KAMELOT drummer Alex Landenburg and MENTALIST guitarist Peter Moog have officially launched a new streaming service called ROKK.

ROKK is billing itself as "the ultimate streaming platform for all things hard and heavy, with superior sound quality and finally fair compensation for artists at its core."

The two musicians say "ROKK is the first service to offer direct artist support for your favorite band or musician right in the app. Fair music streaming, by artists for artists, and real music fans!"

A special launch offer, a free trial month to experience the platform, is now available, with exclusive introductory pricing: €8.99 per month for the first three months after your trial month, after which standard pricing of €10.99 per month applies. There are "no strings attached" and you can "cancel anytime", Landenburg and Moog say.

The offer and the reduced price is only available if you register and subscribe through the ROKKweb site. The offer is valid until March 31.

Landenburg states: "After nearly four years of hard work, Peter Moog, myself, and our dedicated team behind the scenes — is beyond proud to finally officially launch ROKK!

"As a professional drummer and lifelong metal fan, I have now spent over two decades touring, recording, and experiencing firsthand the struggles musicians face — especially when it comes to streaming revenue in this modern landscape. My co-founder, Peter, shares the same passion for music, and together, we decided to do something about this.

"ROKK is not just another streaming service — it's about a community committed to giving rock and metal the recognition it deserves, where artists can receive fair compensation for each and every stream.

"One of the main reasons we built ROKK is to address a long-standing issue in the industry: the fact that most musicians have made very little to no money from their music being streamed. With our Direct Artist Support, you can help change that. An artist over the course of a year could see earnings equivalent to selling multiple records, and that's already covered in your regular subscription fee.

"To be transparent, just because we're incredibly proud of ROKK does not mean it is perfect right out of the gate.

"We built this with a fraction of the capital other platforms started with, as well as a small but incredible team. We're already hosting over 60 million songs, and we add more every single day. In fact, we import well over 10,000 tracks each week. Still, there will be some gaps, and you might run into the occasional technical glitch. If you do, please let us know directly. We're on it!

"Just a heads-up: if you click on a track and it takes longer to load, you're likely to be the first listener triggering its playback (transcoding). While the initial wait might feel lengthy, it happens only once — after that, the track AND entire album load instantly. Plus, we pre-transcode as much music as we can to ensure this delay remains a rare occurrence.

"Also, please note that initially some artwork might be missing, or that some information might be inaccurate. Like I said, we're just getting started, and we hope our community will step in to help us improve these details over time.

"This is the chance to use your knowledge to help shape the definitive rock and metal database. What do I mean by that? Our in-app music encyclopedia, or as we like to call it, Rokkpedia.

"With a free trial month and a reduced introductory subscription offer, we hope to make up for any initial shortcomings. Our goal is to eventually create something as great as the community it represents, and we look forward to improving every element, to build the platform we all dream of having. Every play, every share, every bit of feedback helps us make ROKK better, all while paying more to the artists you are listening to.

"Thank you for your support, and your patience (I'm looking at you Indiegogo community),and for being part of the music revolution.

"Time to ROKK!"

ROKK is available now on iOS, Android, and on the web at rokk-app.com throughout Europe, with plans to expand to other territories soon.

Many people still think Spotify doesn't pay the artists who are featured on its platform fairly.

In recent years, Spotify CEO and founder Daniel Ek has been trying to defend the company's payouts, telling CBS News in early 2023: "We don't pay artists directly. [Artists] have their deals with their record companies and their deals with their publishers, et cetera. And what Spotify does is we pay out to those record companies and these publishers, and don't know what individual deals these artists may have."

Almost four years ago, Spotify created a web site called Loud&Clear to clarify exactly who receives payments.

According to Forbes, "Spotify has been paying back nearly 70% of every dollar generated from music as royalties to rights holders who represent artists and songwriters. These organizations, which include independent distributors, publishers, performance rights organizations, record labels, and collecting societies, then pay the artists and songwriters based on their agreed terms."

Spotify boasts 675 million monthly active users as of December 2024. The number of people paying for Spotify Premium currently stands at 263 million.

KANSAS vocalist Ronnie Platt has revealed that he is battling cancer. As a result, the band has canceled two previously announced shows in Louisiana — in New Orleans on February 21 and Lake Charles on March 1. Tickets will be refunded at point of purchase.

On Saturday, February 15, the 64-year-old Platt took to his social media to write: "For all of you asking, Tuesday [February 11] I was diagnosed with thyroid cancer but before everyone gets all excited, it has a 99% survival rate, it has not spread. It's contained to my thyroid. I just have to have my thyroid removed. Go through some rehab time and be right back in the saddle.

"I sincerely appreciate everyone's positive thoughts and prayers.

"I have some absolutely amazing people going to bat for me!!

"As it has been put to me, this is just a bump in the road and will be behind me very soon! So everyone please CARRY ON!"

Platt joined KANSAS in July 2014 after the departure of longtime singer Steve Walsh.

Ronnie can be heard on KANSAS's last two studio albums, 2016's "The Prelude Implicit" and 2020's "The Absence Of Presence".

Formed in Topeka, Kansas in 1974, KANSAS has sold more than 30 million albums worldwide and has a catalog that includes 16 studio albums and five live albums, eight of which are gold and three that are platinum.

In a 2024 interview with Wyoming Tribune Eagle, Platt stated about how he landed the KANSAS gig: ""It's such a wild story. I've been telling it for 10 years, and it's still surreal to me. One day, while I was at work — I used to be a truck driver — I received a text message from a friend of mine, Dina, who knew what a fan I was of KANSAS. All of my cover bands back in Chicago would play KANSAS. ... Dina saw the announcement of Steve Walsh's retirement, and I reached out to Rich Williams (the original guitar player for KANSAS) on Facebook to ask him if they would consider me. I was in a band called SHOOTING STAR from 2007-2011, and we played with KANSAS a couple of times, so we already knew each other. The very next day, I get a message from him saying, 'We're about to go on stage in Houston, Texas. If you get this in the next 90 minutes, give me a call.' Before I knew it, I was flying to Atlanta, having a great conversation with Phil (Ehart) and Rich, I get back home to Chicago, and then I get a congratulations e-mail from Phil saying I'm in."

For all of you asking, Tuesday I was diagnosed with thyroid cancer but before everyone gets all excited, it has a 99%...

Posted by Ronnie Platt on Saturday, February 15, 2025

The #1 most gold-awarded U.S. artist and Rock And Roll Hall Of Fame inductees KISS proudly present "Strutter" on a limited-edition, playable gold records in honor of 50 years of the single available now. KISS partners with Precious Sound to produce two versions — the ultra-rare Pure Gold Edition and the Gold-Plated Edition.

As the ultimate KISS precious metal collectible, the world's first-ever Pure Gold Edition playable disc will be limited to only five copies worldwide pressed from eight ounces of pure .999 24-karat gold. These five-inch records are specifically remastered for gold playback on any manual turntable system. The A-side boasts the playable grooves, a rim engraving with each record's unique edition number as well as the KISS logo adorned with Swarovski crystals and the B-side celebrates the original Casablanca single label etched into the gold with proof-quality finish. The package features a luxurious coffee table display case bound in sustainable faux leather with gold foil accents and a Swarovski crystals KISS logo. The two-drawer case is hand-crafted to preserve this everlasting record for a lifetime. One drawer houses a protective sapphire crystal glass capsule and the other holds an exclusive book signed by Gene Simmons and Paul Stanley. Other accessories in the set range from the gold-accented pen utilized to sign the respective book, a laser-engraved and numbered metal certificate of authenticity, a custom-made cork record mat for optimal playback, and a microfiber cleaning cloth. Each pressing is made-to-order.

Available to ship around the globe now, just 500 copies of the Gold-Plated Edition have been crafted for the world. The five-inch copper-core record is coated using .999 24-karat gold and are playable on any manual turntable. It is presented in a custom display case with a crystal glass window, a booklet, a silicon record mat, a micro-fiber cleaning cloth, and its own hand-numbered certificate of authenticity. Orders will be limited to two copies per customer.

Precious Sound crafted each version in Bavaria, Germany, implementing an impressive, patented process. 11 artisans completed the 304 steps of this process in order to create the Pure Gold Edition and Gold-Plated Edition.

"Strutter" notably opens the band's gold-certified self-titled debut album KISS — originally released on February 18, 1974 via Casablanca and produced by Kenny Kerner and Richie Wise. The song stands out as one of a few in the group's catalog co-written by Gene Simmons and Paul Stanley. This upbeat anthem effectively set the tone for KISS. In retrospect, Paste ranked it at No. 2 on "The 20 Best KISS Songs," and American Songwriter summed it up succinctly as "classic." As the story goes, Gene and Paul initially brought "Strutter" to life before even settling on the band name. A bit later on, it graced an early five-track demo cut at Electric Lady Studios with producer Eddie Kramer. Finally, it served as the third and final official single from their first LP. It has impressively amassed hundreds of millions of streams, appeared in classic video game franchises such as "Grand Theft Auto" and "Guitar Hero", and would later be covered by everyone from EXTREME to VITAMIN STRING QUARTET.

Also, KISS and Disco Lines collaborated on a new remix of one of the band's most iconic songs "I Was Made For Lovin' You". The song, "I Was Made For Lovin' You (Disco Lines Remix)", was released digitally on Valentine's Day and can be streamed below.

Rock And Roll Hall Of Fame icons KISS have earned the most RIAA certified albums of any other American band with 16 gold, 14 platinum and 3 multi-platinum, they have sold more than 100 million albums worldwide, 15 million monthly Spotify listeners with 96 million listeners in 183 countries, generating 3.57 billion streams. Their 1979 single "I Was Made For Lovin' You" crossed one billion streams last year.

