After more than four decades of bringing heavy music to the world's biggest stages, Brazilian/American metallers SEPULTURA have announced the final show of their career. The historic performance will take place on November 7, 2026 at the Mercado Livre Arena Pacaembu in São Paulo, Brazil, marking the end of one of the most influential journeys in the history of heavy metal worldwide.

The choice of the Mercado Livre Arena Pacaembu holds special meaning for the band. The venue has been part of SEPULTURA's history since the early 1990s, especially because of the iconic concert held at Praça Charles Miller, in front of the stadium, which helped establish the band's strength in Brazil. Decades later, SEPULTURA returns to the same place to close its story, where part of that legacy was also built.

More than a farewell concert, the night is being conceived as a grand celebration of SEPULTURA's history, bringing together different generations, eras and artists who have become part of the band's journey over the past 40 years. The idea is to transform the final show into a unique moment of tribute, connection and celebration of Brazilian heavy music and its global impact.

Among the international acts already confirmed is METAL ALLEGIANCE, featuring some of the most respected musicians in the global metal scene, including Mike Portnoy of DREAM THEATER, Alex Skolnick and Chuck Billy of TESTAMENT, Phil Demmel, formerly of MACHINE HEAD, Troy Sanders of MASTODON, and bassist/founder Mark Menghi.

The lineup will also feature confirmed appearances by KRISIUN, one of the world's most respected death metal bands, and American thrash metal band SACRED REICH. Additional special guests will be announced soon.

Former members and musicians connected to SEPULTURA's history over the decades are also expected to join the celebration, including Jean Dolabella and Jairo Guedz, the latter of whom preceded SEPULTURA guitarist Andreas Kisser in the band's lineup.

Formed in Belo Horizonte in 1984, SEPULTURA helped redefine the boundaries of heavy metal and became the most internationally recognized Brazilian rock band of all time. Through landmark albums such as "Beneath The Remains", "Arise", "Chaos A.D." and "Roots", the band influenced generations and opened doors for Brazilian heavy music worldwide.

Throughout its career, SEPULTURA performed at some of the world's most important festivals, including Rock In Rio, Lollapalooza, Wacken Open Air, Hellfest and Download, building a legacy that transcends metal and has a permanent place in music history.

SEPULTURA's final show at the Mercado Livre Arena Pacaembu promises to be a historic, emotional and unforgettable night, a farewell befitting the band's importance to both Brazilian culture and the global heavy metal scene.

In a recent interview with Jaimunji of Metal On Tap, Kisser was asked if he would rule out a reunion show for SEPULTURA a few years after the completion of the band's ongoing "farewell" tour. He responded in part: "Dude, I don't rule anything out. It's irrelevant to say if [the retirement is] gonna be forever or we gonna be back. The important thing is that we're gonna stop now. We need that rest, because we organize everything around that. We need our time — we need time to look in a different direction.

"SEPULTURA is not gonna die," he continued. "I mean, MOTÖRHEAD is more alive than... Unfortunately, we don't have the touring, but MOTÖRHEAD will be together with us forever. So we're gonna explore different territories and stuff. And the future, we're gonna deal [with it] when it comes. I mean, possibilities are always open. I don't think we have the power to do eight farewell tours, but who knows? [Laughs] I mean, you see [other bands who announced farewell tours before and then came back or kept touring, like] SCORPIONS, you see Ozzy [Osbourne], you see KISS and MÖTLEY CRÜE and SLAYER and stuff. It's okay to rest and to go out a little bit. It's very healthy, because it shows that art is not really connected to any stereotype of what you should be in the eyes of others."

Andreas also talked about SEPULTURA's previous announcement that it was putting together a live album commemorating its last run of shows. The band is recording 40 songs in 40 different cities for what Andreas and his bandmates said would be a "massive compilation of our best, most energetic moments on stage."

"Yeah, we're still making [it]," Kisser said about the live album. "We're still going places, recording. We have the new [SEPULTURA] EP that we are performing live as well, the new songs, et cetera. But this is something for next year. We'd like to stop everything we're doing here, enjoy what we doing, the shows and everything. But we are recording, every show since [drummer] Greyson [Nekrutman] joined the band [in early 2024]. And we have a lot of material. And it's gonna be an amazing project. We like to take our time as well to do something really special, like vinyl, like old-school KISS 'Alive II' type of vibe, with the photos and stuff like that. Very organic and going to the opposite direction of showing everything on the Internet."

