Artist description Heavy mid-paced brutal hardcore influenced industrial death metal.

Musical Influences It's pretty obvious but it changes daily.... stuff like Rorschach, Black Sabbath, Black Flag, Carcass, Crowbar, Melvins, Slayer, just way too many to mention and most you would'nt believe anyways.

Similar Artists Carcass, Godflesh, Slayer, Melvins, Coalesce, Green Machine, Eyehategod, Black Sabbath, Big Black, Black Flag, and any band with Black in the name.

Artist History There is a new crushing sonic rumble thats making its way out of San Diego, CA....an aural earthquake named MAXMILLION. ----- MAXMILLION is a three piece consisting of Bobby Ferry on guitar/vocals, Chris Jones on Bass, and Jason Corley on Drums. ----- MAXMILL ION is the vehicle showcasing the reuiniting of Jason and Bobby, whos musical genius was responsible for years of uncompromisng influential music in an band called 16. The last time these two hit the studio, the recording session resulted in an album enti tled Drop Out, voted as one of the best records of 1996 by Terrorizer Magazine. Their previous US tours, opening slots with Slayer, Japan tour, and countless shows with almost every hardcore and death metal band has set the groundwork for MAXMILLIONs onslaught. ----- MAXMILLION hit the studio in March of 2002 and recorded its first demo, a four song masterpiece picking up where Drop Out left off. Included on the demo are songs Designed by The Vultures, Cold Steel Warm Heart, The Angel That Fell Through Eart h, and Night Of The Permanent Scar that have been reviewed as medium tempo metal sludge with fist/head banging potential and thick crunchy distortion guitars with chugging metal/industrial riffs similar to Godflesh. ----- MAXMILLION played unforgettable sho ws last month in California with the hardcore/metal gods COALESCE. As the band looks for a record deal, they have continued their crushing, playing shows all over Southern California and getting ready for any tours that may come their way.

Group Members Bobby Ferry - Chris Jones - Jason Corley

Instruments Guitar, Bass, Heads, Cabinets, Drums, Cymbals, Microphone.

Albums CD available on Retribute Records.

Press Reviews This is from Kerrang 4/2003 ------------------------------------------ Guitarist Bobby Ferry and drummer Jason Corley spent most of the 90s crafting sonically terrifying sounds with the sludge metal pioneers 16. Reunited once again on this, the debut release of their latest project Maxmillion, Jason and Bobby, together with bassist Chris Jones, quickly prove that they have lost none of their nerve for creating a dark, confrontational and utterly demonic din. Opening track 'Waste Of Relations' sets out the rules clearly from the start-there's no space to breathe or room to think, instead Maxmillion simply flatten the listener with the sheer weight of their sound. It's a noise that sounds like EyeHateGod and a 70s cocaine-fuelled Sabbath fighting over the last of the Melvins' drugs. Don't say you haven't been warned. ----------------------------------------------------------------------------------- This one is at: http://www.bullymag.com/2.20.03/maxmillion-022003.asp ------------------------------------------------------ Give me something different. Give me something that doesn't sound like ten different other bands. Give me something that makes me stop what ever the hell I'm doing and go "Hey what the fuck was that?" If you can do that, you got yourself a good album. Maxmillion has such an album. You can't quite put your finger on these guys. I listened to the album forwards and backwards, over and over again. Sometimes I would hear Godflesh in their sound such as on "Waste of Relations." At other times I would hear tinges of Neurosis such as on "The Angel That Fell Through Earth." Whatever the case, these guys have a dark, driving, and brutal sound that locks you in from the first listen. Songs like "Pure Black" and "Designed by the Vultures" are emotional dirges, reaching into the darkest corners of the mind and laying them out in perfect musical ugliness. And they do it with killer hooks, much like J. Broderick of Godflesh was capable of doing. The chorus riffs to "Pure Black" and the verses of "Night of the Permanent Scar" are downright, nail-on-the-head intense. The guys in Maxmillion really outdid themselves on this one. The tracks are a perfect mix of minimalism (keep in mind they're only a three piece) and extreme heaviness. The sludginess of their sound, especially on "Dilated Eyes" and "Cold Steel and Warm Heart", is too powerful not to enjoy. Guitarist/singer Bobby Ferry and drummer Jason Corley cut their teeth in the band 16, who made the rounds with bands like Slayer, before the two split to continue on with Maxmillion. This disc really steps off where 16's brand of sludgecore ended and Maxmillion serves it straight up heavy, square in the jaw. It's a thick slab of quality music and it's got a style all its own. Hot damn. ----------------------------------------------------------- This is from Terrorizer Magazine:----- The Word 'original' has been done-to-death by music journalists over the years, so it seems that there is nothing new in the world, only remoulds. Maxmillion aren't original in the truest sense of the word, rather unusual and a damn sight more exciting than yet another death metal band. The closest comparisons are Rabies Caste, the severely underrrated and now sadly defunct 3D House Of Beef and of course -(16)- of whom Maxmillion feature two former members. These bands manage(d) to take sludge, industrial and math rock and warp, distort and reinterpret into a new sound, Maxmillion now join that list. 