photo by Jon Wiederhorn

After years of looking up to thrash metal titans Metallica, San Francisco's second most popular thrash group, Machine Head, finally got the chance to open for Metallica on their lengthy Death Magnetic tour. It was, perhaps, the apex of the upward arc that's accompanied Machine Head's 2007 album The Blackening, but it wasn't the only highlight. Since they began touring for the disc, they've performed powerful headline shows, raised eyebrows at outdoor festivals, played direct support to Slipknot in Europe and partied their asses off wherever they went. But while Machine Head have made lots of new fans and friends, and experienced plenty of love onstage, behind the scenes the band has been on the edge of collapse. Click more to hear our podcast with frontman Robb Flynn, who explains what went wrong and what they're doing to fix the Machine. Read more...

photo by Jon Wiederhorn

When Metallica toured for their poorly received 2003 album St. Anger, the band only played two or three new songs. It was almost as if they were aware that the tunes weren't quite up to snuff and they'd be better off rocking the crowd with a set full of classics. They easily could have done the same with their Death Magnetic tour and swaggered away victorious. Instead, at the first of three sold-out New York area appearances, they played over 60 percent of the new album Death Magnetic and were rewarded with fist-in-the air sing-alongs from the crowd. Read more...

photo by Jon Wiederhorn

Last night we hauled ass out to The Nassau Coliseum, home of the New York Islanders, to catch the first of three New York-area shows by Metallica, Machine Head and The Sword. Unfortunately, we missed the Sword because we had to pick up our Metallica photo pass and once we had it we weren't allowed in the venue with our camera. But the upshot of having a photo pass is you get to be at the very front of the stage for three songs of each band's set, so, as much as we dig The Sword, the sacrifice was worth it. Click "more" to see a gallery of photos of Metallica and Machine Head. And check back later today for a full review of the show. Read more...

Last week, we debuted new live Machine Head videos for "Davidian" and "Aesthetics of Hate." Both are featured on the bonus DVD for the expanded edition of the band's last album, The Blackening. The disc also features a cover of Iron Maiden's "Hallowed Be Thy Name," which originally appeared on the tribute album, Maiden Heaven, which was included with a special edition of the British magazine Kerrang!. Click "more" to see a live video of the song. The clip was directed by Mike Sloat, who has filmed the band's clips for "Halo," "Now I Lay Thee Down" and "Aesthetics of Hate." Read more...

Here's a live clip for "Davidian," our second video premiere from Machine Head's bonus DVD, that comes with from the upcoming deluxe reissue of The Blackening, which comes out October 28. But first here's frontman Robert Flynn to talk about to Rock in Rio shows, where the clip was filmed. Take it away Robb.

Since I'm sitting here in New Zealand jet-lagged to all hell at 3:24 a.m., I am more than happy to talk about about the show we shot the vids at. The Rock In Rio show was really friggin' amazing for a few reasons. We had been doing dates with Metallica overseas, and this was the final show, so there was a little bit of a celebratory vibe in the air. The other thing is that this was the first time it had ever
been held in Portugal instead of Rio where it traditionally takes place. (click "more" to read more from Flynn and watch the video). Read more...

It seems an unlikely pairing -- Demon Hunter working with Machine Head to create art for the special edition of The Blackening. Here, Demon Hunter guitarist and designer Don Clark explains why it had to work.

First off, let me start off by talking about Machine Head -- in general.

I remember when my buddy Brandon Ebel first told me about the band's first album Burn My Eyes in 1994, shortly after its release. At the time, I was playing in hardcore bands and deep into that scene, but metal was also a huge part of my life. Fear Factory, Sepultura, Prong, Metallica (obviously), Pantera, Slayer ... the list goes on. So, when I heard Burn My Eyes ... I was obviously floored. I even remember the day I drove down to Tower Records (RIP) on Broadway Street in Sacramento to pick it up -- and the moment I popped it in the CD deck. It had that new American thrash sound that I loved, but it had something else -- "Davidian." To this day, I don't know if it gets better than that opening riff, following by the classic line "LET FREEDOM RING WITH A SHOTGUN BLAST!" I still get chills when I hear it. From that moment on, Machine Head were my metal band of choice, trumping all others. (click "more" to read the rest of Don Clark's homage to Machine Head and to see the art he and his brother Ryan created for the expanded edition of The Blackening. Read more...

Machine Head -- The Blackening (Roadrunner) The band's 2003 album, Through the Ashes of Empires, was a thrashy return to form following a couple discs of more commercially accessible stuff, but it's here that Machine Head finally put all the pieces together to create their heaviest, most inspired release to date. Half the songs are over nine minutes long, yet they never seem long-winded, progressing like movements in a symphony towards a dramatic and inevitably satisfying conclusion.

The Burning Season Onward Anthem (Eulogy) The second record by this Cincinnati, Ohio metalcore quintet features all the trademark elements of the genre -- brutal, lunging, riffs, soaring hooks, vocals that veer from agonized to melodic -- and they're each delivered with confidence and agility. Also, the guys aren't afraid to solo, which makes Onward Anthem more euphoric than many albums by other merchants of metalcore.

Clutch — From Beale Street to Oblivion (DRT) We jumped the gun on this last week before we realized the album was bumped. But our feelings are the same. Feel free to fast-forward if you've already read this: The latest album from Maryland's masters of groove and stomp, From Beale Street to Oblivion, is a celebration of bluesy decadence, garage bluster and stoner metal panache that sounds equally appropriate on the back on a Harley or in bed with a biker gal.

Madina Lake From Them, Through Us, To You (Roadrunner) Equal parts punk-pop and emo, these four Chicago dudes have experienced just enough heartbreak to write searing, tunes scarred with resentment, anger and sadness. It ain't exactly metal, but if Red Jumpsuit Apparatus or 30 Seconds to Mars appeals to your morbid curiosity, these guys might, too.