Andreas continued: "I remember listening to live albums like MOTÖRHEAD or [IRON] MAIDEN or KISS and just imagining with the headphones being in the concert. And not even imagine to be on stage, but just there, because in Brazil we didn't have shows and concerts. I mean, imagination, it's such a powerful tool to create atmospheres and to fulfill and pursue your dreams. I was only imagining, and that stuff drove me to be where I am today. So I think we like to try to bring a little bit of that vibe back, since vinyl is back with full power. Who knew? I mean, vinyl was dead, completely, this thing of the past, and now it's back with full power in times of artificial intelligence. So that's a hope. This is something organic and human and more connected to something real."

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 previous drummer Eloy 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 would 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.

The final North American leg of SEPULTURA's "Celebrating Life Through Death" tour features support from thrash legends EXODUS, hardcore heavyweights BIOHAZARD, and newcomers TRIBAL GAZE. The trek kicked off on April 29 in Montclair, New Jersey and is visiting major cities across the U.S. and Canada, before concluding on May 29 at The Wiltern in Los Angeles.

In a new interview with host David Robinson of the 60MW podcast, TESLA guitarist Frank Hannon spoke about how his band was unfairly categorized as an 1980s "hair metal" band by the music press. He said (as transcribed by BLABBERMOUTH.NET): "Well, we had loud guitars. And I think the whole era was lumped in, the whole '80s [era], whether you were hair metal or if you were FLOCK OF SEAGULLS or whatever you were, the '80s decade is just categorized as a glam thing. But the difference, I feel for us and a lot of other great bands, is we were taught and advised to stay true to songwriting. Songwriting is key. And Jeff Keith, our singer, really always was very much a stickler on writing lyrics that weren't cheesy, writing lyrics about heartfelt emotion. And I think that's what allowed us to stand the test of time, really. 'Cause that '80s decade, like you said, was unfair. [Laughs] It was unfair. It was fun, it was a lot of fun, but it was unfair, yeah."

After Robinson noted that some of TESLA's early lyrics became even more meaningful in the decades since they were originally written and recorded, Hannon concurred. "It's true," he said. "And at the time we didn't realize how relevant some of those lyrics are. Like even in 'Modern Day Cowboy', the USA, the USSR with their six guns to their side, and we're still worrying about that stuff today."

Frank added: "That's what we have taken the position of as a band and as artists is writing songs with those positive messages 'cause there's so much negativity in the world already. So TESLA tries to contribute an escape of positive vibes."

Back in November 2023, Frank was asked by My Weekly Mixtape if he and his bandmates received any pressure from their record company, Geffen, in the 1980s to compete with the so-called "hair metal" bands that were popular at the time or if Geffen was "100 percent" in TESLA's corner during that period. Frank responded: "Well, I would say it was both. There was some songs that we had to fight for, but we were always being directed by the people that we worked with to write the best songs we could possibly write and not have any filler material or cheesy garbage material on an album. They always insisted that the entire album be good, not just have one song on it that was good and the rest of it be junk. And when I'm talking about [Q Prime management's] Cliff Burnstein and Peter Mensch and [Geffen A&R executive] Tom Zutaut, they were directing us at the time and they were responsible for RUSH, DEF LEPPARD, METALLICA, AC/DC and DOKKEN, and so they were involved with some really high-caliber kick-ass bands that had integrity. So we were very lucky to be getting advice from them to try to write real songs that were gritty and from the heart and not cheesy. And they put a lot of high expectations on us because we were, again, in the company of bands like METALLICA and RUSH and AC/DC, SCORPIONS, DEF LEPPARD. We weren't trying to compete with the glam bands and the trendy stuff. We were trying to be ourselves. And luckily we weren't having pressure put on us to be glam metal We were having more pressure on us to be ourselves and to write the best songs that we could for ourselves."

In October 2023, Frank weighed in on the never-ending debate about how the rise of grunge in the early 1990s forced most hard rock bands off the radio and MTV, with album and tour sales plummeting. Asked in an interview with Real Music With Gary Stuckey how he and his bandmates were affected by the downfall of the 1980s glam metal scene, Frank said: "Well, the '90s were definitely a harder period for us. But really, it wasn't grunge; it was our own fault. [TESLA's fourth studio album, 1994's] 'Bust A Nut' is a great album, but we were already internally having problems. So the external stuff you're talking about — grunge — it didn't really matter for us and our fans, 'cause we were never really the poster child [for '80s rock] anyway. Even during the glam days, we weren't on the cover of all the magazines as being a glam band. So, when grunge came out, and NIRVANA and PEARL JAM and all the style changed, it didn't matter, because we weren't really affected by those trends anyway."