'Waste Of Relations' has a very catchy hook and the chugging sludge of 'The Angel That Fell Through Earth' has touches of The Great Deceiver. 'Burning The Life' is hellishly oppressive, whilst contrast is provided by the Tool-like 'Pure Black'. However, the real strength of Maxmillion is their ability to be heavy as fuck without resorting to the 'maximum bass, minimum treble' approach. A classy debut. (8.5 out of 10) ------------------------------------------------------- This one is at: http://www.ink19.com/issues/february2003/musicReviews/musicM/maxmillion.html --------------------------------------------- Maxmillion is a Californian sludge/doom outfit that also has an affinity for math rock, a la Tool or King Crimson. From the album's artwork, to the thick and murky guitar riffs, Maxmillion is a rather enjoyable slab of metal goodness. The album's opener, "Waste Of Relations," throws down the gauntlet with an also Bleach-era Nirvana riff, only to pummel the listener with a Streetcleaner-days Godflesh chorus. This song epitomizes what it is that Maxmillion strives to do with this album, that being both brutalize and confuse. About two minutes into the song, they start doing this weird melody thing with their guitars, while the drums get very technical. Coming out of this little excursion, the band jumps back into a riff similar to the chorus's riff, but it's lower, and dreadfully heavy. Yow-za! "The Angel That Fell Through Earth" is a 100% fist in the air stomper, featuring some of the ugliest sounding, detuned guitars playing sludge of the blackest variety. The riffs after the chorus give moments of pause, at which time a really awesome vibrating feedback hums at the listener. It sounds awesome here, but I imagine it being deafening at one of these guys' shows. The rest of the album's songs follow a similar pattern, with some songs getting weird and trippy from time to time, but these guys, for the most part, stay true to the sludge. I never did really get around to describing the vocals, which are actually quite good, when compared to others of this genre. In terms of their presence in the mix, the vocals are somewhat buried, unless you're wearing headphones (as I am now). On headphones, this guy's voice is bloody-throated and raspy as hell; it seems fairly obvious that he's been in the metal racket for some time, as the delivery is both evil and painful, simultaneously. Without the headphones, the guitars dominate completely, which is OK with me, as I love sludge. This is probably only something that death metal, sludge, and Southern Records metal (which is beyond sludge, to me!) fans would really like all that much. I can see black metal fans complaining that this record has too much bass guitar and not enough corpse paint or blast beats. ----------------------------------------------------------------------------------This one is at: http://www.live4metal.com/reviews-38.htm----------------------------------------------- Remember Christmas as a kid, when you'd sometimes unwrap an unexpected new toy that was quickly deemed the coolest present you'd ever received? Then after an hour or so playing, the wrapping paper it arrived in takes on a greater appeal and the gift itself is put to one side never to see daylight for months to come…when you rediscover how cool it is all over again? Well the debut full-length from this Californian sludge/crossover trio is kind of like that. Except its novelty waxes and wanes in shorter, more frequent cycles. 'Waste Of Relations' opens with a dirty, massively down-tuned riff, agile but swamp-like in a way that instantly gratifies any hankering for leaden, uptempo nastiness. Then sharp, dissonant bends slash their way through the sludge in a caustic noisecore attack, a meandering bridge weaving an intriguing trail in their wake. Nice. 'The Angel That Fell Through Earth' boasts big muddy slabs juxtaposed by a subtle hazy shimmering - nicer still! 'Pure Black', predominantly doom metal though it is, goes all Tool-like and atmospheric in equal measures, while the more sprightly 'Night Of The Permanent Scar' displays an industrial feel to its metalcore essence. But then the impact begins to fade a little. Considering the platter's obvious strengths - one of which is its inventiveness and experimental edge - it seems hypocritical to deem the latter tracks a tad repetitive. So another airing is called for. By which time I like it again. A lot. But there's still something about the vocals... Either way, I'm probably nit-picking here, and on balance this really is a highly commendable debut.