In a new interview with "Coffee With Ola", the YouTube program hosted by Ola Englund, the Swedish guitarist, record producer and owner of Solar guitars, Mille Petrozza of German/Finnish/French thrash metal veterans KREATOR spoke about the band's upcoming sixteenth studio album, "Krushers Of The World", which will arrive on January 16, 2026 via Nuclear Blast Records. The LP was recorded at Fascination Street Studios in Örebro, Sweden with producer Jens Bogren. Bogren previously helmed KREATOR's "Phantom Antichrist" (2012) and "Gods Of Violence" (2017) LPs. The "Krushers Of The World" cover artwork was created by Polish genius Zbigniew Bielak (GHOST).

Regarding his songwriting process, Mille said in part (as transcribed by BLABBERMOUTH.NET): "The thing is, it's like a puzzle. You start coming up with all these riffs that you think maybe it's a little bit above what I am able to play, but if I rehearse and if I get into practice, and if I get into the mindset, I might be able to do this at one point. Which is not when we go into the studio. But it might be when we play the first five shows of a tour. And then everything starts to flow."

Mille continued: "The lyrics, most of the time they're first. And there needs to be an idea. And when I have a lyrical idea… then I come up with the riffs. And the riffs, I don't wanna limit myself. I want them to be a little spectacular or something that not everybody can just play right away. But also harmonically, they need to be nice for my voice, for my mid-rangey kind of voice, in order to work in live situation… But in the end of the day, in my experience, it was always good to play a little bit above your abilities. But at some point, you, it makes you a better musician because you challenge yourself. It doesn't necessarily have to mean that, that there's the. The riffs have to be complicated at any cost. If they're cool and they're very easy to play, they make great songs also. So, I think you always have to find whatever's best for the song. And I think finding the riffs is only 10% or 15% of the whole composition. But it's very important, especially in metal."

After Englund noted that, for him personally, riffs constitute "90%" of the songwriting process, Petrozza clarified: "There's definitely exceptions to the rule. I don't know how METALLICA write their songs. But I think they also have the riffs first. So every band is different. So there's no formula — there's no certain formula that works for every band. And I think for my band or for my style of songwriting, it always worked quite well to have a lyrical theme or sometimes even just some chorus. I need to have something that people can sing along. I like it when people sing along. And I like it when you can remember the songs. I like catchy stuff. I'm not a 'prog' head. I love RUSH — don't get me wrong — and I love TOOL, early stuff, but I also like songwriting. And I think, for example, a band like TOOL and RUSH, they have this in between — they have great songs, but they have weird rhythms. And so it makes me, as a listener, it makes it enjoyable. But if it's just too [complicated] for the sake of it, it's not my taste."

On the topic of how the songs for "Krushers Of The World" came together, Mille said: "The way I write is I just record demos. I have a friend [Andy Posdziech] that has a great studio. He plays in a band called ANY GIVEN DAY. They're a really good band. And this time when I recorded the demos, the demos almost sounded like the album, because it was so detailed. The drums sounded great. And the way we recorded the riffs, the sonic quality of the demos was really good. So I enjoyed listening to the demos. I listened to the demos for a couple of months, really, before I even played it to anyone. That made me kind of figure out whether or not I enjoyed these songs. And I lived with it for half a year or so and then went to Jens's studio. I went there with the demos, and he would do a pre-production of the pre-production, like coming up with his ideas."

Mille added: "Everybody is different, but I think it can really help if you make a proper recording of a song that you have in mind with electronic drums and all digital stuff, but make it kind of how it's gonna sound in the end of the day and then figure out while you are — whatever — doing the dishes or just cleaning your apartment or whatever, and you listen to it in the background and if you enjoy it, it could be a good song. Like I said, it's just my way of doing things, but it helps me."

Mille previously spoke about the making of "Krushers Of The World" earlier this month in an interview with Sweden's "Rockpodden" podcast. He stated about the LP at the time: " I'm happy. I'm happy with the way it came out. It took me a while to write it, but I think we have a nice variety of interesting music and nice poetry and lyrics. Hopefully people appreciate it."

When the interviewer noted that "Krushers Of The World" sounds sonically "amazing", Mille responded: "Oh, thank you. Yeah, that's the band being very, very prepared. And the chemistry in the band, within the band is very positive. And also we worked with one of the best producers in the world, Jens. He really put his heart and soul into this production this time, and once we got into the studio, he got so involved in everything."

Mille confirmed that all of "Krushers Of The World" was recorded in Sweden. He said: "I think on 'Gods Of Violence', we went also to Örebro to record guitars, vocals and mix. And this time we did everything in [Jens's] studio because he has a nice setup now. He has a drum room, so it wasn't necessary to move studios for the drums. So, we were there for six weeks or seven weeks, and then he would go on a little vacation, and then he came back and took another three or four weeks to mix the album. [He did] really, really nice work this time."

Mille continued: "The way it's set up [at Fascination Street], you have everything under one roof. You have the mastering, the mixing, the recording, and then you have all these people working there all day. They're all metalheads. So it's almost like Disneyland for metalheads. We stayed there the whole time. We all had our rooms there. So it's very convenient, because you get up in the morning. Jens is already there. We start very early. And overall, it was a very, very focused experience, but also a very fun experience. We had a lot of laughs and really enjoyed the process of doing the album, and I think that really shows on the record. It sounds fresh."

Regarding how he and the rest of KREATOR manage to always come up with material that doesn't sound like a rehash of what they have done in the past, Mille said: "What a lot of bands tend to forget is once it turns into a routine and you just record albums in order to go back on tour or to stay relevant or other reasons, it's not natural. You have to question yourself all the time. You have to be very self-critical with your own art. You have to live with the music for a while."

Mille continued: "This time I went into pre-production on a very early stage. I did pre-production for over a year, and I wrote the songs for another year. I mean, I started writing in '22 and up to '25. And it was a process where I had time to have — me and my friend Andy from the band ANY GIVEN DAY, we would do demos that have a great quality already that people, if they would've listened to the demos, they would've already had heard a very good production. So the demos were very nice to listen to and gave me the opportunity to live with the songs for a while and rewrite stuff that I thought was weak or add stuff when I thought there was something missing. And that process really gave the album time to grow. And when I played it to the band, for me it was already old, but I was confident that these songs are great. And then the band came with their ideas and then Jens came with his ideas. So it's a very, very nice pot-pourri of creativity and passion for the music. And everybody involved gave their 150 percent."

Asked how open he is to new ideas, particularly from an outsider like Jens, Mille said: "It depends. Sometimes [Jens] makes suggestions and they're great. Sometimes we don't like his suggestions. Everything we question is for the better. Nobody that's involved wants the songs to suffer or push their ego. Like, 'This is my idea, so it needs to be on the song.' That sometimes can be a problem with producers or musicians that are thinking, 'Oh, no. I need to put this song part in there. Otherwise the song is not good.' And we were very open. And we discussed a lot. We talked a lot. And this is the third album that we did with Jens, so we kind of know each other well enough to know how we can actually take criticism or joke around if an idea's not good. So we don't get butthurt about things where we will go, like, 'Yeah, but I want my idea there.'"

Asked if he is "a hundred percent sure" that there will be another KREATOR album after "Krushers Of The World", Mille said: "Yeah. I think yes. But it's a nice trick. We could also do like this whole, 'Okay, it might be our last album.' THE CURE's done it for many years, and now I think MEGADETH is putting out their last album. It's a nice — how do I put this? — if they really feel that way, then it's cool.

"I think that I have at least five more albums in me," Mille explained. "I mean, the end is coming eventually. The physical body will disappear. Seriously, I don't really think in these categories. I think once you get on this journey, it ends when it ends. But I wouldn't be surprised if there's even more than five albums in me still, if I live long enough. Now that I'm getting to a certain age, of course, it's not like when you're 20 years old, you're, like, 'I have, a hundred percent, five more albums in me.' But I do — I think I do. But let's see — let's see what the future brings. You never know. But I'm open for whatever happens. But we'll see."

Petrozza added: "Those cryptic thoughts never come to me. I always think that, and also I think on 'Krushers Of The World', you can hear that I think music can be empowering and should be joyful. And this album, even though it has dark stuff on it, and it has like very heavy stuff on it, but it's a very positive energy that we're spreading."

KREATOR has released two singles so far from "Krushers Of The World": "Seven Serpents" and "Tränenpalast". The latter track is an homage to horror maestro Dario Argento's 1977 cult film "Suspiria", which is hailed by fans as one of the most defining genre entries of its era. While the lead melody references the film's original score by Italian prog band GOBLIN, lending it a melodic death metal touch, the lyrics mention "the three mothers," an ancient witch coven from the "Suspiria" universe. In addition, the music video created by acclaimed masters of the macabre Grupa 13 features KREATOR performing in the film's haunted ballet school setting complemented by disturbing images of said witches in various stages of transformation.