Zurich, Switzerland-based Precious Sound has pushed the material possibilities of music to create a new medium through which to experience it: playable gold, platinum, and silver records. The first playable gold and silver records — pressed with their patented technology — were launched in 2024. In the same year, Precious Sound launched its collectibles line of spectacular limited-edition products honoring musical icons and metal craftsmanship, such as THE BEATLES, THE ROLLING STONES and now KISS.

In a recent interview with Jorge Botas of Portugal's Metal Global, Udo Dirkschneider and Peter Baltes spoke about the upcoming reimagining of ACCEPT's iconic album "Balls To The Wall" to celebrate the LP's 40th anniversary. The band's founding member and former frontman has reinterpreted this classic with a fresh and star-studded twist. Far from a simple remake, this project was born out of countless conversations with prominent artists across the global rock and metal scene, who frequently asked: "Are you planning anything special for the 40th anniversary of 'Balls To The Wall'?" These discussions sparked the idea to re-record the album's legendary tracks alongside a stellar lineup of guest musicians, transforming the project into a heartfelt tribute.

Asked what led to the decision to release a reimagined version of "Balls To The Wall", Udo said (as transcribed by BLABBERMOUTH.NET): "Normally it was not planned to do an album; it was only planned to do a tour about the 40-years anniversary of 'Balls'. And so on some festivals, a lot of singers [from other bands] came up [and asked], 'Oh, you do something special for the 40th anniversary.' And then we said, 'Yeah, touring, definitely.' And then they said, 'Oh, I would love to sing a song of the 'Balls' album.' And then the idea came up very slowly. We said, 'Yeah, it can be interesting.'"

Udo continued: "To re-record the 'Balls' album, it's like, 'Don't touch the holy cow.' But with the guest-singer thing now, what we did, I think it worked out very well. The reactions are very good so far. And so I think I'm happy with the result of everything."

Asked if he enjoyed the process of hearing different guests singing with Udo, Peter said: "I enjoyed it tremendously. I also was nervous touching the album again. But after we started recording, I felt really into it. And I played it the way I play live today, the songs. I decided not to copy the original, on my bass playing specifically, because these songs evolved over so many years to what I'm playing today. And that was one of the reasons. The other as much as the holy cow and iconic it is, it also sits on the shelf somewhere and everybody's behind you and it hasn't been moved in 20 years. So it is an honor for us to be able to reintroduce the album to a younger generation, to a whole new world today. And I think it gives the album a great honor that it deserves, where it stands."

Udo added: "I was quite nervous when I started recording the album, with vocals. I mean, I was not quite sure that I'd hit all the notes [laughs], the high notes and all that. But in the end, I think it works. So I'm lucky. And I think especially the whole atmosphere between the guest singers and my vocals, I think it gives the whole thing a new dimension, a new atmosphere. And yeah, I like it very much."

In a separate interview with The Brutally Delicious Podcast, Udo stated about "Balls To The Wall - Reloaded": "Let's say in the beginning it was just planned to do a tour [celebrating] the 40 years of 'Balls To The Wall'. But then on festivals, some musicians came up and said, 'Oh, you do something special for this 40-years anniversary of 'Balls'. And I said, 'Yeah, touring.' 'Yeah. You know I love this song. I would love to sing on this,' and blah, blah, blah, blah. And then I think it developed."

Udo's son Sven Dirkschneider, who plays drums in DIRKSCHNEIDER and U.D.O., added: "The idea came together. We had so many great vocalists that wanted to participate on this album. So we sat down and had a thought if we can — because it's very tough in managing all this. I mean, everyone is busy, everyone is doing their own records and whatnot. So it was quite challenging, but in the end it worked out. I think we got the last vocals in last minute to get this done. But yeah, we have really good people on this album and we appreciate that they wanted to do it. And I think they're great new versions of the legendary album."

Asked if they had certain vocalists in mind for certain songs, Sven said: "We had a very long list. And stuff like [SAXON's] Biff Byford on 'London Leatherboys' was kind of obvious, that we wanted to have him for this. And, yeah, we're going on tour with SAXON as well in November this year. So, it all makes perfect sense. And, yeah, [there are some] very, very good collaborations."

Udo continued: "All the singers, they did a great job on it. For example, Joakim [Brodén] from SABATON, 'Balls To The Wall', he did a great job. And also [TWISTED SISTER's] Dee Snider on 'Losers And Winners'. And also Biff on 'London Leatherboys'.

"The thing was we did not tell them, 'Okay, you have to sing this line and this line and this line and this line.' [We told them to] sing the whole song and then we can see which parts fit together with my vocals," Udo explained. "And then, when you listen, for example, to the vocals of Biff for 'London Leatherboys', it can be a SAXON song… I mean, Doro [Pesch] did a great job on 'Winter Dreams'. And also Mille [Petrozza] of KREATOR, 'Fight It Back'. And also Michael Kiske, from HELLOWEEN, he was singing 'Losing More Than You've Ever Had'. He did a great job. Also for me, especially, it was interesting to hear this. 'Wow, okay. Good.' Yeah, I think we are happy and I think also the guest singers, I think they really enjoyed to do this. And that was the most important thing. And also that they put their own character on each song, not trying to be Udo. That makes no sense."

Referencing the new version of "Balls To The Wall" featuring Brodén, Sven said: "We called [Joakim] up because we have a long relationship with SABATON. We played their festival multiple times and we've always had a good time with them. So that was kind of natural, and he was totally up for it. But it was also very interesting. He, for example, did the speaking part. And then he came back to us and said, 'No, use Udo's, because he does it better.' But it was super cool that, yeah, everyone put his character and his style of singing on to the songs. So that was great."

Sven also talked about the overall approach when it came to the production of "Balls To The Wall - Reloaded", saying: "'Especially with the drum sound, we tried to get as close as possible from this old-school vibe, but still, I mean, now we have modern technology recording stuff, so it definitely sounds up to date, but it's still with the old-school vibes. It's natural. I mean, when Peter [Baltes, former ACCEPT and current DIRKSCHNEIDER and U.D.O. bassist] plays bass, it's Peter playing bass. So it is that sound. And as soon as Udo's kicking in… And our guitar players, they're doing it for such a long time that they also are totally into the vibe of this kind of music. So it came along naturally, I would say, the sound of this album. But still, it's modern quality, which I think is awesome."

"Balls To The Wall - Reloaded" track listing:

01. Balls To The Wall (feat. Joakim Brodén of SABATON)
02. London Leatherboys (feat. Biff Byford of SAXON)
03. Fight It Back (feat. Mille Petrozza of KREATOR)
04. Head Over Heels (feat. Nils Molin of DYNAZTY/AMARANTHE)
05. Losing More Than You've Ever Had (feat. Michael Kiske of HELLOWEEN)
06. Love Child (feat. Ylva Eriksson of BROTHERS OF METAL)
07. Turn Me On (feat. Danko Jones)
08. Losers And Winners (feat. Dee Snider of TWISTED SISTER)
09. Guardian Of The Night (feat. Tim "Ripper" Owens of KK's PRIEST, formerly of JUDAS PRIEST)
10. Winter Dreams (feat. Doro Pesch)

The second single from the album, a re-recording of "Winter Dreams", reveals a softer side of the LP while preserving a meaningful lyrical depth, making it an emotional anthem of freedom. The single stands out not only for its significance but also for featuring the legendary German metal queen Doro Pesch, alongside Udo Dirkschneider. This collaboration highlights the album's unique approach, underlining the long-running inspiration for the whole scene and renowned metal figureheads and companions alike.

Udo commented: "It was a very special experience for me to re-record 'Winter Dreams' with Doro Pesch. Doro and I have spent so many years together in the scene and there is a deep, almost familial connection between us. Her voice gives this song an incredible magic and emotionality that takes it to a whole new level. It was like a reunion with an old friend for me and together we made 'Winter Dreams' even more intense and personal. It just feels right to share this moment together!”

Doro added: "'Balls To The Wall' has always been one of my absolute favorite albums. I was really happy to sing the wonderful 'Winter Dreams' as a duet with Udo Dirkschneider and to shoot a great video for it. We have a long friendship and it is always special to work with him."

Taking fans to the vaults of Castle Reifenstein (Freienfeld, Italy),located in a beautifully wintry mountain landscape, the "Winter Dreams" music video, starring both vocalists Udo Dirkschneider and Doro Pesch, can be watched below.

Regarding the task of reimagining the entire "Balls To The Wall" album, Udo previously stated: "Re-recording 'Balls To The Wall' was a big challenge for me. The album is a milestone of my career, of course. That's why it was even more important to me to make the original songs shine in a new light without losing their initial essence. All guests have put their individual stamps on these classic tracks, and collaborating with such outstanding vocalists has moved them into a fresh and exciting dimension. The result is a powerful homage to all fans but also an invitation to the next generation to experience the songs not minorly passionate than I was when I recorded them back in the day. It's a never-ending personal journey for me — 'Balls To The Wall' will always be a part of me."

DIRKSCHNEIDER, the band featuring former ACCEPT members Dirkschneider (vocals) and Peter Baltes (bass),along with drummer Sven Dirkschneider and the talented guitar duo of Andrey Smirnov and Fabian "Dee" Dammers, celebrated the 40th anniversary of "Balls To The Wall", which was originally released in late 1983 and is the most commercially successful and best-known album by ACCEPT, by performing the LP in its entirety on a recent tour of South America.