------------------------------------------------------ This one is at: http://sortedmagazine.com/Distorted.php3?nID=370---------------------------------------------------------------- Fusing sludge, doom and thrash to great effect, Maxmillion are the noise of a world falling apart. Sitting someplace in the cracks between Rabies Caste, Will Haven and Dillinger Escape Plan, subtle they sure ain't. 'Waste of relations' is a barrage of solid, crushing metal, while the excellently titled, 'The angel that fell through the earth' shows the band isn't afraid to slide off on tangents. Constructed over a slow, hulking riff, the volume buzzes in and out between verses, lending the chorus the room it needs to strive for that extra push - heavier than heavy. Then there's 'Designed by the vultures', quite possibly the albums stand out track, brooding yet majestic, armed as it is with a kicking verse and suitably disorientating pre-chorus, build-up. 'Pure black' is in stark contrast, layered around a Deftones-esque melody and a soft, clean vocal before the chorus slips gently into Will Haven territory. It was on the album's fifth track, 'Dilated eyes' that it finally hit me. Despite all the aggression and anger pouring in droves from this CD, Maxmillion have something more about them; almost an accessible quality. These aren't random acts of chaos and destruction committed to tape; no, this is something far more focused and intelligent. Not intelligent in the way Tool is, but similar. It's so satisfying to hear a band put so much work into an album like this. In a genre that is often criticised for being stagnant and willing to recreate the same old over and over, Maxmillion really stand out.------------------------------------------------------------------------------- This one is at: http://www.corridorofcells.com/reviews.php?op=detail&year=2003&month=01&id=848478341----------------------------------------------------------- Featuring ex-members of the sludge outfit 16, Maxmillion assaults the listener with a vicious offering of sludge, laced with a lethal dose of metalcore and further poisoned with just a touch of doom metal. First of all, let me commend the production on this release: it has that polished, yet abrasive and overwhelmingly heavy feeling that makes even the simplest riffs crush the listener under their sheer weight. The band employs a scraping, grating vocal style, reminiscent a lot of Zao (whose influences seem to show up a few times in Maxmillion's work), which greatly assists in bastardizing the aural aspect of this CD. On top of this they layer ultra-heavy sludge riffs, fairly straightforward in terms of hooks, but nevertheless highly effective thanks to the excellent production mentioned earlier. Occasionally the band delves into quieter territories with acoustic passages blended in (like in the top-notch piece "Pure Black") and that is where they actually really reminded me most of recent Zao. But, overall most of this album consists of mid-tempo or slow chugging riffs, spiced up with ugly vocal screams and not a sign of guitar solo or romantic melody in sight...in short, a tasty feast for those who like their metal ugly, unpleasant and far from listener-friendly trends. ----------------------------------------------------------------------------------- This one is at: http://www.whitetrashdevil.com/index.php?load=sick066&cat=reviews ----------------------------------------------------------------------------------------- Maxmillion's self-titled debut for Retribute Records is nothing short of amazing. It actually exceeded my expectations, after hearing last year's impressive 4-song demo. If you haven't heard the band before, they're incredibly difficult to compare to other artists. I mentioned in my review of their 4-song demo that they mix elements of sludge, doom, and metal, but quite simply, Maxmillion is pure sonic heaviness. All four songs from their original demo, "Night Of The Permanent Scar", "The Angel That Fell Through Earth", "Designed By The Vultures", and "Cold Steel, Warm Heart", appear on Maxmillion, and are rounded out by four brand new songs. This is one killer album, from top to bottom, without one disappointing moment. The thing I loved about this band right away is that they're not just another heavy band. They write interesting songs that suck you in. One of the new songs, "Pure Black", is a prime example. The song starts off slow, almost droning; lulling you into a comfortable place...and then hits you over the head with a sledgehammer when the chorus kicks in. Sure, that style has been done before, but Maxmillion does it fucking brilliantly. If you're looking for something original, and ungodly heavy, pick this disc up immediately. You won't be disappointed. --------------------------------------------------------------------------------------- This one is up at: http://www.cosmiclava.de/MAXMILLION.htm -------------------------------------------------------------------------------- MAXMILLION (s/t) CD: Does anybody remember the American Sludgecore band 16? If not, it doesn't matter but with Bobby Ferry and Jason Corley are ex-members of 16 on board of MAXMILLION. Four-stringer Chris Jones completes the line-up and shortly after, they've recorded the first demo in March 2002, that received a very positive feedback in the underground worldwide and the band was signed by Retribute Records for the release of their debut CD. Here it is one of my first impressions is the difference to Bobby's and Jason's former band 16. There are still similarities to them, but the sound of MAXMILLION is much heavier, filled with more hostility, very downtuned and wrapped up in a thick and massive production. 