"Tränenpalast" features vocal coach Britta Görtz of extreme metal band HIRAES on guest vocals.

When "Tränenpalast" was made available in late October, Mille commented: "'Tränenpalast' is our tribute to the great tradition of Italian cinema. We drew inspiration from Dario Argento's classic 'Suspiria' and Luca Guadagnino's epic masterpiece remake. Musically, we bow to the great GOBLIN, in direct conversation with maestro Claudio Simonetti. We hope you enjoy the song as much as we do. Only love to the greats! Hail to the Hordes!"

KREATOR will promote "Krushers Of The World" with a monumental European tour across 20 countries, joining forces with fellow metal powerhouses CARCASS, EXODUS and NAILS. The trek will kick off on March 20, 2026 in Lisbon, Portugal, at MEO Arena and wrap up on April 25, 2026 in Copenhagen, Denmark, at Poolen. Highlights include shows in London, Manchester, Glasgow, Paris, Milan, Berlin, Stockholm, and more.

Petrozza commented: "We are beyond excited to kick off the new year with the release of our brand-new album 'Krushers Of The World', dropping January 16. But that's not all! On March 20, we're hitting the road to bring you our biggest tour production ever. This will be a night of unrelenting metal mayhem, featuring our brothers-in-arms CARCASS, EXODUS and the mighty NAILS. This marks an exciting new chapter for the band, and we can't wait for you to experience the new music live, plus a selection of classic KREATOR, old and new. Hail to the hordes! \m/."

"Krushers Of The World" track listing:

01. Seven Serpents
02. Satanic Anarchy
03. Krushers Of The World
04. Tränenpalast
05. Barbarian
06. Blood Of Our Blood
07. Combatants
08. Psychotic Imperator
09. Deathscream
10. Loyal To The Grave

The "Krushers Of The World" cover sees Zbigniew Bielak, renowned for his work for GHOST, art and design, offer an interesting twist to KREATOR's history. Transforming classic visual trademarks dedicated fans will recognize from "Coma Of Souls" (1990),"Out Of The Dark... Into The Light" (1988) and "Pleasure To Kill" (the font!) into a highly detailed tapestry garnered with occult symbolism, Bielak crafted an outstanding piece paying homage to a band he loves since his teenager days yet with a daring and unique flair. The cover of "Krushers Of The World" rewards everyone willing to analyze the grandiose sleeve design.

KREATOR's upcoming effort will be the follow-up to 2022's "Hate Über Alles", which was recorded at Hansa Tonstudio in Berlin, Germany. Helming the sessions for that LP was Arthur Rizk, who has previously worked with CAVALERA CONSPIRACY, CODE ORANGE, POWER TRIP and SOULFLY, among others.

"Hate Über Alles" marked KREATOR's first album with bassist Frédéric Leclercq, who joined the group in 2019.

The official KREATOR documentary, "Hate & Hope", was shown on July 2 at the 42nd Munich International Film Festival and received a theatrical premiere on September 4. The 110-minute film was directed by Cordula Kablitz-Post.

Mille's official German-language autobiography, which he wrote with journalist, author and presenter Torsten Groß, "Your Heaven, My Hell - Mein Leben, Heavy Metal Und Wie Das Alles Passieren Konnte", was published on August 28 via Ullstein Verlag.

To mark the album’s 20th anniversary in 2026, Reaper Entertainment will release the cult classic
The Beauty And The Beer already on December 5, 2025 as a strictly limited vinyl edition and CD edition.

The album remains one of the absolute highlights in Tankard’s long career, featuring timeless
anthems such as “Ice-Olation”, “We Still Drink The Old Ways”, “The Beauty and the Beast”, and the legendary “Frankfurt: We Need More Beer”. A must-have for every fan of the “Kings of Beer”.



As with the successful re-releases of Kings Of Beer and Disco Destroyer, this edition comes with a newly reworked cover by Kai Brockschmidt. For collectors, the original artwork is also included – pure nostalgia guaranteed.

The album has been carefully remastered by Alexander Ecker at Pearlsound Studio, bringing Tankard’s thrash cult sound back to life in a powerful and contemporary way.

On November 16, during the "KISS Kruise: Land-Locked In Vegas" event held at Las Vegas' Virgin Hotels resort and casino, longtime band manager Doc McGhee took part in a question-and-answer session with attendees. A few excerpts appear below (as transcribed by BLABBERMOUTH.NET):

On whether he'd ever write a tell-all book:

Doc: "I've wrestled with the idea of a book for a long time. Everybody wants to hear the stories — the dirt, and the things that have happened over my 50-year career. As I started to write the book – and I've been doing it for years — it dawned on me that I don't really have the right to do that. I'm like Dad, and I shouldn't talk about my kids. This was between all of us, so that's why I probably won't write a book."

On Gene Simmons and Paul Stanley being perfectionists:

Doc: "They're very hands-on before the show, after the show. We sit and critique the show after the show every night. It's probably one of the very few bands that I've ever managed that was actually coherent enough after a show to sit down and talk about it, but actually wanted to sit down and go through pyro, video — we'd always have playback brought in of that show, so when we talked about something, we could play it back and see how we were going to change it."

On KISS being honored by the Kennedy Center:

Doc: "Very, very few artists have ever received this award, especially in the rock field. Usually rock bands are not talked about at [this level] — I mean, [LED] ZEPPELIN got it, but there's only been a few [rock] artists that have received it. To get that honor is amazing… Some artists say they won't play it because of the political landscape. To me, music is supposed to bring people together… Some artists are doing it even though they're not with this regime. Two of them said, 'It doesn't matter — it's not about politics. It's about music.'"

On the forthcoming feature film about KISS, "Shout It Out Loud":

Doc: "It's crazy, because [Simmons and Stanley] were probably the two most unlikely people in the world to become rock stars when you look at it. You have Chaim Witz and Stanley Rosen. One was a cab driver that had one ear and couldn't hear and was kind of made fun of, and the other one came from Israel and didn't speak English until he was nine years old, lived in a Hungarian neighborhood and learned English watching television… It's the story of the guys from inception — before the zeroes [on their paychecks], when it was fun — and the struggle to get to 'Alive!'... It's the American dream. Everybody says, 'You can be whatever you want to be.' That's fuckin' great to say, but here's an example — especially with Gene and Paul, who absolutely would have been the last people to be picked to become what they are today."

On the late Ace Frehley:

Doc: "I think Ace would have been a rock star no matter what. The guy was just crazy… Whether you liked Ace or not as far as a person or think he's a great guitar player, he's probably one of three or four guitar players in the world that actually influenced kids to pick up a guitar. You can [count] the other ones on one hand. [There were plenty of other] great guitar players, but not kids who said, 'That's what I want to be.'"

On how KISS came to enjoy cruises, and the future of the KISS Kruise:

Doc: "These guys, when they got the first cruise, they didn't want to get onto the boat. The guys left after two days. When they were off, they went, 'Wow, we really sucked. What was that?' Then they stayed on the boat [the next year], and they started to understand fans, truly. They got closer and more involved every year. They got more approachable. They told funny stories, and you actually saw a different side of Gene and Paul and the band. That made them more connected to [fans]... We're going to watch surveys and talk to everybody and see what's available for boats. Maybe it's a European thing [next time]. We don't know yet. We've never done a European one…That's something we're looking at, but there will be one every year. That's what we hope for, and we want to find the right spots."

On KISS's return to the stage in Las Vegas:

Doc: "These guys haven't played in two years. What have they been doing for two years? Über-dad. They love their families so much, but you just turn into… you're going to Home Depot. You've been a rock star for 50 years, and you're at Home Depot with an orchid. They would have come here a week early. They were really excited… I thought [the concert] was phenomenal. All the shit worked! The timing of the lights and everything else was so much better [than expected]. We spent two months trying to get it right on [the final leg of] the 'End Of The Road' tour. It was torture every day trying to get everything synced, and somehow, all the stars were aligned last night. I thought they sang well. I thought it was a little slow to begin with, and then they kind of got their [sea] legs and started to roll. It was just them playing — it wasn't that setlist of perfection that we have to do every day. They were looser. I thought it was one of the better shows I've seen."

On the forthcoming KISS avatar show:

Doc: "We didn't want KISS to fade away. Nobody knew how to do it, until I saw 'ABBA Voyage' in London. Then I went right to the company that did it [Pophouse], and I said, 'Wow, this would be an opportunity for us to take KISS into the future.' Gene and Paul, everybody gets older. Nobody wants to see [past-his-prime NFL legend] Joe Namath go out there and throw the football. They wanted to go out on top and be the best that they could be before they couldn't do it… With this, we have the ability to now introduce new generations, new songs, new elements of a new KISS. The [forthcoming full-length band] documentary is, like, the first 50 years of KISS. Then we have our next 50 years that we're about to do. I think that's the exciting part for me."