In an interview with Eric Blair of The Blairing Out With Eric Blair Show, Udo was asked what he loves about playing with Peter again. Udo said: "[It's] fantastic. We have a really good relationship. So when he left ACCEPT in 2018, we were working together on an album with the German army, a classic album. We were writing songs together, and that was the first time we were working together again. And then the problem came for [U.D.O.] when we had this 'Game Over' tour in Europe. The other bass player that we had at this time felt very sick. And then for me it was, like, 'Hmm, hmm. What am I doing? I need a bass player who can do everything very quick.' I was calling Peter. I asked him, 'Can you help us on this tour?' And then, I think in South America, the bass player that we had before, he said, 'Yeah, I don't wanna do it anymore. I'm out of U.D.O.' And then we were sitting there in a restaurant, and I said, 'Oh, no. We have to look for a new bass player.' And Peter said, 'Maybe I would love to join U.D.O.' So here we go. And it's good. I mean, I'm really looking forward also to work with him on the next U.D.O. album."

Ten years ago — in 2015 — Udo announced that he would embark on a special tour during which he would perform ACCEPT songs one last time under the DIRKSCHNEIDER banner before closing that chapter for good. Since then, the former ACCEPT frontman has continued to play ACCEPT material at select shows, including at the September 18, 2020 U.D.O. concert in Plovdiv, Bulgaria, which was released on DVD and Blu-ray.

When he first announced the original DIRKSCHNEIDER tour in 2015, Udo said that had "to make a clear break for myself — close the book and this is it. And I have the problem that people come to me and ask me to play more ACCEPT songs," he explained. "Other people ask me why I play ACCEPT songs at all, because there are [more than] fifteen U.D.O. records. I want to avoid such things and avoid the repeating questions concerning ACCEPT. I just can't stand that anymore. There is nothing more to be said. U.D.O. exists longer than ACCEPT. We have more records than ACCEPT."

While acknowledging that some ACCEPT fans want to hear the band's classic songs performed by the group's original singer, Dirkschneider explained that "you always have these comparisons [between how these songs are played by ACCEPT and U.D.O.]. I don't want this anymore either. [The current lineup of ACCEPT] also play 'Metal Heart', they play 'Balls To The Wall' and 'Princess Of The Dawn'. And then some people tell me, 'Oh, [current ACCEPT singer Mark Tornillo] is doing it better than you.' And I go, 'That's fine. Enjoy yourself.' But I don't want this anymore. And to avoid all of this in the future, I said, 'We are doing this one more time.'"

Dirkschneider said that his vow to never play ACCEPT material again came with one caveat. "If the band ACCEPT dissolves one day in the near future and I am still around with U.D.O., then there is a chance that I put ACCEPT songs back in the setlist," he said. "But currently there is ACCEPT, so go see them [if you want to see those songs performed live]. They are playing these songs."

Udo previously said the original plan was for DIRKSCHNEIDER to only "a few shows," and "then [the tour] got bigger and bigger [due to demand]." But, he added, "I don't want to complain about that."

In a new interview with Ernest Skinner of Canada's Border City Rock Talk, TESLA bassist Brian Wheat discussed his friendship with former W.A.S.P. guitarist Chris Holmes. He said (as transcribed by BLABBERMOUTH.NET):  "Me and Chris are gonna do a band or a project, whatever you wanna call it, together. And [former TESLA guitarist] Tommy [Skeoch] has agreed to do it as well. So the three of us have talked about putting together a project, band, whatever you wanna call it this day and age, but me and Chris have already started to work on some songs. And I know me and Tommy know how to write songs together 'cause we did a lot in TESLA. So the next step would be to get me and Tommy and Chris together, whether it's on a Zoom, working together like that or whatever, and write some material, and then find a singer that would be the right singer for that project.

"But, yeah, me and Chris are pretty good buddies," Brian continued. "We see each other when I'm at my house in Italy. He's there all the time. He lives in France. And I'm in Florida now for the winter. Tommy's in Florida. So we've all talked about it. So it's just when we get around to doing it. And it's just carving out a time where Chris isn't busy doing MEAN MAN, I'm not doing TESLA or VIOLET BREED, and Tommy's not doing BAD MARRIAGE.

"I'm looking forward to it, because I like Chris and I wanna work with Tommy again," Wheat added.

In February 2022, Skeoch, who left TESLA in 2006 to receive treatment for substance-abuse issues, reconnected with Wheat for the first time in more than a decade and a half aboard that year's Monsters Of Rock cruise. The charter cruise featured performances by Skeoch's then-band RESIST & BITE while Wheat was onboard showing his art.

In an interview with SiriusXM's "Trunk Nation With Eddie Trunk", Skeoch was asked if he exited TESLA of his own accord or if he was asked to leave. Tommy said: "I was fired. I was getting fucked up and I was definitely in the wrong about a lot of stuff, and they put up with it for a long time. But at the same time, none of us were angels, and we put up with a lot of stuff from the other guys for a long time too, and they're still there. So I felt like a little scapegoated by the thing. And the other thing is they didn't want people — I guess for the benefit of my family, so it wouldn't look bad — they said, 'Tommy's just gonna spend time [with his family].' That's why nobody knows, and that's why you're asking this question. Everyone's confused on even what happened. Basically, I was fired. I was getting fucked up, and I kept fucking up, and I kept telling 'em I wouldn't, and I just couldn't stop."

Skeoch added that he accepts responsibility for the circumstances that led to his departure from TESLA. "I do, of course," he said. "But I also believe we put up with a lot of shit for a long time from almost every other guy in the band, and they're still there. So I don't know what's up with that; that's a little weird to me."

Skeoch, who was a founding member of TESLA, played on the Sacramento five-piece defining albums, including 1986 debut "Mechanical Resonance" and 1990's "Five Man Acoustical Jam".

Tommy, who was fired due to substance abuse issues in 1994, rejoined when TESLA reformed more than two and a half decades ago following a brief hiatus.

In a new interview with Australia's Heavy, former FEAR FACTORY frontman Burton C. Bell spoke about his plans for new music after issuing two singles in 2024 — "Anti-Droid" and "Technical Exorcism" — and a cover of RAMMSTEIN's "Du Hast" in 2023. He said (as transcribed by BLABBERMOUTH.NET): "I've had a great response [to the singles I've released so far]. Live, the fans really like it. They really translate live very well. The band that I have gathered, or should I say curated, 'cause it took me a couple of years to curate this band and grab these guys together. I've known [them] for a few years, but finally I got this band together. And the music that we play is really translating into a new group that's really translating these songs in a heavy, groovy, dark and moody way. It's amazing. So what you hear is gonna be heavier live."

Asked if he is sticking with his previously announced plan of putting out one song at a time before eventually releasing a full-length album, Bell said: "I am, but I've been recording a lot more new songs. So I've been releasing one thing at a time, but I do plan to have an actual physical release, hopefully in the coming year. So, the band and I, we have a few more songs that we're working on and that we're gonna just start working on new stuff. Well, we're already working on new stuff, but the two new songs — the first song that you guys are gonna hear in probably another month is a fucking banger, dude. It crushes — crushes. And the one after that crushes as well. And we're just gonna continue with that mode — just crushing."

Regarding whether "Anti-Droid" and "Technical Exorcism" are "a good sonic representation of what to expect from the whole album", Bell said: "I would say come to see us live and that will be a great representation of what you'll expect from the album, because, like I said, what we do live is we translate these songs to what we are doing now to our version. So even FEAR FACTORY songs and GZR songs, they are much more full. When you come [to see us] live, it's becoming more of an organic kind of feeling; it's just heavy. It's me, obviously, and then I have two guitar players. They both trade off doing rhythm and lead, bass player and drums. So, if you wanna hear what the album is gonna be like, come see what we do live and you'll understand and you will not be disappointed."

Video of Bell's December 13, 2024 concert at The Regent in Los Angeles, California as the support act for GOD FORBID can be seen below.

Bell played the first concert with his solo band on June 13, 2024 at 1720 in Los Angeles, California.

Backing Bell at the gigs were guitarist Henrik Linde (THE VITALS, DREN),drummer Ryan "Junior" Kittlitz (ALL HAIL THE YETI, THE ACID HELPS),bassist Tony Baumeister (ÆGES) and multi-instrumentalist Stewart Cararas.

When the 1720 concert was first announced, Burton called the gig a "historic event" and vowed to perform "new songs and classics spanning my career."

In August 2024, Bell released a new solo single, "Technical Exorcism", along with the official Don Pancho Films-directed music video for the track.

In March 2024, Bell, who released his debut solo single that same month, "Anti-Droid", was asked by Knotfest's "Nu Pod" podcast if he has an entire album's worth of material ready to come out. He responded: "No. I'm working on individual singles at a time. I do have a record's worth of music. But I'm adopting the hip-hop strategy where instead of coming up, releasing a single and then the whole album comes out a couple of weeks later, and then a couple of weeks later, when that album is out, the momentum of the single and the whole record just kind of slows and becomes sluggish and just almost crashes. So I learned watching hip-hop artists and other artists as well, [where] they would just release a single at a time, keep that momentum, keep that spotlight on them and just release a single every few weeks and just keep that momentum going."

He continued: "In this day and age, the short attention span of the masses is very apparent. There's this old saying in economics, less is more — supply and demand, less is more. So if you just feed 'em just a little bit at a time, they wanna hear more. And that's where the interest stays. They're compelled to keep listening. 'Oh, he's got something else coming out. Oh, he's got something else coming out.'"

Bell's discography includes multiple live and recorded collaborations with BLACK SABBATH icon Geezer Butler and JOURNEY's Deen Castronovo (as G/Z/R); industrial maverick Al Jourgensen and MINISTRY; and guest vocal appearances with PITCHSHIFTER, CONFLICT, SOIL, STATIC-X, SOULFLY and DELAIN, among others. He's the vocalist of ASCENSION OF THE WATCHERS and CITY OF FIRE and, of course, the co-creator of FEAR FACTORY and the only musician to appear on every FEAR FACTORY release from 1992 through 2024.

