Machine Head we all know today—the one that is working on its yet-untitled eighth album—is not the same Machine Head that first broke on the scene. The band started as a formidable street metal act, eventually winning over audiences worldwide with its first two releases, only to ultimately hit a wall with two much-maligned albums, 1999’s The Burning Red (I’m sorry, but I think it’s damn good) and 2001’s Supercharger. After lineup changes and a battle with record labels, they came storming back with a trio of epic thrash metal albums, Through the Ashes of Empires (2003), the now-classic The Blackening (2007) and its most recent studio effort, Unto the Locust (2011). So as we wait for the next album and chapter in Machine Head’s long career, let us celebrate the 20th anniversary of its debut album, Burn My Eyes, by telling you the experience I had with the album and how it helped changed the face of metal for the future. (more…)
Metal, rasta and punk-infused heavyweights (hed)p.e. will release its ninth studio album, aptly titled Evolution, on July 22, 2014. This new album sees (hed)p.e. returning to its heavier roots, which fans have come to admire over the band’s lengthy career. Live Metal’s Jeff Maki recently talked with drummer Jeremiah Stratton, aka “Trauma,” on Friday, June 20, and covered a lot of cool topics, including the opinion of (hed)p.e. being viewed as a “nostalgia act,” vocalist’s Jared Gomes’ often controversial lyrical content, and the making of the band’s new album, Evolution, its first in four and a half years.
When asked about the possibility of the band ever performing its debut album (hed)p.e.or its breakthrough hit album, Broke, live in their entirety, Jeremiah said it was “something the band could discuss,” adding that they would probably be “open to the idea,” even for select shows, if not a tour. I think that’s outstanding news for one of the all-time great rock and metal party albums. (more…)
When Robert Westerholt and Sharon den Adel of Within Temptation visited L.A. and New York, earlier this year, they also met up with hip-hop artist, Xzibit to talk about his collaboration on the track, “And We Run” from Hydra (review) and more.
Part one of a new interview featuring Dutch female-fronted rockers Within Temptation and American rapper Xzibit can be seen inside. (more…)
So I decided to spin Korn’s debut album a few weeks ago on a road trip. Why? I’m not entirely sure. As a diehard fan back in the day, I had heard this album, and my friends and I recited the lyrics hundreds upon hundreds of times. I can play the entire album out through my head without even hitting play. It’s a CD I see every day, as I have a copy autographed by all five original band members on my shelf display.
After some thought, I realized why I pulled it out again. For my own curiosity, I wanted to revisit Korn, not to have something to write about, or for nostalgia. I wanted to hear how the music, and the 12 songs that make up the album—from “Blind” to “Daddy”— sound today, 20 years later. After two decades of trends, genres and sub-genres and the enormous wealth of music I have taken in over that time while growing up into an adult, I wanted to know what the original appeal was, what made me become obsessed with Korn and if I still could get enjoyment from spinning this record. (more…)
Review by Greg Maki
The self-titled debut from Street Sweeper Social Club sounds almost exactly like what you would expect from the latest project of Rage Against the Machine guitarist Tom Morello. It’s packed with grooving hard rock riffs with a funk flavor and politically charged lyrics. Morello plays with a looser, more relaxed feel than we heard from him in Rage or Audioslave—this music is more likely to get people to dance than mosh. Morello handles guitar, bass and production duties, possibly making this recording the closest he’s ever done to his vision. (more…)