On the volatility of KISS's original lineup:

Doc: "They didn't play together for 17 years… If you have a glass of milk that's sour and put it in the refrigerator for 17 years and expect it to taste any better, I'm not sure that's what's going to happen. But they really hung in there for a while [after reuniting] before their emotions got to them and all the old feelings came out. It's sad when that happens, but that's life. It's like a marriage or a relationship. Seventy percent of all marriages fail, so why wouldn't a rock band fail? They're with each other every day of their lives, and they all have different cheerleaders in their families and friends, and 'I'm more important than him,' and 'This guy's getting more than I'm getting'... You're getting all these things that interfere, and sometimes people can't get past those things. They can't let things go, and that past kills the future. History repeats itself — it was about six years before they started to fall apart to begin with, and when I put them back together again, it was six years when we started falling apart again… That whole concept of, 'You have to stay together'? We wanted everybody to come and play this [event]. I talked to all of them and couldn't get it done. It's just, shit happens, and there's not much you can do about it."

On his first impressions of MÖTLEY CRÜE, and the lesson he learned from his years of managing them:

Doc: "They were so bad. When I went to see them in 1982, I thought I was being punked. I walked in there and they were rolling around on the floor blowing shit up and lighting themselves on fire, and I went to myself, 'What the fuck is this? This is terrible.' Then I looked around and saw 3,000 kids going ape-shit. [They] tore down every poster, bought every piece of merchandise. Then I realized that I didn't know a fuckin' thing about music. Since then, I don't watch the bands – I watch the audience, because if the audience doesn't like them, it doesn't matter what I like. Who cares what I like? I'm a masses guy. I happen to like KISS and I happen to like the music of KISS, but it doesn't matter. That's not the key. The key is, how do I continue to make you guys like KISS, and your kids, and how can I keep the connection that you guys have with this brand?... We try to do stuff like this [KISS Kruise] and take photos and do whatever you can to help the people that are here. When somebody says, 'You helped me get through this' [pauses]... I get choked up, sorry… that is such an emotional connection."

McGhee managed BON JOVI from 1984 through 1991, an era when they achieved their biggest commercial successes with "Slippery When Wet" and "New Jersey". He also managed MÖTLEY CRÜE throughout the 1980s and helped to create the Moscow Music Peace Festival in 1989, which was attended by 100,000 people and broadcast in 59 countries.

In 1995, McGhee began managing KISS by overseeing the band's subsequent reunion with Ace Frehley and Peter Criss, which would yield the top-grossing tour of 1996. 2025 marks his 30th year as the group's manager.

Image credit: X5 Podcast

GREAT WHITE guitarist Mark Kendall has revealed that he is battling stage four kidney cancer.

On Saturday (November 22),the 68-year-old musician, who formed GREAT WHITE in 1977 under the band's original name of DANTE FOX, took to his Facebook page to write: "Hello Friends! Just wanted everyone to know I was diagnosed with Stage 4 kidney cancer a few months ago. I wanted to wait to go public until I knew a little more about it.

"Just to give you an update the tumor has shrunk from 13 centimeters to 8, so I'm going in the right direction with my first scan.

"There isn't a cure for cancer but what I have is manageable.

"I have the best doctors in the world and one of them invented immunotherapy which is the treatment I'm on.

"I only had to do 3 radiation treatments which is a good thing! To be clear, I don't need any financial help but I'll take prayers & encouragement!

"I'm gonna fight this thing and be okay. People in my support group were diagnosed with my exact issue up to 20 yrs ago, so that is encouraging!

"Blessings All!"

Born into a musically gifted family, Kendall grew up in Huntington Beach, California. His father played jazz trumpet; his mother sang her heart out to jazz tunes before adoring audiences. His grandfather, too, was a virtuoso on the piano. Citing Jimi Hendrix, CREAM and THE DOORS as early influences, Kendall's passion and natural abilities got him hooked on guitar.

"The thing I love about the guitar is it's an instrument that allows me to express myself in how I'm feeling at any given time," Kendall said. "All the musicians that made me want to play guitar, played straight from their heart with a lot of feeling in their playing. They pour their very soul into every note. My feeling is no matter what instrument you play, do it with passion and feeling. When music is delivered in that way it creates emotions, which can even make a person cry at times. That to me is real music with a human feel that no machine could ever duplicate."

Kendall's band DANTE FOX had two singers before settling with Jack Russell. The band's 1982 performance at the Whisky A Go Go in Hollywood caught the eye of record executive Alan Niven. Niven suggested the band change it's name to reflect upon the striking color of Kendall's blonde hair — GREAT WHITE.

Since 1982, the GREAT WHITE sound has captivated audiences worldwide with crushing blues-based guitar riffs and swagger that invokes an emotional high for anyone that listens. The band's core writing team of Kendall and Michael Lardie (keys, guitar) forged numerous hits over the years, and when Audie Desbrow joined in '85, the grooves hooked an amazing stride.

Best known for their Grammy-nominated "Best Hard Rock Performance" hit, the gold selling "Once Bitten, Twice Shy", GREAT WHITE has sold over 10 million albums worldwide, has six Top 100 Billboard hits, nine Top 200 Billboard albums, two multi-platinum albums, five gold records and clocked the top of MTV video four times.

Mark has been married for more than two decades years to his wife Bridget and has four children: Jonathan, Taylor, Shane and Ashley.

Hello Friends!

Just wanted everyone to know I was diagnosed with Stage 4 kidney cancer a few months ago. I wanted to...

Posted by Mark Kendall on Saturday, November 22, 2025

In a new interview with 2LaneLife, former GUNS N' ROSES guitarist Gilby Clarke was asked what he is most proud of as a musician. He responded (as transcribed by BLABBERMOUTH.NET): "Wow. Most proud of — that's an interesting question… When I first started… When GN'R was over, the band was gonna take a break for years, and at that point I had only been in the band for about three years and stuff. So those guys could have retired, not worked. I was, like, 'Oh, I've still gotta work a little bit.' So that's when I kind of started my solo career. I go, 'Well, I'm still in the band, but I have all these songs that I wanna do,' and stuff, and I started that. And one of my first tours I did was in South America. When GN'R played in South America, we played multiple nights of, like, 80,000 people a night. It's like Beatlemania — you can't walk out of the hotel. There's thousands of kids outside your hotel and stuff. So a year after that, I went down with my solo band and we opened for AEROSMITH. But. in all reality, the people were really there for me. Because just coming off the whole GN'R thing, we had a thousand kids outside the hotel that all had, like, 'Gilby' this and 'Gilby' that and stuff, and no AEROSMITH stuff at all. It was crazy. It was just one of those things that just doesn't happen. It was just a period in time that just happened. So, to me, that was a great moment. Like I said, playing with AEROSMITH and that was just as big as it gets… And still, to this day, when I go down there, even my shows, they're big shows and everything and the people still come out. And it's been 30 years, and they're still dedicated."

When one of the interviewers noted that Clarke must feel good about having the kind of career longevity that still allows him to tour South America and play in front of good-sized crowds, Gilby concurred. "In everybody's life, it's hills and valleys," he said. "You have some good years. I've had some bad years, but my wife's [business] was doing well. You've just gotta ride it out. And I think, to me, if you're authentic in what you do — people will buy hype and they will buy the new next big thing and stuff. But longevity — you've gotta stay authentic and you've gotta have that base of fans."

The now-63-year-old Clarke replaced Izzy Stradlin in the GUNS lineup in 1991, during the "Use Your Illusion" tour, and stayed with the band for three years. After exiting GUNS N' ROSES, Clarke continued as a producer and solo artist, while also playing in SLASH'S SNAKEPIT, ROCK STAR SUPERNOVA, HEART and other acts.

Clarke, along with fellow GUNS N' ROSES members Slash, Duff McKagan, Steven Adler and Matt Sorum, played three "Appetite For Destruction" songs with Myles Kennedy at the band's Rock And Roll Hall Of Fame induction ceremony in April 2012 in Cleveland, Ohio, although Gilby himself was not inducted as part of the group. Kennedy, who handles lead vocals in Slash's solo band and ALTER BRIDGE, sang "Mr. Brownstone", "Sweet Child O' Mine" and "Paradise City", with "Use Your Illusion"-era member Sorum sitting behind the drum kit on "Brownstone" and the man he replaced in GN'R, Adler, pounding the skins for the other two songs.

In 2021, Clarke addressed his non-participation in GUNS N' ROSES' reunion tour, which features three-fifths of the group's classic lineup — singer Axl Rose, Slash and McKagan — during an interview with "The SDR Show". He said: "They didn't ask me to join the band; they asked me to come out and do [a guest appearance] with the band. And it just happened to be the day that I was in Chicago with my daughter. Her band was playing Lollapalooza [in July 2016]. And I'm actually her roadie. I don't think anybody would know how to tune the guitar if I wasn't there. Just kidding. But, yeah, it was just bad timing. I just said, 'Look, I think it's a great idea. I'm up for it. I just can't do it today.' And they literally asked me that day. And I never heard back from them after I said that."