FEAR FACTORY created a sound that revolutionized extreme metal, defined in no small part by Bell's innovative scream/sing dichotomy and the influences he brought from post-punk and industrial. Songs like "Replica", "Linchpin", "Edgecrusher", "Fear Campaign", "Archetype", "Cyber Waste" and "Zero Signal" are modern metal anthems. "Demanufacture" (1995) and the RIAA gold-certified "Obsolete" (1998) are genre-redefining works heralded by fans and critics as essential albums. Orwell, Bradbury, "Blade Runner", and sophisticated sci-fi and fantasy works fed Bell's lyrics and concepts.

The band toured the world with METALLICA, SLIPKNOT, KORN, MEGADETH and OZZY OSBOURNE, taking bands like SYSTEM OF A DOWN and STATIC-X out as support acts in their early stages. After years of behind-the-scenes band member turmoil and legal issues, Bell left FEAR FACTORY in the fall of 2020.

Bell said "Anti-Droid" is "a statement about breaking free. Breaking the bonds of what I felt was a prison in many ways. Not just financially or contractually but creatively, as well. I felt constrained to this format we'd written ourselves into. The 'factory' doesn't have a capital F. It's the factory of the music industry, a certain form of business, and priorities. Being a slave to an established way of thinking is not really freedom. I am moving forward."

The 55-year-old Bell had been largely inactive on the musical front since officially announcing his departure from FEAR FACTORY in September 2020. At the time he said that he could not "align" himself with someone whom he did not trust or respect, an apparent reference to FEAR FACTORY founding guitarist Dino Cazares.

In March 2023, Bell was asked by Joshua Toomey of the "Talk Toomey" podcast how it felt to see FEAR FACTORY going out on tour with someone else singing the parts he originally wrote and recorded with the band. He responded: "It doesn't affect me at all. To be honest, I haven't been this happy in a long time. More power to them, but I'm just moving forward in my own life, my own career, and I'm just trying to make a name for myself."

Asked if he has checked out any of the videos on YouTube of FEAR FACTORY performing with his replacement, the Italian-born singer Milo Silvestro, Bell said: "No, I don't. I don't care to."

Burton went on to say that he doesn't mind being asked about FEAR FACTORY despite the fact that he is no longer in the band. "FEAR FACTORY, it's what I'm known for," he explained. "And the 30 years I had with FEAR FACTORY were some of the proudest moments of my career. And everything I've ever done in FEAR FACTORY I'm very proud of. Even some of the questionable things I've done in FEAR FACTORY I'm still proud of. It was a great legacy."

During an April 2022 appearance on an episode of "The Ex-Man" podcast hosted by Doc Coyle (BAD WOLVES),Bell touched upon FEAR FACTORY's latest album, "Aggression Continuum", which was released in June 2021 via Nuclear Blast Records. The LP, which was recorded primarily in 2017, features Bell and fellow original FF member Dino Cazares (guitar) alongside drummer Mike Heller.

"I was just happy that record finally came out," Burton said. "We finished that record in 2017. By the time it came out, I'd forgotten all about it. 'Oh, yeah, I remember that song. Oh yeah.'

"There's some good songs on that record. The song 'Collapse' is a good song. The title track 'Monolith' is a good song," he added, referencing the LP's original working title, before it was changed by Cazares.

When Coyle noted that the mix on "Aggression Continuum" is "great," Bell hesitated for a couple of seconds before reluctantly agreeing. "I guess," he said. "When I finished the record [in 2017], the record was done and agreed upon and then further work was done without my say."

Elsewhere in the chat, Burton admitted that "it was difficult" for him to leave FEAR FACTORY. "Stepping away from FEAR FACTORY was not an easy decision by [any] means," he said. "But what I experienced for the 10 years before that, the lawsuits, the acrimony, that was the one that killed me. And I just had to step away to realize, you know, they can take all this stuff from me — they can take the money, they can take the royalties, they can take the trademark away from me — and I realized that didn't define me. They can take that, but I'm still Burton C. Bell, motherfucker, and whatever I have they can't take. So I'm just kind of moving forward and doing new things."

According to Bell, hardship is par for the course for most musicians, who often find themselves victims of bad contracts, unscrupulous management and, all too often, what appears to be a penchant for self-destruction.

"I knew a long time ago I wanted to be an artist — way before I was in FEAR FACTORY," he said. "When I was in high school, I was, like, 'I wanna be an artist.' To be an artist, you've gotta suffer. You've gotta understand that people wanna take from you the entire time — what you create they wanna make money off of and take it away from you and just give you a pittance. But being bitter is not my style — never has been.

"Whatever negativity has happened in the past with FEAR FACTORY doesn't even hold up to the amount of positivity that has happened," he continued. "If you think about the negative, it can weigh you down so much, but it's not really that much in comparison to what the band achieved, what we created, what we provided to the music world, and for that I'm proud and very happy.

"No one likes to talk to a bitter person at all," Burton added. "Me for one. It's, like, 'Man, just get over it and just move on.' 'Cause holding on to the past doesn't serve me anything, it doesn't serve anybody else anything. Move on and show 'em what you can do from that point forward."

Bell's exit from FEAR FACTORY came more than two weeks after Cazares launched a GoFundMe campaign to assist him with the production costs associated with the release of FEAR FACTORY's latest LP.

Bell later told Kerrang! magazine that his split with FEAR FACTORY was a long time coming. "It's been on my mind for a while," he said. "These lawsuits [over the rights to the FEAR FACTORY name] just drained me. The egos. The greed. Not just from bandmembers, but from the attorneys involved. I just lost my love for it.

"With FEAR FACTORY, it's just constantly been, like, 'What?!' You can only take so much. I felt like 30 years was a good run. Those albums I've done with FEAR FACTORY will always be out there. I'll always be part of that. I just felt like it was time to move forward."

In 2023, Bell unveiled "Paradise Found", his debut exhibition of photographic works, at the Vincent Castiglia Gallery in Fort Lauderdale, Florida. The photographs Bell presented were representational of his industrial and science-fiction aesthetic.

"Paradise Found" consisted of 20 original full-color photographs of abandoned industrial buildings taken in darkness and fog from 2002 to 2003. Bell's images are printed on aluminum using the dye sublimation process — an approach Bell calls "celluloid impressionism."

Bell's ASCENSION OF THE WATCHERS project released its second full-length album, "Apocrypha", in October 2020 via Dissonance Productions.

Ann Wilson, the legendary singer of HEART, has launched a new podcast, "After Dinner Thinks With Ann Wilson". In the pilot episode, Ann sits down with her friend Criss Cain to talk work life, home life, the universe, movies, politics, music, dogs, magic and anything in between.

Speaking about the challenges of having a conversation with someone across the political spectrum without it turning into an argument, Ann said (as transcribed by BLABBERMOUTH.NET): "It's just really hard to decide that you're just gonna be quiet, with all the noise and confusion and chaos going on around us, especially surrounding truth and lies. It's so hard to decide to be that person that just goes, 'Okay, there are all these cool people here, but I can't talk to them, because it would just open up this big ugly chasm of derision between us.'

"Coming from Seattle, Washington and moving to the South, as I did ten years ago, it took me a while to learn that lesson," she continued. "There can be really great, great people, but you don't wanna talk politics. It's like a minefield. And it makes you think differently about people, makes you think the worst of them, if you disagree that much. And you can't really control those feelings."

Referencing U.S. president Donald Trump's efforts to eviscerate the U.S. Department Of Education, Ann said: "The Department Of Education being shut down so that there's time to buy all these new textbooks that don't handle the uglier topics of our history. To teach the newborn little kids, 'Hey, that never happened. What are you talking about?' 'Oh, don't listen to your friends; they just gossip. There was no Holocaust, no slavery.'"

Wilson added: "When [Ronald] Reagan was elected [president] — I'm old enough to have been there when he was elected — and I was an adult; I voted. I didn't vote for Reagan, but he won. And at that time, I thought, 'Well, this makes anything possible. You can elect a Hollywood star, who, okay, yeah, he was the governor of California for a while, but you can elect a Hollywood star, an actor, to be president. So that makes anything possible for the future.' And sure enough, we're still on the downward slope."

Ann also talked about the fact that millions of Americans chose to stay home and not vote in the 2024 presidential election, ultimately failing to turn out at the rate they did in 2020 when they ousted Trump.

"One of the most beautiful things about democracy, I think, is that everybody pitches in," she said. "You don't just sit on your butt and let everybody else go to the band meeting and then bitch when you don't like what they came up with. No — you have to go to the meeting and give your opinion.

"That's a hard one for me too," she admitted. "And I did it too, myself, when I was younger. It wasn't that I thought my vote didn't matter. I was living in Canada. It was kind of harder, and I was just busy. I was trying to start a band, and it seemed like the whole voting political process was just a part of another world that I couldn't identify with. I'm sure a lot of younger people feel that: 'It's just a bunch of old men lying to each other or trying to get more sales, more clients, more votes by being this way that has been carefully worked out by strategists.'"

Earlier this month, Ann dropped $105,000 from the asking price of her home in northern Florida. The 74-year-old singer bought the property, which sits on 12.5 acres along the St. Johns River, 50 miles south of Jacksonville, for $885,000 in 2019 and originally put it on the market last September for $2 million. That price came down on February 11, 2025 to $1,895,000.

Last July, HEART postponed its 2024 concerts due to Ann's cancer diagnosis. At the time, Ann revealed she "underwent an operation to remove something that, as it turns out, was cancerous."

"I'm feeling great but my doctors are now advising me to undergo a course of preventative chemotherapy & I've decided to do it," she wrote in a post on social media.

Ann added that doctors advised her to "take the rest of the year away from the stage in order to fully recover," meaning the tour would need to be put on hold.