16 were more Hardcore influenced, while MAXMILLION got a sharp metal edge. Sometimes, the sound is drifting in Tool-ish fields or it is spicked with brutal grooves, as in "Dilated Eyes" . The bands changes the tempo from a straight forward up-tempo ("Waste of Relation") to mid-tempo tracks ("Pure Black") or crushing slowed down themes ("The Angel that fell through Earth"), what enriches the whole atmosphere of the album. Instead of guitar-solos, the band often uses weird and noisy guitar-themes. Early 90's Death Metal and Thrash Metal bands are also on my mind, as Pantera or Grave while listening to MAXMILLION. So, it's not easy to pigeon-hole this band, but it's sure that this is a damn fine album, that contains eight promising songs. Maybe, the whole running-time could have been a bit longer than 29 minutes. But it's an excellent debut, and I hope that the band will deserve more attention. Recommandable for fans of Korn, too. --------------------------------------------------------------------------- This one is at: http://www.ancientspirit.de/reviews/cdreview/m/maxmill1.htm ------------------------------------------------------------------------------------------------- Kennt jemand die Band "16"? Ich nicht. Aber das ist ja auch nicht so wichtig, die Band gibt es eh nicht mehr. Auf jeden Fall sind MAXMILLION sowas wie die Nachfolgeband, da zwei ehemalige Mitglieder sie gegründet haben. Leicht zu beschreiben ist der kaputte Sound der Band auf Ihrer Debütscheibe nun wirklich nicht. Die Bandeigene Bezeichnung ´Sludge Metal´ möchte ich nicht benutzen, da ich damit nichts anfangen kann. MAXMILLION sind auf jeden Fall schonmal sehr zäh und doomig. Die Riffs klingen solide, aber simpel und werden sehr oft wiederholt. Gesangstechnisch hat man ein wütendes Tier an das Mikro gezerrt, dass mehr brüllt als singt. Vielleicht könnte man den doch recht eigenen Stil zwischen EYE HATE GOD und CROWBAR einordnen. Leider erreichen MAXMILLION bei weitem nicht so eine Durchschlagskraft wie die genannten Bands, sondern haben acht Songs am Start, welche zwar ganz nett klingen, mir aber einfach nicht zwingend genug sind. Ein Grund dafür ist, dass bei vielen Songs einzelne Parts oder Riffs zu oft wiederholt werden und gegen Ende des Songs ausgelutscht und langweilig klingen. Der einzige Höhepunkt der Scheibe für mich ist das Stück "Pure black", da hier auch mal cleane Vocals und cleane Gitarren zu hören sind (doch auch harte Gitarren und derber Gesang kommen zum Einsatz). Dadurch kommt eine Interessante Laut/Leise-Dynamik zustande, die wirklich cool klingt. Wie gesagt, dass war´s aber leider schon an Höhepunkte auf dieser Scheibe. Schade, wenn MAXMILLION mehr von solchen Ideen eingebaut hätten, wären mehr als acht Punkte drin gewesen. ---------------------------------------------------------------------------- This one is at: http://vsolutions.free.fr/klistidselect.php3?titre=1821 ------------------------------------------------------------------------------------ A la vue de la pochette de cet album, je m'étais mis en tête de refiler ce cd à Uriel ou Sheb en me disant que Maxmillion était sûrement une nouvelle formation de true black métal, style qui n'a jamais été ma tasse de thé.. Faut dire que le visuel rassemble un paquet de clichés propre au black : couleur noire et sobre, logo comprenant une épée, des faux et une étoile, police de caractères crados.... Vous le comprenez sûrement, Maxmillion n'a pourtant strictement rien à voir avec le black métal. Ce jeune groupe originaire de San Diego en Californie possède un style inclassable ce qui est habituel pour les signatures du label anglais Retribute Records. Le groupe formé par 2 ex-16 (16 est le nom de leur ancien groupe) a enregistré les 8 titres de ce premier album en 2 sessions studio de 6 heures ce qui explique le coté brut et sale de leur musique basée sur un sludge lourd et malsain. On pense a beaucoup de groupe à l'écoute de cet album, au tout premier EP de Clutch "impietus" pour les voix, à Fudge Tunnel pour le coté massif des guitares, à Eyehategod pour les passages lents et sales mais aussi à Godflesh pour la froideur ou à Neurosis. Bref, Maxmillion sort un premier disque très personnel intéressant tout en restant facilement assimilable après quelques écoutes attentives. ------------------------------------------------------------------------- This one is at: http://www.metalfan.nl/reviews.php?op=showcontent&id=593 ----------------------------------------------------------------------------------- Het Engelse label Retribute records is gespecialiseerd in allerlei vreemde soorten muziek als doom/sludge/metalcore/noisecore/pschyobilly en extreme metal/grindcore. Dit is hun twaalfde release dat op het einde van vorig jaar verscheen. Maxmillion presenteert op hun debuut 8 songs die vrij compact en gestructureerd zijn. Je kan de stijl omschrijven als metalcore met doom en sludge invloeden, maar de muziek is gecomponeerd volgens popcoupletten. Dus niet zo lange nummers en zodus duurt deze full length dan ook maar een half uurtje. De cd begint sterk met het dreunende en catchy 'Waste of relations'. 