Gilby also confirmed that he only had a week to learn the entire GUNS catalog when he first joined the band three decades ago. "That's true," he said. "They told me on a Monday, that 'You have the gig,' and the next week we were flying to Boston for our first show. And I literally had a week. And remember, this is before YouTube. I was glued to their records with the headphones on, trying to learn the catalog. And the last song I learned was a song called 'Estranged', which was a really long ballad piece. And if you listen to it, it's kind of one-dimensional guitar-wise — it really just features Slash. So I was listening to it, and I really couldn't figure out what I should do in that song. So I went to Dizzy [Reed, GUNS keyboardist]. I go, 'Hey, man, can you sit down with me, and let's work on 'Estranged'.' I go, 'I just wanna kind of figure it out.' And he goes, 'Oh, well, here's the music book.' And he handed me the music book. And I went, 'There's a music book? I just spent a week learning every note by ear when I could have just grabbed the freakin' music book…' I mean, I read charts — it would have taken me an hour. I was a little pissed off that I didn't ask. They could have offered it to me."

Clarke's latest solo album, "The Gospel Truth", was released in April 2021 via Golden Robot Records.

Gilby released his solo debut, "Pawnshop Guitars", in 1994.

In November 2023, Clarke underwent surgery for carpal tunnel syndrome, a repetitive stress condition that happens when a person does repeated movements with the hand and wrist.

Earlier today (Tuesday, November 25),London's St. Pancras International train station — an iconic landmark and the gateway to highspeed travel across the United Kingdom and continental Europe — played host to British rock legends THE DARKNESS who delivered an impromptu live performance at the station in a week of landmark announcements for the band.

Performing in homage to the 20th anniversary of their smash hit second album "One Way Ticket To Hell… And Back", which featured an iconic stream train on its front cover, the band were also celebrating the announcement of their largest headline tour in 20 years, which takes place across U.K. arenas in December 2026.

The Hawkins brothers, Justin and Dan, performed songs including their festive smash hit "Christmas Time (Don't Let The Bells End)", a take on Cliff Richard's "Mistletoe And Wine" and further DARKNESS hits and fan-favorites, including "I Believe In A Thing Called Love", "Givin' Up", "Friday Night" and more. THE DARKNESS frontman took to the St. Pancras piano to perform and sing, while Dan Hawkins accompanied on acoustic guitar.

The performance from the multi-platinum and award-winning rock band brought the power of rock and festive merriment to the surprise and wonder of onlookers this lunchtime at St. Pancras Station who were in full voice for the occasion.

The performance follows in the footsteps of Grammy Award winners Alicia Keys and Norah Jones, Jeff Goldblum, and dynamic duo Rod Stewart and Jools Holland who performed at St. Pancras International. Other world-class performers to have graced the famous St. Pancras pianos include internationally acclaimed music giants Elton John and John Legend.

St. Pancras International has become renowned for regular performances from stars, talented members of the local area and even visitors from afar. The station's main Arcade, which is host to the pianos, has grown into a hub of cultural activity over the years, creating a strong sense of community and lively destination for exciting arts activations.

Regarding the performance, Justin says: "As Santa prepares to fly his reindeer-fueled sleigh of Slays across the night sky, thence to squeeze his tubby frame down the exhaust flues of the nation's central heating boilers, so we, THE DARKNESS, dust off our Christmas songs in readiness for a glut of celebration! And what better place to celebrate than Britain's favourite railway station?! As the commuters hurry by, mince pies crushed in their frozen palms, we are filled with joy to tickle the ivories of Christmas Warmth, and strum upon the Lute of Festive Light."

Peter Martin-Jones, head of marketing at London St. Pancras Highspeed, says: "St. Pancras International has become one of London's go-to spots for live music, and having THE DARKNESS bring such a festive performance to one of our iconic pianos perfectly captures that spirit. We are so pleased that Justin and Dan chose to pay us a visit in such an exciting week of announcements for the band."

St. Pancras International station is a unique Grade I listed building, offering a wealth of stylish and premium shops, bars and restaurants all under one iconic roof. The venue is a destination in its own right as well as a world-class station, known for its calendar of new and exciting arts and music experiences - there's always something new to discover.

London St. Pancras Highspeed owns and operates the U.K.'s only high-speed railway and the stations along the route — St. Pancras International, Stratford International, Ebbsfleet International and Ashford International.

London St. Pancras Highspeed are passionate about making journeys better, bringing people together and encouraging travel along our route that connects London to Kent and beyond into Europe.

During BLACK SABBATH drummer Bill Ward's November 2025 radio show as part of the LA Radio Sessions, which airs Sundays at 10 a.m. (Pacific Time) on 99.1 KLBP-FM in Long Beach and also online at KLBP.org, he played Jimi Hendrix's "All Along The Watchtower". Bill later talked about the drumming on that song and his thoughts on Mitch Mitchell, the English rock and jazz drummer best known for his work in the JIMI HENDRIX EXPERIENCE, for which Mitch was inducted into the Rock And Roll Hall Of Fame in 1992. Ward said (as transcribed by BLABBERMOUTH.NET):  "What can I say about Mitch? Well, I was privileged — underlined, that's underscore the word 'privileged' — I was privileged to meet Mitch not so far away ago. Both he and I had definitely gotten older. First of all, I thought that his playing on 'All Along The Watchtower' was so unique and so brilliant in terms of, he was playing rock, he was also playing jazz. He was playing everything that worked with Jimi Hendrix and Noel Redding [JIMI HENDRIX EXPERIENCE bassist]. So as from a drummer's point of view, to listen to his work — I was still quite young when I first heard 'All Along The Watchtower', so I was intrigued by the amount of work that he was putting into his drumming, his double-bass drum work, everything. And I think he was cutting edge, leading edge. He was going into places where I would've loved to have gone, but at that point I think I was only 15 years old. So I was dreaming to go there, and I hope I eventually became something of a shadow myself or something of a follower. He was one of the men that influenced me, among many other drummers. But Mitch was just out there and playing frantically with basically a 'I don't give a flying fuck' attitude, which I loved."

Bill continued: "I had the pleasure to meet [Mitch], and when I met him, the excitement and the level of excitement between us both, because Mitch had heard about me and I obviously knew about Mitch, so when we met, we couldn't stop talking to each other. And people would come in and interrupt us and we didn't hear them; we couldn't hear other people. We were so embraced in each other's conversations, and we talked and we talked for approximately one hour nonstop. We talked about everything — we went all the way back to the day and we came all the way forward to right now. We covered everything in between, and we talked about the ups and the downs, the tragedies. And it was one of the most intimate backstage conversations that I think I've ever had with anybody, and I've had a lot of backstage intimate conversations."

Ward added: "I was just so saddened when he passed away. But I saw him get up and play and I knew that he was on a road that had to be that way, and I knew that he was going back out. I also knew intuitively that he might not have been his best, but it's a force inside which says 'we have to go back out.' I have the same thing. I'm 77 years old, and I have that thing inside that says, 'We have to go as far as we can go.' And I can't stop that. I can't switch that off. There's nothing inside that can switch me off from not wanting to do more, write more, be more. And I saw that in Mitch, and I've seen that in a lot of other drumming friends of mine who simply couldn't say 'no', they simply couldn't retire to a place where they were not involved or they had to stay on the road. So I love the man."

The original lineup of BLACK SABBATH — Ward, singer Ozzy Osbourne, guitarist Tony Iommi and bassist Geezer Butler — played its final concert this past summer. Dubbed "Back To The Beginning", the charity show was held at Villa Park in Birmingham, United Kingdom on July 5.

"Accountable Beasts", Ward's first solo album in 18 years, was released in 2015 via iTunes. The CD featured Ward's drumming on seven of the album's nine tracks, as well as contributions from Bill's longtime collaborators Keith Lynch (guitar, keyboards),Paul Ill (bass) and Ronnie Ciago (drums),alongside drummer Walter Earl and an array of session singers, including Ward's daughter Emily.

Ward in May 2012 announced that he was declining to join his former SABBATH bandmates for its scheduled dates, as well as the recording of the new album, due to a contractual dispute. After SABBATH shot down producer Rick Rubin's suggestion to replace Ward with Ginger Baker (CREAM) ("I thought, 'Bloody hell?'" Iommi told Rolling Stone magazine. "I just couldn't see that.") for the LP recording sessions, Rick suggested RAGE AGAINST THE MACHINE drummer Brad Wilk.