Last September, HEART announced additional 2025 dates throughout North America as part of the band's "Royal Flush" tour. The trek will kick off February 28 at the Fontainebleau in Las Vegas and include a second night in Las Vegas on March 1, with additional stops in Toronto on April 10 at Coca-Cola Coliseum, in Mashantucket, Connecticut on April 12 at Foxwoods Resort Casino and in Boston on April 13 at Agganis Arena. The 24-city tour will wrap in New York City on April 16 at Radio City Music Hall.

Photo credit: Criss Cain

Rob Dukes says that he was "as surprised as" everyone else when he was asked to return to EXODUS after a decade-long absence.

Last month it was announced that EXODUS had parted ways with longtime singer Steve "Zetro" Souza and was being rejoined by Dukes.

Souza joined EXODUS in 1986 after previously fronting the band LEGACY (which later became TESTAMENT). He remained in the band until their hiatus in 1993, but rejoined them for two years from 2002 to 2004. Dukes had joined EXODUS in 2005 (following Souza's departure) and remained until 2014, when Souza rejoined.

Regarding how he ended up back in the EXODUS fold, Rob told Mark Strigl (as transcribed by BLABBERMOUTH.NET): "How it happened was Lee [Altus, EXODUS guitarist] and Gary [Holt, EXODUS guitarist] called me, and Tom [Hunting, EXODUS drummer] called me, and they all spoke to me individually to kind of see where I was at. And then they asked me, and I said, 'Sure.'

"I'm not gonna talk about why they did what they did [as far as parting ways with Zetro] — that's on them to talk about, 'cause I have no idea," he continued. "I mean, I kind of do, but it's not my place. So, I'll let them handle that end.

"I was as surprised as you, man," Dukes admitted. "I mean, when I got the call… Me and Gary didn't speak as much, but me and Tom talk all the time. Me and Lee constantly talk about hockey and give each other shit — I'm a Rangers fan; he's a Flyers fan — so we're always in contact, especially during hockey season. And then, like I said, man, it came out of nowhere for myself too. And I took a day and decided, 'Yeah, okay, I can make it work.' 'Cause I have to put my life on hold, the life I've been building for 10 years as a car builder and a welder. But I sat down with the people I work for and the people I work with and I explained the situation and they were all, like, 'Yeah, go do it, man. You only live once.' And I was, like, 'Yeah, cool. That's exactly how I was thinking about it.' So, it all worked out, man. And everybody's stoked and happy."

As for the timeline for a new EXODUS studio album — his first with the band in a decade and a half — Dukes said: "I'm going up [to the San Francisco Bay Area] in a couple of weeks and start doing vocals on the new record. They have a bunch of songs written. Basically, right now they're working out the composition and the drums and stuff. Once again, I'm the fucking new guy, so I'm not really in the loop on things. I just know that I'm gonna be there in the first week of March and then I'll probably be there for a while."

When Strigl noted that Gary said in a recent interview that EXODUS's next album likely won't arrive before 2026, Rob said: "I don't know. I don't have that information. Like I said, I'm the fucking new guy again. They just asked me, 'Hey, can you do this, this and that?' And I go, 'Yeah, I can make that happen.'

"For me, it was a lot of scrambling trying to get the projects that I'm involved with, the cars I'm working on, trying to get them to either a finish point or at least a decent stopping point and dealing with other people's expectations and putting their expectations on hold a little bit," Rob explained. "So it was kind of like a dance, and I was pretty stressed until about a week and a half ago when things just kind of, like, 'Okay. This is the timeline. This is cool. And everybody's happy and everybody's cool. And I get to go do this thing that…'

"I love doing it, man," Dukes said about playing with EXODUS again. "I love hanging out with these guys. It's just fun. It was fun to do, and it's fun to be a part of this situation. And I'm glad they asked me to come back, man."

On the topic of the musical direction of the new EXODUS material, Rob said: "I've heard a few tracks, and they're just really fast. It's fucking thrash metal, and it's EXODUS, for sure. I've heard bits and pieces. Actually, I went up to San Francisco two or three weeks ago and I sat in on a writing session with Gary and Tom. And it was awesome, man. I was, like, 'Goddamn. All right, cool. This is kind of right where I left off.'"

Dukes also touched upon EXODUS's touring plans, which will include two very special "Bonded By Blood" 40th-anniversary shows (April 25 at UC Theatre in Berkeley, California and April 26 at House of Blues in Anaheim, California). "So we're doing that," he confirmed. "I don't know exactly how many shows. I know our first show is April 5th. It's in Philly at the Decibel [Magazine Metal &] Beer festival. And then a tour starts at the end of April and runs through the middle of May or end of May or something like that. And that's all I'm aware of at this point. I know there are some festivals in Europe. I don't have any of those dates. Like I said, I'm the fucking new guy. So, I'm just rolling with it. I mean, I'll probably know more once I get to the the Bay Area and start hanging around those guys. And like I said, man, I've been trying to try to tie up all the ends of my life here in Arizona before I have to bail and leave. So that's what I've been concentrating on. And I know that all that stuff will just work out the way it's supposed to."

Dukes previously joined EXODUS in January 2005 and appeared on four of the band's studio albums — "Shovel Headed Kill Machine" (2005),"The Atrocity Exhibition... Exhibit A" (2007),"Let There Be Blood" (2008, a re-recording of EXODUS's classic 1985 LP, "Bonded By Blood") and "Exhibit B: The Human Condition" (2010).

Earlier this month, Holt told Shawn Ratches of Laughingmonkeymusic about the progress of the songwriting sessions for EXODUS's follow-up to 2021's "Persona Non Grata" album:  "We were gonna try to put it out this fall, but we needed more time for the songwriting. So we're going in the studio here in just a couple of weeks, but by the time we finish the record, we'd have to have it mixed and turned in within two more, and that's just rushing it.

"We're just working away," Gary explained. "The album will be done when it's done. We're not gonna rush it. The last album was fucking phenomenal. So, I'm always trying to top the last one, and this one's gotta be fucking as good or better than 'Persona', which I rank number two — it's my second-favorite EXODUS album behind [1985 debut] 'Bonded By Blood'."

When Ratches noted that EXODUS has always had strong personalities fronting the band, from Paul Baloff to Steve "Zetro" Souza to Rob Dukes, Holt concurred. "That's just part and parcel of being a frontman, I guess," he said. "I think most frontmen in metal do [have strong personalities]. From all my friends, guys like [OVERKILL's] Bobby Blitz — he's a total frontman, strong personality. He's awesome. He's a character. The rest of us are allowed to be a little normal, I guess, normal-ish. EXODUS were always a fucking band of lunatics anyway, especially in our youth when all five of us were certifiably insane.

"But, yeah, that's a hard job being a frontman," he continued. "You don't have a guitar to hide behind. You're standing there exposed. You have a microphone in your hand, maybe a mic stand, maybe half a mic stand, but that's the extent of what you've got to hide behind, kind of. So it's hard.

"All the vocalists in EXODUS have all contributed amazing shit, Baloff being the gold standard, and Zetro has done amazing work with the band, and so has Rob," Holt added. "And people will say things like, 'Well, this record is so heavy or this era because of Rob.' I write the songs the way I write them regardless of who's fucking singing… I don't write to the guy singing, and I never have. Those songs on the last album would be the same if they were written for Paul, if he was alive, or as they were written for Zetro or written for Rob. The same goes for the Rob Dukes albums. I just write the songs that are in my head at that time."

Although EXODUS rarely gets mentioned alongside the so-called "Big Four" of 1980s thrash metal — METALLICA, MEGADETH, SLAYER and ANTHRAX — the aforementioned "Bonded By Blood" LP inspired the likes of TESTAMENT, DEATH ANGEL, VIO-LENCE and many others to launch their careers and is considered one of the most influential thrash metal albums of all time.

In a new interview with São Paulo, Brazil's 89 FM A Rádio Rock radio station, THE CULT frontman Ian Astbury was asked if there are any plans for the band to release new music this year as the follow-up to THE CULT's 2022 album "Under The Midnight Sun". Ian responded (as transcribed by BLABBERMOUTH.NET): "Yes, we have some songs. It's just how we're gonna release them, because now everything is very different with albums, streaming.

"Albums are dead, pretty much albums are finished," he explained. "Albums are dead, the concept of making an album, I like the idea of making — if you have a piece of music and it's fresh, put it out."

Asked if he personally prefers the old way of releasing music as a collection of songs on a full-length record, Ian said: "Many years ago, it was just a different format — different time, different format So you went with the format, and the format was to release albums, tour, radio, that kind of thing, whereas now the format is very different — streaming — and I feel that's why there's so many individual artists now or duos who are making music in a much more digital environment, smaller environment. The art of microphoning drum kits, guitar amplifiers is kind of dying because you can get a lot of plugins, if you know anything about recording, that mimic what studio engineers used to be experts at. Digital technology can now mimic that. So we're seeing the end of these incredible engineers and producers who worked in a very different environment. That's not to say that what is happening now is not important or relevant in terms of the quality of what's being made, 'cause there's some incredible music being made that's being done outside of large studios, being done in very small environments with digital technology. But I feel that the way that music is made now changes the way that people create."

Astbury continued: "Definitely rock musicians, for the most part — if you're in a guitar-based band, you like to be in the room together, bass drums, guitars, vocals, unless it's an artist who makes — for example, some artists is one guy, one girl, they make an album in their bedroom and then they put a band together around it and then they present it like a band, but really it's one person."