'Pure black' is een trager maar eigenlijk zeer mooi lied. En de rest van de nummers trekken sterk op één van beide nummers. Kortom, er zit weinig afwisseling in de nummers onderling. Maar dat wilt natuurlijk niet zeggen dat deze release overbodig is. De nummers hebben een vreemde en dreigende sfeer, de refreinen blijven in je hoofd zitten en ik moet zeggen dat ik het cd'tje gewoon graag beluister. Uiteraard is deze muziek niet voor het grote metalpubliek geschikt. Maar liefhebbers van donkere sludge/(rustige)metalcore, met gitaarwerk dat soms ook aan de nieuwere platen van Danzig doet denken, zullen dit album zeker respecteren. De kenner van het genre moet nog weten dat er in deze driekoppige band twee leden van de legendarische sludge metalband 16 zitten. ------------------------------------------------------------------------ This one is at: http://www.babylonmagazine.net/vis_cd_rece.php?c=blu&nome_band=MAXMILLION&nome_disco=Maxmillion ------------------------------------------------------------------------ Bobby Ferry e Jason Corley dei 16, pionieristica band sludge ("Drop Out" è il loro album più conosciuto), tornano sulle scene con la nuova creatura Maxmillion. Il trio di San Diego debutta con l'omonimo album sulla prolifica etichetta inglese Retribute Records. I Maxmillion aggiungono al loro background sludge metal elementi metalcore, doom e thrash metal, ottenendo un risultato piuttosto omogeneo. Non perdono di vista le atmosfere morbose dello sludge e del doom, anzi le arricchiscono di una certa vena moderna ispirata, appunto, al metalcore. "Maxmillion" è un album lento, esasperato ed esasperante, carico di rabbia repressa pronta a sfogarsi non appena gliene si dà la possibilità ("The Angel That Fell Through Earth", "Night Of The Prominant Scar", "Designed By The Vultures"). Non manca il groove in "Dilated Eyes", canzone in cui convivono a fasi alterne un maggior impatto (violenza fisica) e una lenta agonia (violenza fisica). Un lavoro interessante, breve nella durata, ma forse proprio per questo incapace di annoiare, nonostante l'assestamento su rigide tematiche. ---------------------------------------------------------------------- This one is at: http://www.silentscreamzine.com/ReviewShow.asp?ReviewsID=1577&lang=ENG ------------------------------------------------------------------------- As black as pitch, these Maxmillion: and that's not a saying, since the sound of the US trio is as dark as an abyss, and at the same time warm and gluey. At the basement of Maxmillion we find a schematic mix without frivolities, based on essential arrangements, gnawed to the bone, but not lacking a certain thickness. It's anyway evident that Maxmillion (born from the will of the former 16 Bobby Ferry and Jason Corley) have many years of experience on their shoulders, as it's showed by their skills to be truly expressive despite the beggary of means. Technique is always rather broad, and the three instruments do not jam perfectly together leaving many open spaces, but all fits the economy of a heavy tired sound, that has the main goal to communicate an intolerable sense of dejection, like a wounded anguished elephant that drags himself along on the dusty plain. The rusty riffs of the opener "Waste of Relations" make us understand what to expect soon. Maxmillion take at full hands from the saturated rawness of stoner, made fat by the slow irritated groove of sludge, even if riffs structure is typically metal, at least judging from the continuous tercets of "Dilated Eyes" and from the final thrashy acceleration of "Cold Steel Warm Heart". But the most succesful track is "Pure Black", that upturning the celeber new metal clichè alternates a melodic verse with a corrosive refrain, where Bobby's chocking voice (half way between the post core rage and a death metal ugliness) gives its best. They still miss something, sometimes there's something that does not work perfectly, but Maxmillion start with the right foot: only time can say more. 7/10 ---------------------------------------------------------------------------------------------------------- This one is at: http:// www.hitthepit.com -------------------------------------------------------------------- The first time I looked at the Maxmillion CD, I was immediately attracted to the glossy black artwork of their album cover. It wasnt anything fancy, but it spoke volumes to me about the band. It said to me that they arent about glitz and glamour, but they stand for just putting your head down and going to work. I like that. As far as the music is concerned, they remind me of a slowed-down Chimaira. Thats not such bad company to be in, is it? A slow, grating guitar riff intros "Waste of Relations". Ferrys vocals and the rhythm section kick in and it slowly grinds along. It isnt the most fresh and creative thing in the world, but they do it at a level that you can respect. However, the time changes are a bit sloppy and kill some of