Ozzy told The Pulse Of Radio during SABBATH's last tour that Ward was not in shape to participate. "Bill Ward has got the most physically demanding job of the lot of us, 'cause he's the timekeeper," he said. "I don't think personally he had the chops to pull it off, you know. The saddest thing is that he needed to own up to that, and we could have worked around it, whether we had a drummer on the side with him or something."

It was rumored that SABBATH wanted to bring a second drummer on the road to share duties with Ward, something that Iommi confirmed in 2017 during a question-and-answer session about SABBATH's "Ten Year War" box set.

On February 27, 2026, BMG will release "Get What You Deserve", the sixth studio album by German thrash metal veterans SODOM, as an extensive box set, remastered and newly mixed by former SODOM guitarist Andy Brings, who played on the original recording, including the remastered and remixed "Aber Bitte Mit Sahne" EP, plus the first concert with drummer Guido "Atomic Steif" Richter as a bonus double LP and a DVD with additional live shows. Alongside the original hotel room cover, the package also includes the censored version with the band photo and the originally planned artwork featuring a "Knarrenheinz" painting by cult artist Andreas Marschall.

Brings says: "There's nothing nice about this album — not the sound, not the lyrics. It wasn't supposed to be. It was meant to be completely unfriendly. The others were the polished ones."

SODOM bassist/vocalist Thomas "Angelripper" Such adds: "With Atomic Steif on drums, we became an unstoppable machine — in the studio and on stage.

"It breaks our hearts that he passed away far too soon on August 31, 2025, at only 57, and can't witness how songs like 'Jabba The Hutt', 'Sodomized' and 'Silence Is Consent' are being rediscovered and loved again. He was the German Dave Lombardo — an incredible drummer!"

"Get What You Deserve" was a 16-track chunk of fury with which SODOM defiantly stood against the musical zeitgeist of the early 1990s.

Brings says: "Back then every band suddenly wanted to be PANTERA or MACHINE HEAD. Incredibly clean, sterile, and technically perfect. We didn't. Couldn't, weren't, didn't want to!"

Angelripper adds: "With 'Get What You Deserve' we wanted to return to our roots — more VENOM, more MOTÖRHEAD. Andy's punk roots also came through stronger, which was right up my alley. Short songs, maximum impact, straight in your face — the way it should be!"

A few months earlier, SODOM had released the "Aber Bitte Mit Sahne" EP — partly to introduce their new drummer Atomic Steif, and partly to have fresh songs ready for the upcoming Christmas Metal Meetings tour at the end of 1993 with MOTÖRHEAD, KREATOR and ENTOMBED. The EP also served as a test run for what would become a fruitful collaboration with then-unknown producer Wolfgang Stach, who would go on to major success with GUANO APES, JUPITER JONES and BAP.

Thirty-two years later, this snarling beast is being unleashed on the metal community once again. A timeless punch to the gut — or, as Maik Weichert, guitarist and mastermind of German metalcore heroes HEAVEN SHALL BURN, puts it: "The best punk album of the nineties!"

The deluxe, expanded reissue of "Get What You Deserve" is available for pre-order now. The lead single, "Sodomized", was the first song written by the new lineup in 1993. The accompanying video, made from Brings's private footage of the Christmas Metal Meetings tour, features not only the band but also Lemmy Kilmister of MOTÖRHEAD and other legendary musicians.

Brings says: "I wanted to strip the album — which already had almost no additives and zero ballast — down to the absolute maximum. No samples, no tricks, just a very pissed-off band at the peak of its creative energy."

Angelripper adds: "Over 30 years ago, we went against the current with this album — and we're doing it again today. Nothing sounds like this record, and that makes me proud. 'Get What You Deserve' was, is, and will always be the sound of pure defiance. My personal favorite SODOM album!"

San Francisco Bay Area metallers DEATH ANGEL played a "dress rehearsal" show for their "Act III U.S. Tour 2025" Monday night (November 24) at the Affliction HQ in Seal Beach, California. The concert, which was hosted by SiriusXM's Jose Mangin, was a fundraiser for Mangin's Headbang For Science foundation. Fan-filmed video of the performance can be seen below.

"Act III U.S. Tour 2025" celebrates the 35th anniversary of DEATH ANGEL's "Act III" album and sees the band performing the LP in its entirety. The trek, which will feature support from VIO-LENCE (replacing originally announced support act TOXIC HOLOCAUST),LIONS AT THE GATE and MISFIRE, will kick off on November 26 at the Oriental Theater in Denver, Colorado and wrap with two Christmas shows on December 18-19 at The Fillmore in San Francisco, California.

In a 2020 interview with Now Hear This, Inc., DEATH ANGEL vocalist Mark Osegueda and guitarist Rob Cavestany described the making of their third album, 1990's "Act III". The LP was the band's first on major label Geffen, and featured more melodic and straightforward compositions compared to DEATH ANGEL's debut, "The Ultraviolence", and follow-up effort, "Frolic Through The Park". This rapid development was particularly noteworthy considering the members of DEATH ANGEL were much younger than some of their thrash metal contemporaries. Their time on a major label was short-lived — the band dissolved after a horrific 1991 bus crash that left then-drummer Andy Galeon seriously injured with a head injury and other damages that would require reconstructive surgery.

"We've pretty much sampled every possibility of what you can do right and what you can do wrong, especially what you can do wrong, but, luckily, we had a few moments of what you can do right, hence why we are still here and nominated for a Grammy," Rob said. "What you can do right is to work extremely hard. Every step of the way, we put our whole life into everything we were doing, even making a flyer for a show, just everything done as best and as hard as you can because you're that into it and you're proud of what you're trying to do and what you're going to put out there to people. And, that was emphasized along the way as we started to work with more professional-caliber people, better producers, better engineers, just dealing with people that showed you that how hard you thought you were working, that was a joke compared to how hard you really need to be working. We learned a lot. For instance, during our first two records, we thought we were working hard. We were writing our asses off, touring and playing as many shows as we possibly could. Again, we were young. We're still teenagers; we're not even 18 at this point in time. We don't really have the drive and any kind of life experience to know what we were supposed to do. We were doing it because we were so into it."

He continued: "One thing is, when we did sign to the major label and we went in to write and record our record 'Act III', it was a major lesson. We worked with a producer named Max Norman, and we were extremely excited to work with him being that he had produced two of our favorite records, 'Blizzard Of Ozz' and 'Diary Of A Madman' by Ozzy Osbourne, Ozzy's first two solo records, and the two albums that feature Randy Rhoads on guitar, who is an absolute hero of mine and everyone. He is very well respected and a big influence on many people, including us. We knew we had a chance to work with Max Norman on our record. That alone freaked us out because we realized we were about to work with this legendary guy. He and the label, they basically made us write. We were writing, I don't know, for six months straight or eight months nonstop. Easily. Maybe up to a year. We were used to, at this point, 'Okay, so the album will have ten songs. Here's ten songs. Let's go!' So, we wrote ten songs, had our demos, sent them to the label, sent them to the powers-that-be, then all of a sudden, we were told, 'Okay. That sounds pretty good. Let's hear some more.' We were like, 'Is that not enough?' They were like 'You guys are getting started.' We were like, 'All right.' We went back and wrote four more and gave them another four-song demo. We're like, 'Here's four more songs.' They're like, 'Okay. Getting warmer.' 'Getting warmer? What's wrong? What do you mean? That's more than enough.' They're like, 'You guys are just getting started.' Basically, we ended up writing 30 songs for that album. But, at the time, we were hating it. By that point, we were just, like, 'Screw all of you!' We were so pissed. We couldn't understand why we were being made to keep going back to the drawing board, searching, searching for what? 'Keep going!' Sure enough, at the end of the day, some of the better songs, I think, on that album, came in the fourth quarter of the writing."

"I guess we realized that the people that were telling us to do this, they knew what they were talking about," he added. "They were the pros. They were the label management, they were the management, they were the older people that had experience and just like your teachers in school or parents or whatever, you reluctantly give in, and say, 'Okay. I'll do my homework.' We were taking the word of the authority and going with it, and probably some slight sense of understanding of what they were talking about. We just didn't have the experience to push through it ourselves. We learned from it. We ended up making a really killer album and going through the experience. From that point on, that was major to me because I never needed that kind of whip-cracking again. After that, I realized, we realized, that's what you need to be working as hard as that."

According to Mark, "Act III" was "technically" the first album DEATH ANGEL "ever did pre-production on." He explained: "We never even heard what pre-production is. Once the songs were sorted out, then Max Norman flew up to San Francisco and started going through the songs with us and started weeding them out. We got to the ones that were going to be on the record, and we got down to those, then we started dissecting those songs. Then it became a whole other thing, re-arranging and dissecting: 'Maybe try this for four measures. Try this.' We always did want to be good songwriters, even though it's writing thrash metal. We still wanted to have good song structures. Max is one of the first people that really kind of roped our excitement in from being musicians and roped it into being palatable. Sometimes, you're a young musician, you're learning your instrument better and better. You want to flaunt that you've improved and that doesn't necessarily make for a better song because you're just flaunting, 'We can do this now!' I think we were a victim of that on our second record. When Max got involved for 'Act III', all of a sudden, our songwriting got a lot more structure and a lot more viable. It also left an impression on us, to a certain degree, there is a science to this. Don't get me wrong, it's the most soulful science in the world, but there is some science to it."