THE CULT holds a significant place in musical history due to its pioneering use of post-punk, hard rock, and experimentalism, pushing boundaries and influencing countless bands across multiple genres. With their musical prowess, uncompromising attitude and captivating stage presence, they forged a distinct identity while charting new territory for bands to explore. From guitarist Billy Duffy's formative, and influential, years in the Manchester underground, to Astbury's groundbreaking "Gathering Of The Tribes", the duo has left an indelible mark on modern music, shaping its trajectory in profound ways.

"Under The Midnight Sun" arrived in October 2022 via Black Hill Records. The LP was produced by Tom Dalgety (PIXIES, GHOST, ROYAL BLOOD). Dalgety is the first British producer THE CULT has worked with since its second album, "Love" (1985).

Born out of the ashes of the U.K. post-punk scene, THE CULT evolved to become one of the most influential and controversial rock bands of the late 20th century, selling millions of albums, headlining arenas and stadiums around the world, infusing innovative possibilities into the worlds of music and art, and quickly ascending through the ranks of the indie music world to achieve global status. THE CULT, whose music transformed from punk rock to post-punk, psychedelia, heavy dance music and transcendental hard rock, became one of the handful of important bands in the U.S. post-modern and hard rock communities, and was embraced by a generation that was waking up to the influence of 1960s and 1970s rock icons like LED ZEPPELIN, THE NEW YORK DOLLS and David Bowie.

The constant core of THE CULT is the "head and heart" of the band, Astbury and Duffy. Attitude incarnate, the chemistry between these two vastly different artists — equal parts genuine affection and palpable tension — remains the source of their long-standing partnership. Duffy grounds Astbury's esoteric side with a hard rock perspective, and there is no doubt that at all times, these two have each other's back. THE CULT's current lineup also includes former WHITE ZOMBIE, EXODUS and TESTAMENT drummer John Tempesta.

In a new interview with Barbara Caserta of Italy's Linea Rock, SAVATAGE guitarist Al Pitrelli spoke about the reactivated band's upcoming shows in Europe and South America. Joining Al in SAVATAGE's current touring lineup are Johnny Lee Middleton on bass, Chris Caffery on guitar, Jeff Plate on drums and Zak Stevens on lead vocals.

Pitrelli was asked about some fans' complaints that SAVATAGE's comeback doesn't include Jon Oliva, SAVATAGE's founding vocalist and keyboardist, who in 2023 suffered a T7 vertebra fracture in three places, a severe injury that has left him relying on a wheelchair. Additionally, he was diagnosed with multiple sclerosis and Ménière's disease, conditions that have further complicated his health. Al said (as transcribed by BLABBERMOUTH.NET): "There's people who are gonna complain and I understand their complaint — I get it. The two original members, Jon and Criss [Oliva, late SAVATAGE guitarist] — well, Jon is not healthy enough to do this this year. And we're gonna do everything in our power to make sure he can come back, 'cause I want the Mountain King to come out and be amazing, not just be there for the sake of being there. And he doesn't wanna be there unless he can do a spectacular job. Now, Criss Oliva passed away 35 years ago. I have no control over that.

"I know that if you enjoyed the 'Dead Winter Dead' and 'The Wake Of Magellan' tours that we had done, and everybody seemed to have, albeit Jon Olivawas with us, then come out and see for yourself," Al continued. "Don't live in disappointment now. Come out and see it, and if you hate it, then I'll buy the ticket back from you. [Laughs] I don't know what to tell you."

Pitrelli added: "There's always gonna be people who are purists, and I respect that, and I understand that completely.

"We're going to present and articulate this music in an outstanding manner, and I hope everybody enjoys it. And for the people who are like, 'Ehhh', just give us a chance, no pun intended. Let us show you what we're working towards and we can carry on the tradition. I think the songs will supersede everything else. When Zak digs in and starts singing all of Zak songs, everybody's gonna just go, 'Wow, that's amazing.' And we will represent the Mountain King songs the best that we can.

"We know we're going up against some haters," Al concluded. "That's okay. But I'm gonna spend more time thinking about the positive side of it and all the people that are just so excited to come see us. And if in the audience, there's a couple of people with their arms folded, we're gonna work real hard to convert you guys over. Give us a shot. Give us a shot. We'll see what happens."

Asked if there are any plans for SAVATAGE to release new music in the not-too-distant future, Al said: "Jon Oliva and [former SAVATAGE producer and TRANS-SIBERIAN ORCHESTRA founder] Paul O'Neill were constantly writing together — constantly — up until Paul's passing. So there's a lot of unfinished material or demoed material that's kind of sitting around. I know that some of the other guys in the band have gotten with Oliva and were kicking the tires, if you will, on some new material.

"I couldn't give you an answer as to any recording coming out in the near future, only because we're so concentrated on making this world tour so amazing. I would prefer not to confuse anything right now. I just wanna focus on what we have to do, and let's get through this together and see what happens.

"Everybody would love to put a new record out, new material out, but this is not the time," Al added. "This is the time to come out and just show the world this band is better than it was three decades ago."

Zak joined SAVATAGE in 1992 as the replacement for Jon Oliva. Zak sang on four albums with the band — "Edge Of Thorns" (1993),"Handful Of Rain" (1994),"Dead Winter Dead" (1995) and "The Wake Of Magellan" (1997) — before departing in 2000, allowing Jon to return. Both Jon and Zak took part in SAVATAGE's 2015 performance at Wacken Open Air, which marked the band's first, and only so far, appearance on stage since they went on hiatus back in 2002.

SAVATAGE's last album release, "Poets And Madmen", in 2001 was highlighted by Jon's return as lead vocalist, replacing Zak, who left the band citing family reasons, and the departure of Pitrelli, who accepted an offer to join MEGADETH in 2000. Pitrelli did record solos for some songs prior to his exit. Another very limited U.S. tour followed, supported by FATES WARNING in the early shows, and then NEVERMORE for the remainder. Around this time, Jon chose Zak's replacement in the form of Damond Jiniya (DIET OF WORMS). Damond performed Zak's parts on tour, with Jon having an increased vocal role in proceedings.

In September 2021, Jon Oliva was arrested on the west central coast of Florida for driving under the influence as well as possession of a controlled substance. Police charged Oliva with possession of cocaine, which is a felony, and DUI, which is a misdemeanor. Oliva was reportedly arrested again in July 2023 on another cocaine possession charge.

Back in 2016, Jon announced on social media that he suffered a stroke in April of that year. At the time, he said: "It was not as serious as it could have been, but it did leave me with some physical recovery challenges often associated with strokes."

Despite his health issues, Jon said that he didn't regret the way he had lived his life. He wrote: "I lived the rock 'n' roll lifestyle since I was 18. It's all I knew and I enjoyed the ride very much. But there comes a time in everyone's life where you have to step back and make some life-changing decisions... which I have."

Shortly after SAVATAGE's reunion performance at the 2015 Wacken Open Air festival in Wacken, Germany, Oliva claimed that he felt better than he had in 20 years because he had "stopped drinking and eating" in preparation for the concert. He explained: "It's my voice that's freaking me out, because, even when I was in my late 20s, early 30s, doing songs like '24 Hours Ago' were always really hard to do. And, of course, I didn't realize that it was all the drugs and alcohol I was doing. But, after doing that, getting my act together and stuff, singing '24 Hours Ago', it's actually easy now. [Laughs]"

In addition to his work with SAVATAGE, Oliva is well known for co-creating the aforementioned classical music-meets-prog rock and pyro act TRANS-SIBERIAN ORCHESTRA alongside O'Neill. Oliva has reportedly remained involved in TSO's activities even after O'Neill's April 2017 death of an accidental drug overdose.

Jon's brother Criss, who was one of the founding members of SAVATAGE, was killed in October 1993 by a drunk driver when he and his wife Dawn were en route to the Livestock festival in Zephyrhills, Florida. The driver of the other car was found to have a drunk driving record of seven prior DUIs and having a blood alcohol content of .294 percent.

In a new interview with Jonathan Clarke, host of "Out Of The Box" on Q104.3, New York's classic rock station, Ian Anderson reflected on Tony Iommi's sole appearance with JETHRO TULL, which took place in December 1968 for the filming of THE ROLLING STONES' film "Rock And Roll Circus". At that time, JETHRO TULL was in need of a new guitarist after the departure of Mick Abrahams.

Asked how much of the JETHRO TULL performance was actually live, Anderson said (as transcribed by BLABBERMOUTH.NET): "Well, the only person who was live was me. The band, we were performing to a tape because we were playing a piece of music that had been… Our guitar player by then had left, Mick Abrahams. And so Tony Iommi, who we knew and had done a bit of playing together with he, he came in to mime the guitar part. But he was a little embarrassed. I think his fellow bandmembers in EARTH, who, after a name change, became BLACK SABBATH, I think he had his hat pulled down over his eyes so they wouldn't recognize him as playing with JETHRO TULL — or whatever. But he was actually miming to the part, and I was singing live to the backing tape that the rest of them did. It was a bit embarrassing, really, because everybody else on THE ROLLING STONES' 'Rock And Roll Circus' was indeed performing live, including John Lennon and Yoko Ono and Keith Richards and the members of THE WHO, as well as the members of THE ROLLING STONES. It was all very live and very genuinely a live performance. And I felt a bit of a charlatan by virtue of the fact that I was singing to a backing track. But we'd been asked to do it. And we explained what the situation was, and they seemed happy enough with that. So we turned up for a couple of days in a TV studio near London."

After performing with JETHRO TULL at "The Rolling Stones Rock And Roll Circus", Iommi quickly came back to EARTH.

"Well, everything worked out fine," Anderson told "Out Of The Box". "Tony had a lot of fun playing with us for a couple of days, and he was a great guy. We're good friends today. But Tony's natural place, given his very distinct musical style, was certainly embedded in the prototype BLACK SABBATH and came to fruition a year or two later when BLACK SABBATH became increasingly a major force. And I guess today they are the epitome of what heavy metal is. It was where it really began."