the momentum of the song. Ferrys various guitar parts are decent and give the song a nice change of pace. It could use a little more life to it, but its better than most of what passes for metal on the radio today. "Pure Black" begins with energy and fire right away with Ferrys crunching guitar, then it changes speeds and gets slow and dreary with clean guitar picking and clean vocals. The mood is depressing as all hell. Its a fucked up, depressing song, but it is done really well. The semi-melodic chorus is catchy and is done nicely. It kicks in at the end with throaty vocals and machine gun guitar riffs, making the song one of the albums best tracks. "Night of the Permanent Scar" gives you more throaty, evil vocals over grating guitar riffage and the tight rhythmic duo of Jones and Corley. It slows down at one point, taking the wind out of their sails, only to build up again with a lot of crunch and feeling. It slowly plods along, hitting you with slow brutality. The musicianship is decent, although they could use a second guitarist to even things out a bit. Machine gun guitar riffs shred from the start on "Dilated Eyes". The thick wall of rhythm and evil vocals join in the sonic destruction before it slows down. It plods along in the middle, full of anger and hatred. It seems like the slower it gets, the heavier it gets. Not a bad formula to work with. "Cold Steel Warm Heart" begins slowly, but when it kicks in, you're engulfed in throaty vocals, machine gun guitar riffage, and the solid wall of rhythm. It hits a staccato groove and just destroys. Ferry lets out some screams like a man possessed and everything goes nuts. This is metal at its finest. Corleys skins work begins "Burning the Life", slowly building things up, then the low end chaos kicks in as grating guitar riffs and throaty vocals bleed through your speakers. Again, nothing fresh and new, but you cannot deny the power of the music. ----------------------------------------------------------------------------- This one is at: http://www.geocities.com/SunsetStrip/Underground/6514/cdreviewsmaxmillion.html --------------------------------------------------------------------------------------------------- Although Maxmillion is a new band, some of you might recognize two of the members. Bobby Ferry - Guitar/Vocals, and Jason Corley - Drums, both previously in the Sludge-Metal band "16". If you're an aficionado of that little sub genre, then chances are you have a copy of their 1996 CD "Drop Out" sitting on your shelf. Now, don't get your Sludge hard-on started quite yet. Even though there are Sludge elements within Maxmillion, there are also numerous other factors and influences affecting their sound. For starters, there is kind of a evil vibe running through this thing, I mean look at the CD cover, it looks more like the cover of a Black-Metal band, rather than a Sludge or Stoner outfit. There are also thick layers of Doom-Metal, and the faintest hints of Metalcore or Nu-Metal (pick your own term). Let's see, what else, I guess you would have to say there is a pinch of thrash, and even a dash of Nirvana (yes, Nirvana, see track 3, "Pure Black", which also happens to be the best one on the disc). Now, don't let the mention of Nu-Metal or Nirvana frighten you of, this isn't "Grunge", or "Static-X" by a long shot. They still have their feet firmly planted on the Sludge side of the Metal fence; they've just added a little extra something here and there. One thing is for sure, this thing is fuckin' heavy. Like label mates "Beaten Back To Pure", Maxmillion don't go for speed, they rather bludgeon you with a thick bottom end. Jason's rhythmic drumming, combined with a syrupy thick bass tone, courtesy of Chris Jones, makes for some serious thunder. Bobby's vocals add to the heavy aspect as well, they're gruff, but not Death-Metalish, and swirl around like a thick blanket of fog. Cool stuff, these guys could go far. For more info, the band will soon be able to be found here. For now however, you can find them at mp3.com. Or you can check out their label, Retribute Records. ----------------------------------------------------------- Thats it for now. ---------------------------------------------------------- Here are some more - 4/15/03 ----------------------------------------------------------------- This one is at: http://www.noise-online.com/maxmillion.html ------------------------------------------------------------------------- The trio that comprise Maxmillion hail from San Diego, California and have only been together a year yet they've already supported a variety of name acts including Coalesce, Sourvein, Phobia, Cattle Decapitation and Playing Enemy. Their own name is apparently a mock reference to Austrian Maximilian who was "emperor" of Mexico in the 1860s until the indigenous population quite rightly snuffed out his imperialist rule. However, more than likely the band just liked the sound of his name and changed it slightly, to make it unique. This uniqueness is also reflected in their brand of sonic dissonance. Like Carcass and Helmet before them, these abrasive boys use fairly metallic simple structures, yet infuse them with inventive elements. The Maxmillion