DEATH ANGEL was nominated for a Grammy Award for the title track of its latest studio album, "Humanicide". Released in May 2019 via Nuclear Blast, the disc saw DEATH ANGEL returning to producer and friend Jason Suecof (DEICIDE, TRIVIUM) of Audiohammer studios for the recording and mixing, along with the mastering of the legendary Ted Jensen (SLIPKNOT, PANTERA) of Sterling Sound, who added the final touches and brought it all to life, with artist Brent Elliott White (LAMB OF GOD, MEGADETH) providing the ominous cover artwork.

DEATH ANGEL has released two new singles in 2025, "Wrath (Bring Fire)" , which was first made available in May, and "Cult Of The Used", which came out earlier this month.

Reposted from Jose Mangin ~ I can’t believe that thrash legends Death Angel are doing a dress rehearsal of their album...

Posted by Death Angel on Thursday, October 30, 2025

EXTREME has released the official music video for the song "Here's To The Losers". The track is taken from the band's latest album, "Six", which was released in June 2023 via earMUSIC.

The "Here's To The Losers" clip completes the mission to create 12 visual interpretations of the songs from "Six". It is also a "thank you" gift to fans — just ahead of Thanksgiving celebrations in the U.S.

In the "Here's To The Losers" video, each member of EXTREME gives a nod to their respective high schools. The song is dedicated to those who have fallen but gotten up to try again.

EXTREME singer Gary Cherone explains: "It's as close to an anthem as we'll get. It just made sense to use this as the closing song on the album."

"Six" propelled EXTREME to new heights, driven by standout singles such as "Rise" — featuring a solo praised by the press as "the guitar solo of the century" — alongside "Banshee" and "Other Side Of The Rainbow", and supported by a globe-spanning tour across the U.S., Europe, India, Japan and Australia. Bettencourt also reaffirmed his stature as one of rock's most commanding players with a historic performance at Ozzy Osbourne's "Back To The Beginning" farewell concert. That milestone appearance led to his invitation to serve as music director and guitarist at the 2025 MTV VMAs, where he delivered a powerhouse tribute to Osbourne alongside Steven Tyler, Joe Perry and Yungblud.

"Six" landed at position No. 10 on Billboard's Top Album Sales chart with first-week sales of 12,500 copies. The set marked EXTREME's first studio album since 2008. The act was last in the Top 10 with "III Sides To Every Story", which debuted and peaked at No. 10 back in October 1992.

In 2023, Nuno told Tiago Ribeiro, that he was thrilled with how "Six" turned out. "I would put our album up against anybody's album; I feel that confident," Nuno said. "And I think the album itself — never mind me or EXTREME — if I heard that album and it wasn't us, I would think the same way I think about the album now. I think it belongs there. I think it's a well-made album. I think the songs are there. I think that the musicianship, the chemistry and the guitar playing. But I think, more importantly, what's really there and what people are connecting with is the mythology of rock and roll. I think that's really what's missing a lot in guitar-driven music, is that…

"I think when people saw a guitar player that's in a band with songs and arrangements and the videos and everything, it was almost like seeing something that… People are saying it's so fresh, but for us, it's, like, this is like going back for us," he explained. "This is more of a reminder than it is anything else that you can still be passionate and have fire and do all those things. And the people are letting us know that they're starved — they're starved for rock and roll like this, I think."

In September 2023, Nuno told American Musical Supply about the long delay in getting "Six" released: "The recording [of 'Six'], a lot of people are saying like, 'Man, [it took] 15 years,' obviously, minus a few of the handmaid's tale years, pandemic years. But the album itself probably, if you add it up, it took the same length as an album takes to record. It didn’t take 15 years to record the album. It's just that we probably had, like, three albums' worth of material. The guys kept coming out to L.A., and we would do a crop of songs, and we'd write another crop of songs or record another couple crop of songs."

Bettencourt went on to say that he and his EXTREME bandmates had "set a bar" for themselves. "You really have to be super proud and super excited to share your music with anybody, even if it's your brother or it's your family member or if it's Tom Morello that you happen to know," he explained. "Once you have that feeling of, 'Would you play these songs in front of your peers?', then you kind of know you got something there and you're ready to go."

EXTREME will hit the road in 2026 as the support act on tours by DEF LEPPARD and MÖTLEY CRÜE.

Photo credit: Jesse Lirola (courtesy of earMUSIC)

After four decades, 14 gold records, and having traversed 80 countries and numerous diverse cultures, SEPULTURA has transcended into one of the most influential metal bands of our time, serving as Brazil's emissary to the rest of the world.

SEPULTURA have just announced their biggest Irish headline show in the 3Arena on Sunday, August 9, 2026 as part of their "Celebrating Life Through Death" farewell tour. They will be joined on the night by very special guests BIOHAZARD, MALEVOLENCE, SACRED REICH and CRYPTA.

SEPULTURA comments: "Dublin! We couldn't think of a better place to play our final ever European show than your beautiful city and to be joined by our friends in BIOHAZARD, MALEVOLENCE, SACRED REICH and CRYPTA will make this an event not to be missed. See you next August!"

With their latest opus, "Quadra", an album that made a triumphant entry at No. 5 on the German chart and garnered over seventeen million streams on Spotify, the band originally hailing from Belo Horizonte has once again spread the colors and rhythms of Brazil worldwide. However, in late 2023, they announced their plan to unite their forces for one final, powerful farewell tour, bidding adieu to a 40-year existence.

For this final journey, SEPULTURA has enlisted the prodigious 23-year-old American virtuoso Greyson Nekrutman as their new drummer and together, this quartet has embarked on multiple tours across North America, Europe and Latin America, presenting a career-spanning set to their fans that honored the forty years of SEPULTURA. Yet their journey has not reached the final end yet and their farewell tour will see them celebrate their legacy on several continents until 2026.

To date, the band has unleashed fifteen studio albums upon the world, having sold over three million units in the United States and 20 million worldwide, thus earning multiple gold and platinum records in various corners of the globe, including France, Australia, Indonesia, Cyprus, and their home country. To this day, their magnum opus, "Roots", has been streamed a staggering 225 million times on Spotify.

In an interview with Jarek Szubrycht as part of "Mystic Talks" at this year's Mystic Festival in Gdańsk, Poland, SEPULTURA guitarist Andreas Kisser spoke about the band's plans to release new music with Nekrutman, who officially replaced SEPULTURA's longtime drummer Eloy Casagrande in February 2024. He said:  "We recorded four new songs with Greyson on drums. I don't think nobody knows that, but there we go. We have four new songs, and we have the intention, next year, to release an EP, just to celebrate this momentum. It's original songs that we worked [out]. It's already recorded and everything, and we're taking our time, really, to see where it's gonna be the good time to do it."

Regarding how the new SEPULTURA material came about, Andreas said: "It was very spontaneous. We had a situation that we played the 70000 Tons Of Metal [cruise in January 2025] and we stayed in Miami. 'We have this studio. We have a few ideas. Okay, let's do it.' [Laughs] And it was great. No pressure from labels, no due date. The songs [don't] even have [names] yet. [Laughs] But it's great… We did it in our time with no rush. There's no names [for the songs]. We can decide that later. We're still mixing the material — no rush. And it's great. Because of the farewell [tour] idea, we can do that as well, to plan something like that, or not plan something like that, plan as less that we can to really to challenge ourselves artistically to work something like that."

