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M.A.C. OF MAD emerged in the mid-90s as a project by members of industrial legend Střední Evropa, Miloš Filař and Petr Trpák, who wanted to shift from industrial sounds to harder guitar-driven music. Their new name referenced the maximum allowable concentration of psychopaths in the band (the term maximum allowable concentration is used in criminal evaluations of drug possession).
Industrial percussion was gradually replaced by electronic pads, but mechanical precision remained. Heavy guitars joined, initially accompanied by samplers, dramatically transforming the band’s sound. At first, simple yet striking rhythms dominated, coupled with sharp guitar riffs and distorted vocals. After removing samplers, a period of massive guitar walls ensued. Before releasing their first full-length CD The One (2000), Dan Ger joined with a third guitar. At the time, the sound of M.A.C. OF MAD was difficult to describe: mechanically precise, uncompromising drums, two guitars tuned down to A, a third in standard tuning using a whammy pedal shifting two octaves higher, bass, and vocals oscillating between metal screams and maniacal mumbling. Their captivating stage performances featuring chainsaws, open flames, fire-breathing, piercing body parts including faces, and hanging from hooks earned the band notoriety among hardened audiences.



The band’s direction shifted deeper into extreme metal genres with the arrival of new singer Kazetor, formerly of grindcore legends Ahumado Granujo, whose unique vocal style was among the gems of the Czech scene. Another significant change followed the departure of founding drummer Miloš Filař, whose drums on the second album Badluck (2006) were replaced by a drum machine programmed by Petr Trpák, paradoxically adding a more human touch. Songs from this album were rarely performed live in their original form, as Narco Polo joined during recording, handling beats and introducing additional sampling dimensions, attracting fans from metal, electronic music, and techno circles. Guitar reduction was offset by explosive rhythmic creativity, leading to more complex soundscapes without sacrificing urgency and energy. The band gained international recognition, regularly performing in European clubs, often alongside their friends BBYB.

Another shift occurred with vocalist Chymus, whose unique alter ego further explored uncharted territory. Live drums briefly returned, although the pace continued to be set by samples and loops. After his departure, the trio Trpák/Dan Ger/NarcoPolo spent considerable time seeking a new vocalist until a temporary live replacement brought an unexpected addition—now an indispensable face of the band—the sweet Lolita with Satan in her throat, Jana von Habczak. Her charismatic performance, refined vocals, and captivating energy transformed the band’s musical identity, adding punk urgency to metal guitars, frenzied dance rhythms, and powerful samples.

Following the departure of the last founding member, Petr Trpák, the band continued unleashing their frantic blend as a trio for several years, playing on both small and large stages. Under one of these stages, they met the leader of Vanessa and former pioneer of the Czech electro scene, Daniel Rodný. After several joint performances, Rodný became a permanent member of M.A.C. OF MAD, and together, 17 years after the second album Badluck, they recorded the third studio album Keep Music Evil (6. 6. 6:00).