Directed by Michael Lindsay-Hogg, "The Rolling Stones Rock And Roll Circus" was originally conceived as a BBC special and was filmed before a live London audience in 1968. The film centers around the original lineup of THE ROLLING STONES — Mick Jagger, Keith Richards, Brian Jones, Charlie Watts and Billy Wyman — who serve as the show's hosts and featured attraction. It starred the band performing fan favorite classics like "Jumpin' Jack Flash" and "You Can't Always Get What You Want", as well as extraordinary live performances by THE WHO, JETHRO TULL, and more.

This performance marked the first musical concert in which John Lennon performed before an audience outside THE BEATLES, as part of supergroup THE DIRTY MAC, which also included music legends Eric Clapton, Keith Richards and Mitch Mitchell. "The Rolling Stone Rock And Roll Circus" was also the last time Brian Jones would perform with THE ROLLING STONES in front of an audience.

"I learned quite a lot from [Ian Anderson], I must say," Iommi later said. "I learned that you have got to work at it. You have to rehearse. When I came back and I got [EARTH] back together, I made sure everybody was up early in the morning and rehearsing. I used to go and pick them up. I was the only one at the time that could drive. I used to have to drive the bloody van and get them up at quarter to nine every morning, which was, believe me, early for us then. I said to them, 'This is how we have got to do it because this is how JETHRO TULL did it.'"

Four years ago, Iommi told the "Backstaged: The Devil In Metal" podcast about his brief stint with JETHRO TULL: "I felt really weird not being with the other [SABBATH] guys. I really missed them. But the thing was I felt a bit out of place 'cause I was joining basically an established band and I wanted to be a part of an established band; I wanted to be able to earn my own dues, if you like. I didn't wanna join a band that was already doing well and I was just gonna be the guitar player. I wanted to be in a band where you all worked together and you are a band. I didn't wanna be the guitar player in JETHRO TULL and like a side musician; I wanted to be a part of a team. So I said to Geezer [Butler], 'Let's get the band back together,' which is what we did. We called Ozzy [Osbourne] and Bill [Ward] from London, and we said we're coming back. 'If everybody's really serious about this, I'm willing to leave and we'll get back together again and really work at it. And that's what everybody suggests.' So that's what we did."

In a new interview with Chuck Armstrong of Loudwire Nights, P.O.D. frontman Paul "Sonny" Sandoval spoke about his upcoming book, "Son of Southtown: My Life Between Two Worlds", in which he talks about walking a unique path between being in a world-famous rock band and his long-held faith as a born-again Christian. He said in part (as transcribed by BLABBERMOUTH.NET): "This is such a fast-forward look. I can honestly write four more books with just the details alone, and the stories alone, which are great. It's rock and roll. But as you kind of read through the book, it's, like, I never intended to be in rock, or I never intended to do this for a living. It just wasn't until I found my faith that I wanted to be vocal about it. I just wanted the people around me to know that I changed.

"My love for Jesus, it's not what the world thinks," he explained. "We've done such a bad job at painting the picture of Jesus, and that's to our own fault. Being Christians, sometimes we come off as we've got it all figured out, and that's not the case. That's not why we have faith. We need a savior; we need God. And when I discovered Jesus, it was just something I wanted for my friends and in my community. And when I was asked to be in this band, I said 'no' at first, 'cause it's not something I wanted to do, but I knew it was a way to just be vocal about the things that I believed, and obviously that took off to what it is.

"But, yeah, I live in the real world of rock and roll, and I've never denied my faith, but also I've never lived rock and roll either. [Laughs] It's everything they say it is — it's all the temptations, it's all the promises of this and that. And I guess maybe now as we've gone through it and look in hindsight, even now, I wouldn't change it for the world. I wouldn't take anything that this world has to offer. This world is temporary, and so I just wanna hold on to the things that I love, and, again, it's my faith, my family, my friends."

After Armstrong suggested that many Christians struggle with their faith from time to time, Sonny said: "Yeah, for sure. But that's what faith is. And I think it's been wrapped up in such a religious bubble that it's given people such a bad taste. And I guess when you're young, you think you have your whole life ahead and you don't think about all those things, but as you get older and my age and life starts to change — the Bible says to set your heart and mind on things above, set your heart on the eternal.

"I mean, let's just call it what it is," he continued. "If none of it is real, then I lose nothing. You lose nothing. You know what I mean? We die, we go to sleep and that's it. Life is over. We lived a great life. And I wouldn't change it. But because I do believe, I believe that there is eternity, I believe that there's a heaven and a hell. And that's not to scare anybody. I believe if God created us, he created us for more than just this temporary life. And so — whatever. It's food for thought. I'm not preaching to anybody, but if there is an afterlife, I wanna be on the right side. That's all."

Armstrong went on to describe "Son of Southtown: My Life Between Two Worlds" as an inspiring read even for those people who don't share Sonny's faith, to which the singer said: "I've tried to do this my entire career where I'm not trying to preach to anybody and tell them how they live. I'm just sharing my story, and my story is undeniable. You're never gonna convince me that there isn't a God, that he doesn't love me and that he's not for us and that we've been created for a purpose and a reason. I need to know these things. I wanna believe that there's a God that is love and that he created me for a reason and that he has a plan for my life, not only on this life, but eternal.

"I get it," Sonny added. "I understand when someone says, 'Man, I'm sick of Christianity. I'm sick of religion.' And I get it. I'm sick of a lot of that stuff too, man. But that is not the Jesus of the Bible. And once I discovered who the Jesus of the Bible was, I fell in love with him, and he's as punk rock as they come. He's as hardcore as they come. He's as rebellious as they come. But people, especially us in the States, we have this Westernized view of this European Jesus that is just fragile and just — I don't know, man — weak. And that's not who Jesus was, man. He was badass."

"Son of Southtown: My Life Between Two Worlds" will be released on February 25 via Baker Books.

Born and raised on the streets of Southtown, two exits from the Mexico border, Sandoval was always going to go his own way. And as frontman of the platinum selling nu metal band P.O.D. — a group too Christian for the world and too secular for the church — he has broken every mold, defied every expectation, and reached into the hearts and minds of hundreds of thousands of people who wanted to belong to something but never felt like they fit in.

In his book "Son of Southtown: My Life Between Two Worlds", he shares how he lived on the edge between two worlds, a line he has attempted to walk with integrity.

Raw and uncut, this memoir tells his true story of growing up in the gritty beauty south of San Diego, his early musical influences and big breaks, his rise to fame and many hardships and struggles along the way.

Readers will get an inside glimpse into stories of performing in cornfields at the Cornerstone Music Festival to rocking MTV's "Total Request Live" with Carson Daly to playing in New York City just weeks after 9/11, and every unglamorous moment in between. His story will inspire readers to always be totally and uniquely them, without apology and without compromise — but with passion and integrity.

Sandoval says: "I've often been asked about my story, and it's always been something I'm very proud to share. This book is a fast-forward look into the off scripted journey that is my life. Now, I'm excited to bring it all together for you on paper, 'Son Of Southtown', coming out everywhere on February 25th! You can pre-order it now wherever books are sold.

"Thank you for all the love and support over the years. I can’t wait to share this journey with you."

KORN guitarist Brian "Head" Welch says: "Love + Joy + Peace + Patience + Goodness + Kindness + Gentleness + Faithfulness + Self Control — nine attributes which, in my opinion, describe my friend Sonny Sandoval's character precisely. I'm confident that you will agree as you dive into his amazing new book, 'Son Of Southtown: My Life Between Two Worlds'. Sonny would shy away from this statement and say he's not perfect. Obviously true. All of us are beautifully flawed. But Sonny comfortably displays these nine characteristics more genuinely than most I've met in my life. In 'Son Of Southtown' you will find that Sonny is always shining in the crazy entertainment business he and I live in, and he shines just as bright in his personal life when the crowds aren't there to see. A hero of the faith to me since 2005, Sonny Sandoval has been an encouragement to me since day one, and I will love+support this son of Southtown and everything he does forever."

PAPA ROACH frontman Jacoby Shaddix says: "This book is such an open, honest look into Sonny Sandoval's life. His story, his music, and his walk with Christ continues to inspire me and many others."

Toby Morse, H2O singer and host of "One Life One Chance" podcast, stated: "Sonny's journey hasn't been easy. But the pain and struggle he's been through has only made his faith and PMA (positive mental attitude) stronger. And as someone who lost a parent as well, I can relate. Also there are only a few musicians that really live their lyrics off stage, and Sonny is one of them. He's very inspiring to me and millions of people around the world. Honored to call him my friend."

Sandoval is the lead singer and lyricist of the multi-platinum band P.O.D. (PAYABLE ON DEATH) and cofounder of THE WHOSOEVERS. He is a product of Southtown, the southern part of San Diego that approaches the border with Mexico. He is the founder and president of the Youth Of The Nation Foundation, which reaches out to children from underprivileged neighborhoods and gives them the opportunity to find their self-worth and value. Sonny is married to his high school sweetheart, Shannon, and they have three children.

In a new interview with Rutgers University, vocalist Katon W. De Pena of California thrash metal veterans HIRAX was asked what his experience has been like as a black metal artist within the metal community. He responded: "For the most part, it has been an excellent experience. I have met people from all over the world. And I've played concerts in many different countries and been able to learn about all kinds of different cultures. I am very lucky."

Asked if he has encountered racism within the metal community, Katon said: "That's an easy question for me to answer being a black man. Yes, because racism is everywhere. It's just up to you if you want to let it ruin your day. You can't let it consume. Racism only has power if you allow it to. Educate yourself and always be aware of your surroundings and you'll be all right. This is the real world we live in and no one is exempt no matter what race you come from."