Asked if SEPULTURA's decision to embark on a two-and-a-half-year farewell tour was motivated in any way by his desire to explore other styles of music away from extreme metal, Andreas said:  "I never felt kind of locked in the SEPULTURA world to write [in a specific style]. We were always very fearless to do whatever we want. I mean, 'Nation' is a very different album, 'A-Lex', all those albums that were inspired by books and stuff. It is, I think, more of the routine of being in a band like SEPULTURA. 40 years — 40 years, man. Have you ever done something for 40 years, like your job? Think about it. [Laughs] It's an amazing achievement inside the entertainment business to have such a band for so long, and ups and downs, to have a following. Every time we were doing albums, we were playing, we had a deal with the record label, regardless of the formation, regardless of the time we were. We played for 10 people, then we were back to play big places and stuff. It's a beautiful history. It's a beautiful history of art and life. And I was kind of feeling to get in that mode of doing another album, doing another tour, it's kind of too predictable. I mean, an artist has to be not in the comfort zone. If you're there, you're fucked, because you're going to lose touch with reality. You're gonna start living in this bubble of what SEPULTURA should be. There's no 'should'. There's a new SEPULTURA every day. We can do anything we want, musically wise, because we conquered that. SEPULTURA is this. It is not thrash metal. It's not heavy metal. It's not dark metal. It's not Brazilian metal. It's SEPULTURA metal. That's why we have a name, right? [Laughs] Otherwise, why have a name? This is SEPULTURA. That's what we are — very free. We're not scared or to take risks. Art is risks. If you do something new, you're gonna take risks. There's no other way. And that's where you learn, with your mistakes or with your errors and your everything. But it's great to stop in a great momentum without fighting, without an external factor breaking up this band. It's our own terms. We chose that very peacefully, a conscious decision. We took two years talking about working out, preparing this, and now we enjoying ourselves. It's amazing. And why not? I mean, it's a privilege to have that, to have that possibility, to stop while we can or to stop in this momentum. And then the future is the future. Let's see. [Laughs]"

Kisser also once again spoke about what SEPULTURA's final concert might look like. He said: "The idea is to do it around October 2026 in São Paulo, Brazil. A big SEPUL-fest type of show, a party with bands that are important. And as a part of SEPULTURA's history, we like to invite every member that was a part of SEPULTURA, including the Cavalera brothers [Max and Igor], to be a part of the concert, to play, to jam. I mean, it's totally irrelevant to discuss the past, who is right, who is wrong. We're never gonna get to a point — we're gonna have two different views of it, and that's fine. This is irrelevant. Let's jam for the fans, to ourselves, to our families [who had] never seen us together. But not only them — Jairo [Guedz], Eloy Casagrande, Jean Patton and Roy Mayorga, musicians that were a part of SEPULTURA in very specific and important moments that kept SEPULTURA flowing and going regardless of our problems and our challenges that we had. So hopefully that will happen. They are gonna be invited. If you wanna be a part of this party, you are welcome. If not, that's fine."

SEPULTURA kicked off its farewell tour on March 1, 2024 at Arena Hall in Belo Horizonte, Brazil. The sold-out show marked the band's debut performance with Nekrutman, who previously played with SUICIDAL TENDENCIES.

SEPULTURA announced Casagrande's departure on February 27, 2024, explaining in a statement that he was leaving to join "another project", with Eloy later confirming that he was the new drummer of SLIPKNOT.

The news of Eloy's exit from SEPULTURA came just two months after the band announced it would celebrate its 40th anniversary in 2024 by embarking on a "farewell tour" which will cover the entire globe.

In SEPULTURA's statement, the remaining bandmembers expressed their shock over Casagrande's departure, saying they were "taken by surprise" that their now-former drummer would "abandon everything related to SEPULTURA" less than a month prior to the start of the tour.

SEPULTURA is putting together a live album commemorating its last run of shows. The band is recording 40 songs in 40 different cities for what will be a "massive compilation of our best, most energetic moments on stage," according to a statement released by SEPULTURA in December 2023.

SEPULTURA kicked off the North American leg of the massive "Celebrating Life Through Death" farewell tour on September 17, 2024 at the Concord Music Hall in Chicago, Illinois. The band played a career-spanning set that honored SEPULTURA's 40 years of existence. Joining SEPULTURA on this tour were Florida-based death metal veterans OBITUARY, iconic New York hardcore pioneers AGNOSTIC FRONT, and São Paulo, Brazil's death/thrash metallers CLAUSTROFOBIA.

Photo credit: Edu Defferrari

Sepulnation! Our final European show will take place at 3Arena Dublin 🇮🇪 on 9 August 2026.
We will be joined by our...

Posted by Sepultura on Tuesday, November 25, 2025

Joe Elliott paid tribute to David Coverdale on the DEF LEPPARD singer's Planet Rock show on Saturday (November 22),just days after the WHITESNAKE leader announced he was retiring from performing.

Commenting on his friend's decision to call it a day, Joe said: "Okay, so hands up if, like me just a few days ago, you had a little bit of a tear in your eye when you saw Lord Coverdale make his retirement announcement.

Joe continued: "Now myself and David go back a long, long way — 1981, to be precise. DEF LEPPARD and WHITESNAKE toured together many, many times but I've known him since we [DEF LEPPARD] were recording [1981's] 'High 'N' Dry' [album] and he was recording the [WHITESNAKE] album 'Saints & Sinners'. He would allow me to pop into his studio and watch him sing and nurse me off the ledge when I was really struggling to do stuff with [DEF LEPPARD's longtime producer] Mutt Lange. He was such a great guy and very generous with his brandy, let's put it that way."

Elliott added: "I was very sad to see [David's retirement] announcement but [it was] kind of expected, really. He'd done it. He's been there and he's done that and he deserves to spend some time with his family and just not worry about it anymore.

"So, I'd like to celebrate my memories of David with this one song, which is where I came in, and it's quite honestly one of the most emotional things that he ever did. So, on behalf of the world, David, if you're listening, happy retirement."

Joe then played WHITESNAKE's classic 1978 cover of "Ain't No Love In The Heart Of The City", a 1974 R&B song written by Michael Price and Dan Walsh, and first recorded by Bobby "Blue" Bland for his "Dreamer" album. WHITESNAKE's version was included on the band's 1978 debut EP "Snakebite" and again as a live recording on 1980's "Live...In The Heart Of The City".

On November 13, the 74-year-old David said in a video message before a remake of WHITESNAKE's 2011 song "Fare Thee Well": "Ladies and gentlemen, boys and girls, brothers and sisters of the 'SNAKE, a special announcement for you.

"The last few years has been very evident to me that it's time really for me to hang up my rock and roll platform shoes and my skin-tight jeans. And as you can see, we've taken care of the lion's wig. But it's time for me to call it a day."

Coverdale expressed his gratitude to his loved ones and fans, who have supported him as the frontman for both WHITESNAKE and DEEP PURPLE, but said it was time for him to enjoy his retirement.

"I love you dearly. I thank everyone who's assisted and supported me on this incredible journey. All the musicians, the crew, the fans, the family. It's amazing."

Coverdale raised a glass as he delivered his parting message, "Fare thee well," referencing WHITESNAKE's song of the same name.

On June 28, 2022, WHITESNAKE scrapped three shows on its spring/summer European tour due to Coverdale's infection of the sinus and trachea. Three days later, the rest of the trek was also called off. At the time, David blamed the decision on "continuing health challenges, doctor's orders, and our concern for everyone's health and safety."

In April 2023, Coverdale told "Rock Of Nations With Dave Kinchen And Shane McEachern" regarding the possibility of WHITESNAKE resuming its farewell tour in 2024: "It's not really a professional decision. It's literally a health decision.

"[In 2022] it took me seven months to get rid of a sinus infection that went so deep into my body… And then we discovered a secondary one, which is why I had to cancel the U.S. tour," he explained. "So all of that appalling antibiotics I had for three months, all the damage it did to my system, was a waste of time because this other infection was canceling it out. So I had to go on to heavier medications and steroids, and at the same time ignoring a torn rotator cuff.

"When I was onstage with Steve Vai at Hellfest [in France in June 2022], which turned out to be the last WHITESNAKE show — hopefully not the last WHITESNAKE show [ever] — underneath my shirt, my shoulder was taped up like I was going into the arena to face another gladiator," Coverdale revealed. "And you couldn't really tell. And thank God I could still fling the mic stand around. But as soon as I got signed off back in January, the infection had gone, I realized that we had to sort out the shoulder, 'cause that had been of secondary importance — minor compared to this, 'Am I ever gonna be able to sing again?' That's a big deal. It's something you wake up and almost take for granted.

"So, I'm getting a lot of approaches [regarding Las] Vegas residencies. I'm not quite sure about that. I feel I owe Japan. I feel I owe the U.S. I feel I owe South America. 'Cause I've been pretty successful for 50 years, and you can't buy that. It's people who've supported you to be in this position. It was a personal choice. I didn't wanna do a video going, 'Ladies and gentlemen, boys and girls, brothers and sisters of the 'SNAKE, thank you for 50 years. I'm done.' I wanted to be there.

"I wanted to retire in 2020," David added. "I thought the appropriate age for the singer of WHITESNAKE to step down was 69. But, of course, bloody COVID came [and ruined those plans]."

Also in April 2023, Coverdale told Ultimate Classic Rock that the illness that forced him off the road in 2022 was "the worst sinus infection I've ever had in my life. And as a singer, I know them like fucking relatives of mine," Coverdale said. "This was one of the ugliest illnesses I think I've [ever] had. For seven months, I was taking ever-increasingly strong antibiotics and horrifying prednisone steroids."