sound is laden with sludge, two members having been in seminal sludgers 16 but they also draw upon thrash, death and doom elements to create a distinctive hybrid that spans metal genres with ease. There's also more melody in the Maxmillion mix than you'd expect, at least on the first half of this short (29 minute) album. The Angel That Fell Through Earth juxtaposes a thrashy and sludgy driving edge with more laidback, almost chilled out, sections. Pure Black has a similar Jekyll and Hyde feel to it and the experiment continues on Dilated Eyes which is pure thrash combined with death. However, Cold Steel Warm Heart and Burning the Life are more traditional offerings, so it's left to closer Designed By the Vultures to inject the more interesting cross genre ideas that make the band different from run-of-the-mill acts. A promising debut then but Maxmillion clearly have to be careful to develop on their strengths and avoid the obvious temptation to re-tread well trodden metallic paths. ------------------------------------------------------------- This one is at: http://www.quintessence.sh/article.asp?ArtikelID=1310 --------------------------------------------------------------------------------------------------------- Maxmillion is a band I knew nothing about, I must admit. These days it seems like bands pop up from out of nowhere, where in the past you all knew about demo-bands even before they got signed. But that’s not exactly what we’re talking about here; it’s about a new record. Checking the Retribution website I learned that Maxmillian consists of former 16 members (16 was a great sludge band), Bobby Ferry on vocals and guitar and Jason Corley on drums. Together with bass player Chris Jones they form Maxmillian. Musically this band is hard to describe `cause there are so many influences. You can definitely hear their sludge past, but also some hardcore, doom- and death-metal. Its really hard to describe and comparisons are quite difficult. I mean at one moment you think a song sounds a bit like Unleashed but seconds later something totally different is going on. It’s not that it’s an extremely weird record or so, it’s just impossible to put a tag to it. The music is quite heavy with a cool atmosphere to it and although I realize this review doesn’t give you a good direction concerning the music I must say it’s a cool record. Perhaps you should check the MP3 on Retribute page? ----------------------------------------------------------------------------------------- This one is at: http://www.sleazegrinder.com/review_maxmillion.htm --------------------------------------------------------------------------------------------------------------------------- Former LA stoners (in whatever form of the word you want) known amongst the mud rawk faithful as "16", have regrouped, reloaded, and arrive armed to the tits as Maxmillion, a state of the dark-art extreme metal band. While the former sludge-lord template is never far from the drawing board here, this is a sinister, lethal doom-powered attack complete with a fearsome, Skrew-like distorto-gargle vox, and the kind of creepy-crawly half-speed Slayer riffs that make you think you're suddenly part of some strange underground cult of razor wielding hippy killers or something. And goddamn if that doesn’t feel just right. I know cats like these are loathe to embrace new-fangled themes and technologies, but I swear, Maxmillion might be the pioneers of "Doomdustrial". Chew on that one for a while. ---------------------------------------------------------- This one lives at: http://www.full-strength.net/world_review_maxmillion.html --------------------------------------------------------------------------------------- Time for another genre analysis punters - this time it’s that often misunderstood and rather ambiguous term ‘Sludgecore’. Seems as though the term is making a bit of a resurgence, particularly through the UK based Retribute label - acts like Beaten Back To Pure and to a lesser extent Rwake have forged their own Sludgecore identity based around the legacy of previous kings such as Acid Bath, Crowbar, Buzzoven and the mighty EyeHateGod. With Maxmillion, Retribute have thrown up another contender to the Sludgemetal/core crown. The legacy that these acts have left continues to make its mark, however, Maxmillion have stronger connection than most. You see, in the mid to late 90’s there was also a little gem of an album called ‘Drop Out’ released by a band called ‘16’. San Diego act ‘Maxmillion’ sees the reuniting of Bobby Ferry (Guitar/Vocals) and Jason Corley (Drums) - 2/3rd’s of the might 16 line up. Any Sludgecore fan will attest to the greatness of Drop Out and certainly anything featuring former members needs to be investigated. Maxmillion’s self-titled debut is not ‘Drop Out II’. Not that I would want it any other way, yet this disc is certainly a different beast to what ‘16’ churned out. The vicious low slung thread to former glories is clearly evident, and whilst this album represents the next step for Jason and Bobby, I actually find Maxmillion to be a more caustic and acerbic than 16 ever were. This is a good thing. Maxmillion is a very stripped down record - minimalist