Katon went on to say that some people have treated him differently because of his race, but added that "I don't let it bother me because there are worse things in this world than some racist person not liking you. If a person doesn't like you because of your skin color, obviously they have a miserable life. You have to keep in mind they're the person with the problem, not you."

As for whether race has had any impact on HIRAX's music, message, lyrics, or image, Katon said: "Without a doubt, HIRAX would not sound the way we do if those weren't elements were not intertwined in our music. If you listen closely and read the lyrics, which are included with all the records we've ever done, you will understand what we're all about. The underlying message is bringing people together. Unity — that is what we believe in."

He added: "I am very transparent about this issue/question. Race is involved in everything that humans do. It's a part of who we are. It is something we will be dealing with till the end of time. I will never try to candycoat it. That's just the honest truth."

Asked if race has had any impact on his personal image as a black metal artist, Katon said: "Yes. For me, it is important for people to know that I am a black man. That's why if you notice, especially the earlier pictures of my career, I've always had a big Afro. I am very, very proud of it. And even though my race has helped start rock 'n' roll and heavy metal, there are not many black musicians doing what I do for a living."

He added: "Race has an impact on what I do. I've always taken the bull by the horns. I've always embraced who I am. My attitude is if anybody has a problem with it, then that's on them, not me. I have no regrets."

As for whether he thinks race matters within the metal community, Katon said: "Yeah, but I am here to break down the doors and break down the barriers. My mission is to bring people together."

HIRAX will release their sixth album, "Faster Than Death", on February 28 via Armageddon Label. Its release will coincide with HIRAX's 40th anniversary.

HIRAX has shared the stage with iconic peers such as METALLICA, EXODUS, MEGADETH and SLAYER during the explosive rise of thrash metal in the 1980s.

HIRAX's current lineup is rounded out by bassist Jose Gonzalez, guitarist Allan Chan and drummer Emilio Marquez.

Just finished this interview (thought I would share it with you all - humanity).
Rutgers University...

Posted by Katon W. De Pena on Monday, February 17, 2025

During a "VIP Experience" question-and-answer session before W.A.S.P.'s December 12, 2024 concert in Las Vegas, Nevada, W.A.S.P. mainman Blackie Lawless reflected on the songwriting process for the band's classic 1992 album "The Crimson Idol". The concept effort tells the poignant story of Jonathan, a young boy who dreams of becoming a rock star to escape the turmoil of his troubled upbringing. As he rises to fame, he grapples with the dark side of celebrity and the emptiness that often accompanies success. The narrative unfolds through the music and lyrics, showing Blackie's storytelling prowess and personal reflections on fame and identity.

Lawless said (as transcribed by BLABBERMOUTH.NET): "All authors will tell you writing is a process of discovery. Sometimes you have a germination of an idea that's small, which is what that idea was. I mean, it started — I was in a restaurant in London when the epiphany first hit. But like I said, it was just a germination of an idea. It wasn't very big. But it started growing from there. And that was '87 when I had that idea the first time. So for three years, this thing was percolating in my head. We do 'The Headless [Children]' record [in 1989], but I'm still thinking about it. It's in the back of my mind.

"They say all writers write all the time, whether they're aware of it or not," he continued. "You're constantly writing. And so what happens, it becomes a process of discovery. It has been said that when your brain goes into either an alpha or a beta state before you go to sleep, is when you're your most creative. So, just before you wake up or just before you go to sleep, 'cause you hear guys talk about it all the time when they dream stuff. I dreamt stuff on 'The Crimson Idol'. I dreamt 'Hold On To My Heart'. But you wake up and it's there and the lyrics, it's like getting it for free. 'Headless', I dreamt 'Headless', complete with lyrics. Billy Joel says he dreams all of his [songs]. But you're not gonna get every one of those to do that. So it's always gonna be a process of discovery. And as you start digging, you're going to find things.

"Now, to give you the proper setup of that record, there was also — I was talking about a series of events that happened," Lawless explained. "There was a series of events that happened on that record too, because believe it or not, we have done 'Headless' and I was in a place where I did not know if I could compete with the best songwriters in the world. I was in a place where I thought, 'I'm never gonna be as good as those guys.' I'm talking about the best of the best."

Reflecting on when he first met THE WHO's Pete Townshend at Radio City Music Hall where "Tommy" played and Blackie presented Pete with the gold disc for the W.A.S.P. cover of THE WHO classic "The Real Me", Lawless said: "Pete and I talked for about 45 minutes about songwriting that time, and I asked him, I said, 'Is it easy for you? 'Cause you make it look easy.' He started laughing. And I could tell by his kind of nervous laughter that it was not easy. And I told him, I says, 'All right, let me give you a picture and see if you can relate to this. We're gonna write a song. We're gonna start out with a block of stone. It's square and has no real shape. You got a chisel in one hand and a hammer in the other. You just start whacking away and pretty soon it starts to take some sort of shape. Some shapes turn out better than others. But whether it's a good shape or whether it's a bad shape, somewhere along the way, you're going to slip and your knuckles are going to get bloodied.' And he started laughing. And I said, 'So you can relate.' He said, 'That is the greatest analogy I've ever heard.' Because that process of discovery that I'm talking about is painful. Because to do it right, to make it authentic, you've gotta go to places you don't wanna go to sometimes. And if I had to bet, whether it's me or anybody else, any other artist that has been able to capture an audience and take them for a lifelong ride, and when I say lifelong, I don't mean five years or ten years — take them for that lifelong ride, the common denominator in it all is the lyrics. Probably everybody in this room, the reason you're here is because of those lyrics. If that's true, then how do I relate to you if I'm not authentic? And how am I going to be authentic if I don't let you inside my head, literally let you crack my skull open, let you walk around barefoot, discover the good, the bad, the not so good? If I don't do that with the lyrics, you're never gonna feel like you know me. And if a fan or a listener does not feel like they know you, they're never gonna develop that intimate relationship. And if they are not intimate with you, you will never take them on that lifelong ride. Because records are chapters in a book, and it's not finished until the artist is done with it, and then the book's complete. So when you look at it, all those records, they're like a diary and they're little pieces, little snapshots of where you were at that time.

"I've said that the first record was an angry record done by an angry band. And it was true," Blackie added. "It was. But you go five years down the road and we make 'Headless', it's kind of hard to be angry when everybody in the band is driving Ferraris. It kind of loses something in the translation. So those records become snapshots of who you are at that time. But unless you are being authentic with your audience, allowing them, like I said, to see the good and the bad and the not so good, they're never gonna feel like they know you. So if you're gonna do it and you're gonna do it authentically, it's gonna be like Peter Gabriel said, digging in the dirt to find the places where we're gonna hurt. And you're gonna have to be willing to share that. A lot of writers don't wanna do that, because they don't want people to know about their private lives. Pop music is like that. But pop music is not the kind of art we're talking about. Those are people who just make records. And that's okay. I mean, there's a place for that too. But it's not what we're talking about right now. So if you're gonna do that, you've gotta be willing to lay it out on the table and say, 'Here it is, folks.'

"I laugh when people talk about nowadays or in this day and age where people get canceled and things like that," Blackie said. "Whether it's me or somebody like me, you cannot cancel us. We've already shown you everything there is to know about us. There ain't nothing else left out on the table that you ain't seen. So if you don't like it, too bad. Go and harass somebody else, 'cause I don't give a shit."

As previously reported, W.A.S.P. will perform its classic debut album in its entirety on the spring/summer 2025 European tour, dubbed "Album ONE Alive".

2024 marked the 40th anniversary of the release of W.A.S.P.'s first LP. To celebrate this milestone, W.A.S.P. will, for the first time in 40 years, play the entire album from top to bottom at headline shows across Europe. In addition, W.A.S.P. will appear at a number of European festivals, performing its greatest hits.

W.A.S.P. is again offering fans VIP tickets that give fans a chance to meet Lawless, get a personal photo with Blackie, autographs and take part in a very personal question-and-answer session with Blackie. VIP tickets can be purchased at waspnation.myshopify.com.

W.A.S.P. kicked off the North American leg of the "Album ONE Alive" tour on October 26, 2024 at Fremont Theater in San Luis Obispo, California.

Along with bassist Mike Duda and lead guitarist Doug Blair, whose tenures in the band are 29 and 26 years respectively, W.A.S.P. is joined by longtime drummer extraordinaire Aquiles Priester.

The 39-city run made stops across North America in Vancouver, British Columbia; Toronto, Ontario; Minneapolis, Minnesota; Dallas, Texas; New York City; Orlando, Florida; and more before wrapping up on December 14 at the Hollywood Palladium in Los Angeles, California.

Because of the extensive back injuries Lawless suffered during the European leg of W.A.S.P.'s 40th-anniversary tour, the band's previously announced 2023 U.S. tour was canceled.

W.A.S.P.'s massive European leg of the 40th-anniversary world tour wrapped on May 18, 2023 in Sofia, Bulgaria at Universidada Sports Hall.

W.A.S.P. wrapped up its first U.S. tour in 10 years with a sold-out show on December 11, 2022 at The Wiltern in Los Angeles. This marked the 18th sold-out shows for the U.S. tour, which kicked off in late October 2022. W.A.S.P.'s performances included the return of the band's classic song "Animal (Fuck Like a Beast)", which hadn't been played live in over 15 years.

W.A.S.P.'s latest release was "ReIdolized (The Soundtrack To The Crimson Idol)", which came out in February 2018. It was a new version of the band's classic 1992 album "The Crimson Idol", which was re-recorded to accompany the movie of the same name to mark the 25th anniversary of the original LP's release. The re-recorded version also features four songs missing from the original album.

W.A.S.P.'s most recent studio album of all-new original material was 2015's "Golgotha".