WHITESNAKE launched its farewell tour on May 10, 2022 at Dublin, Ireland's 3Arena. The band's 14-song set, which was part of a European tour with special guests EUROPE and co-headliners FOREIGNER, marked WHITESNAKE's inaugural performance with the group's two latest two additions, keyboardist, guitarist and backing vocalist Dino Jelusick and bassist Tanya O'Callaghan.

Coverdale had both his knees replaced with titanium in 2017 after suffering from degenerative arthritis. He later explained that he was in so much pain with arthritis in his knees that it hampered his ability to perform live.

Prior to the pandemic, WHITESNAKE had been touring in support of its latest album, "Flesh & Blood", which was released in May 2019 via Frontiers Music Srl.

ONE MORE SATELLITE, the collaboration between STONE TEMPLE PILOTS guitarist Dean DeLeo and U.K.-based vocalist and lyricist Pete Shoulder, played its first-ever shows earlier this month. Joining DeLeo and Shoulder at the three California gigs were Julia Lage on bass and Brian Tichy on drums.

Fan-filmed video of the November 21 concert at the Constellation Room in Santa Ana, California can be seen below.

ONE MORE SATELLITE released its self-titled debut album digitally on July 18, 2025 via Symphonic. A worldwide release of the vinyl and CD followed in September through Deko Entertainment (ADA/Warner Music Group)

"One More Satellite" presents a diverse collection of songs. "I was simply sitting on some songs I wanted to record," says DeLeo. "What started out as an instrumental album, quickly changed soon after Pete and I chatted. He was going to sing on a song or two, then wound up singing on eight of the ten on the record."

The collaboration with Shoulder and DeLeo went quite well and voila, through a transatlantic workflow… ONE MORE SATELLITE was born.

"I was excited to hear the new music Dean wanted to collaborate on," says Shoulder. "We've worked together in the past and it's always been an absolute pleasure making music with him. The stuff he comes up with is so interesting, with so many beautiful, unexpected, twists and turns. It's very inspiring to write to and pushes me into realms that I would never usually think of exploring. I'm very proud of the album we've made."

DeLeo's son Rocco drums on "Drowning Out The Sun", "Willow Mae" and "Spit It Out". STONE TEMPLE PILOTS drummer Eric Kretz plays on "Serenade" and Brian Tichy drums the rest. Daughter June DeLeo lends a lovely "aaah"…vocal on "Your Call", and longtime collaborator Ryan Williams co-produced and mixed the album.

"One More Satellite" track listing:

01. Paper Over The Cracks
02. Vultures
03. Long Way Down
04. Drowning Out The Sun
05. Serenade
06. Can Of Worms
07. Willow Mae
08. Spit It Out
09. Pull Back The Veil
10. Your Call

DeLeo and Shoulder had previously collaborated on songwriting, including for the album "Lessons Learned" by Dean's younger brother — and STONE TEMPLE PILOTS bassist — Robert DeLeo. They've also worked together in the studio on projects, including a collaboration with STONE TEMPLE PILOTS and TRIP THE WITCH. Shoulder has also collaborated with Robert DeLeo on the aforementioned "Lessons Learned" LP and co-wrote songs for it, including "Love Is Not Made Of Gold".

In addition to his work with STONE TEMPLE PILOTS, Dean DeLeo is known for his role in the short-lived bands TALK SHOW and ARMY OF ANYONE, the latter of which featured Robert DeLeo, FILTER frontman Richard Patrick and session drummer Ray Luzier.

In a new interview with Fox 32 Chicago, MÖTLEY CRÜE drummer Tommy Lee spoke about the band's upcoming "The Return Of Carnival Of Sins" tour celebrating the 20th anniversary of CRÜE's groundbreaking 2005-2006 "Carnival Of Sins" tour and the 45th anniversary of the band. The 33-city Live Nation-produced trek will kick off on July 17, 2026 in Burgettstown, Pennsylvania at the Pavilion at Star Lake and will feature support acts EXTREME and TESLA. Asked what feels "the most different" to him about CRÜE's success and "what feels exactly the same", Tommy said (as transcribed by BLABBERMOUTH.NET): "Um, oh, boy. God, what a loaded question, dude. Well, first of all, the original 'Carnival Of Sins' tour was absolutely insane. The production was — it was a carnival, and it was insane. So we're bringing that back, because there's so many fans out there that never got to experience that. And I was just telling somebody else, my favorite thing in the whole world is that our music has transcended. And there's nothing cooler on the planet than seeing somebody out there and they got their son or their daughter on their shoulders, singing, 'Shout, Shout, Shout.' As a musician, I'm looking out there while I'm playing. I'm, like, 'Man, that kid's, like, nine years old. What the hell?' That just tells me that we're gonna be around for quite a long time."

Tommy added: "When you're starting out, you don't know what you're doing. You're just going at it. But when you start to see that kind of stuff, that's when it all goes, 'Whoa, whoa. What is happening?'"

Asked what keeps him excited creatively at this point of his career, Tommy said: "Creatively, what keeps me excited is… I'm kind of a tech nerd in the studio. There's so much new technology. It's kind of crazy, even for me, to keep up. I'm inspired daily. And I still pinch myself on a daily basis that we've been blessed to still be here and still entertain people and leave them walking out of the venue going, like, 'What the hell? That was insane.' So I'm inspired by a lot — by a whole lot."

Earlier this month, Tommy's bandmate, MÖTLEY CRÜE bassist Nikki Sixx, told Mike Hsu of the 100 FM The Pike radio station about "The Return Of Carnival Of Sins": "Listen, two of our biggest and most successful tours was the 'Dr. Feelgood' tour. And that's not to negate 'Girls, Girls, Girls' or any of that stuff, but that was a big peaking time for us and that album connected with people. And then the 'Carnival Of Sins' tour 20 years ago. That was unbelievable. It was such a fun experience. And we were just, like, 'It's an anniversary of that and that DVD and people still talk to us about that show.' We were, like, 'Well, what can you do now with technology that you couldn't do back then?' They didn't have video screens back then, and anything that you could do that would encompass and take over the imagination of all the people there. And that we had an opportunity to do that in [Las] Vegas on a couple things. 'In The Beginning', [which] starts off the 'Shout At The Devil' album, we had an amazing visual presentation of 'In The Beginning'. Mid-show, everything went dark and there's this, basically, devil talking to you, narrating that, which then led into 'Shout At The Devil'. And these are the kind of things, when you think about the 'Carnival' environment, how far we can take it — it's super exciting for us."

Regarding MÖTLEY CRÜE's choice of support acts for the tour, Nikki said: "We're really stoked with TESLA and EXTREME, because the idea of TESLA and EXTREME and MÖTLEY CRÜE is it's all about songs, however you interpret them. You can play 'em RAMMSTEIN style or you can play 'em George Thorogood style or you can play 'em whatever. A good song is a good song, and that's what I'm really excited about. We've had the best time when we look out at the fans. We did 'The Stadium Tour' [in 2022]. They were singing every Joan Jett song, all the POISON songs, all the DEF LEPPARD songs, all the MÖTLEY CRÜE songs. So this has a little feel of that. They're in sheds and stuff — they're not stadiums — which is a cool place to play in the summer outside."

Asked if the upcoming extensive tour is MÖTLEY CRÜE "putting a cap on it", considering his recent comment that leaving his family behind to go on the road was becoming increasingly difficult for him, Sixx said: "No. It's summertime. It's great to be able to go out and be with the band and the fans and not leave my family behind 'cause they're in school and all this kind of stuff. So, summers are a great time for bands that have been around for a while and have families because we can go out and play and still be able to be with our families. That's always kind of been the hardest part for me, is being separated from that. I'm a dad and a husband and a sobriety advocate and a musician before I am a rock star. Though that doesn't equate to me, but I understand that. But I'm just saying, I don't put all my eggs just in that basket 'cause it would feel very one-dimensional to me. I have a lot of dimension that I like to enjoy in my life. I have an animation company. That brings me amazing amount of creative joy, and great partners. And there's so many other things that I do as well as MÖTLEY CRÜE. So I'm really grateful, dude — really grateful."

He added: "And no, this isn't a cap on anything. And then plugging it into summertime, it just works for everybody. It's just a blast."

MÖTLEY CRÜE said that $1 from every ticket sold for "The Return Of Carnival Of Sins" will be donated to ASAP! (After School Arts Program) through the Mötley Crüe Giveback Initiative to fund hands-on arts programs for young people.

MÖTLEY CRÜE's Las Vegas residency launched on September 12 and at Dolby Live at Park MGM and ran through October 3. The shows had initially been set for spring but were rescheduled after frontman Vince Neil revealed he had suffered a stroke last Christmas.

In September, Vince revealed that he had actually had a series of strokes before he suffered the "big one" in his sleep last Christmas night, rendering him unable to get out of bed when he woke up the next day.

When MÖTLEY CRÜE originally postponed the Las Vegas residency, the band said it was because Neil needed a "medical procedure," but offered no further details.