production techniques and a lack of musical deception make this a totally honest record. The sound is scathing in its heaviness with a thick, dirty, almost evil sounding guitar thread running through the whole eight tracks on offer. At 29 minutes, MM don’t waste too much of your time - it’s uncompromising for the most part, with just a hint of experimentation and inventiveness playing a part on several of the tracks. Certainly, Maxmillion leave you scratching your head for obvious comparisons. Not many come to mind, even though their style is quite recognizable. Vocally, Bobby Ferry leaves little doubt in the listeners mind as to his mindset - his style may be somewhat one dimensional, with little room for variation, yet his acid laced approach gives each of the tracks here a certain dark ambiance and mood that would be lacking otherwise. Maxmillion is an impressive debut. The 16 connection makes this even more essential, and although I find MM to be a different beast altogether, there is something about this record that works just as well. Whilst MM won’t be album of the year for me - there is originality and initiative shown here, making MM sound fresh and exciting than most. Recommended for all sludgeheads!! ------------------------------------------------------------- This one is here: http://vsolutions.free.fr/klistidselect.php3?titre=1821 ------------------------------------------------------------------- A la vue de la pochette de cet album, je m'étais mis en tête de refiler ce cd à Uriel ou Sheb en me disant que Maxmillion était sûrement une nouvelle formation de true black métal, style qui n'a jamais été ma tasse de thé.. Faut dire que le visuel rassemble un paquet de clichés propre au black : couleur noire et sobre, logo comprenant une épée, des faux et une étoile, police de caractères crados.... Vous le comprenez sûrement, Maxmillion n'a pourtant strictement rien à voir avec le black métal. Ce jeune groupe originaire de San Diego en Californie possède un style inclassable ce qui est habituel pour les signatures du label anglais Retribute Records. Le groupe formé par 2 ex-16 (16 est le nom de leur ancien groupe) a enregistré les 8 titres de ce premier album en 2 sessions studio de 6 heures ce qui explique le coté brut et sale de leur musique basée sur un sludge lourd et malsain. On pense a beaucoup de groupe à l'écoute de cet album, au tout premier EP de Clutch "impietus" pour les voix, à Fudge Tunnel pour le coté massif des guitares, à Eyehategod pour les passages lents et sales mais aussi à Godflesh pour la froideur ou à Neurosis. Bref, Maxmillion sort un premier disque très personnel intéressant tout en restant facilement assimilable après quelques écoutes attentives. --------------------------------------------------------------------------- This one is here: -------------http://www.holyterror.com/aversionline/index.html?/aversionline/reviews/ -------------------------------------------------------------------------------- Hailing from California, this trio (featuring members of 16) drops some unusual rhythmic sludge meets metalcore action with some sick vocal screams alongside burly detuned riffing that generally flows along at a slow to moderate pace. There are also some unexpectedly experimental guitar textures that come into play throughout, adding a bit more atmosphere to the groove laden riffing that dominates the disc. "Pure Black" is even based around slick clean guitars and spoken/sung vocals - a stark contrast to most of the other material. "Designed by the Vultures,â€� adds to the general formula some slight melody and a few passages that are more dissonant and even heavier than most of the other tracks, which definitely makes a strong impression. Most of the songs do tend to sound similar to one another, though. It's not too bothersome since the disc is relatively short, but I would like to hear them explore the direction of "Pure Black" a bit more, because I really think it would add a lot to their overall approach. I like the sound they've got going on here. I do think that the drumming should be a bit louder, though. The drums sound really good, and I can tell that the percussion is a bit more forceful than the volume is dictating, so if the guitars/bass weren't so seamlessly locked out in front and the percussion had more room to breathe I think the overall effect would be beneficial. The layout is all in black and white with some metallic silver ink printed on a matte booklet. It's simple but it looks pretty nice, thanks in part to a crisp, precise logo that contains a pentagram, two sickles, and a sword. There are also some diagrams of a skull and a spine, but the rest of the layout is either black space or faded blurs. Only one set of cryptic lyrics is included for some reason: My selfish vision, I've seen what shaped it, my television, nothing escapes it, did you make any progress? Did you make an excuse? My selfish vision, I've seen what shapes it, my television, Tender escapist… I’m not really sure what to make of that, but I do think that this is a promising release from a band that I doubt has reached their pinnacle just yet. -----

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