He added: "So, I don't blame grunge — for us. [For bands that] were really cheesy or whatever, then maybe grunge kind of killed those bands. But for us, it was more our own fault. We were burnt out and partying too much and had problems."

In a 2015 interview with Southeast Of Heaven, TESLA singer Jeff Keith said that he and his bandmates "never really relied on image which is probably why we survived when grunge came along. Our fans knew we didn't rely on image so they had no problem keeping us around," he explained. "A lot of bands who were heavily reliant on image just didn't make it and they were out unless they were so huge. Bands that were at our level that relied more on image than anything just didn't make it. I mean, we had a stylist putting Aqua Net in our hair for our first video but we didn't know what we were doing. [Laughs] We didn't stick with that and we didn't rely on image. We relied on the music and our fans know that."

TESLA will release a new album, "Homage", on July 17, 2026, via Frontiers Music Srl. Marking a full-circle moment in the band's storied career, the LP finds TESLA returning to its roots with a collection of covers honoring some of rock's most timeless hits.

"Homage" arrives more than 20 years after the "Real To Reel" series, a release that helped inspire the creation of a new original TESLA song, "Never Alone".

The selected songs on "Homage" were chosen for a variety of reasons, primarily representing some of the greatest vocalists of all time, including Elvis Presley, Freddie Mercury, Sam Cooke, David Ruffin, Etta James and James Brown. Additional selections reflect songs the band grew up hearing on the radio and on their turntables.

TESLA will hit the road this summer on "The Return Of The Carnival Of Sins" tour with MÖTLEY CRÜE and EXTREME. The trek begins on July 17 in Burgettstown, Pennsylvania, and winds its way through the United States before concluding on September 26 in Ridgefield, Washington.

Last October, TESLA completed a five-song Las Vegas residency at the House Of Blues Las Vegas inside Mandalay Bay Resort And Casino. During this exclusive run of shows, TESLA touched all sides of its unique discography, including the heavier edge of electric songs like "Modern Day Cowboy", "Hang Tough" and "Edison's Medicine", as well as the band's acoustic-driven songs such as "Signs" and "Love Song" (two Top 10 Billboard-charting hits).

TESLA previously held a residency at the House Of Blues in April 2024.TESLA's latest six-song EP, "All About Love", was released in November 2024. The EP included four versions of "All About Love" (acoustic, electric, hybrid, live); a live version of "Walk Away", a concert favorite from "Reel To Real, Vol. 1"; and another new song, "From The Heart", an instrumental track by Hannon.

Some fans criticized TESLA for adopting a 1980s-style polished production for its latest album, 2019's "Shock". The follow-up to June 2014's "Simplicity" was helmed by DEF LEPPARD guitarist Phil Collen, whose own group is no stranger to slicked-up, glossy-sounding recordings.

In September 2023, TESLA released the official music video for its cover of AEROSMITH's "S.O.S. (Too Bad)". The song was a bonus track on TESLA's live album, "Full Throttle Live!", which arrived in May 2023. The LP included the band's "Time To Rock!" single, plus other songs, all recorded in August 2022 at Full Throttle Saloon in Sturgis, South Dakota.

In September 2021, original TESLA drummer Troy Luccketta announced that he would "take a little time from the road" to spend with family and friends. He has since been replaced at TESLA's gigs and in the recording studio by Steve Brown, the younger brother of former DOKKEN drummer Mick Brown.

TESLA's debut album, 1986's "Mechanical Resonance", went platinum on the strength of the hits "Modern Day Cowboy" and "Little Suzi". The 1989 follow-up album, "The Great Radio Controversy", produced five hits, including "Heaven's Trail (No Way Out)" and "Love Song", which hit the pop Top Ten.

Press photo credit: Brandon Gullion

THE BLACK CROWES played a cover version of the AC/DC classic "Riff Raff" during their headlining concert Saturday night (May 23) at the Ameris Bank Amphitheatre in Alpharetta, Georgia. Fan-filmed video of the performance can be seen below (uploaded by the Chuck Jones channel on YouTube).

THE BLACK CROWES kicked off a North American tour with WHISKEY MYERS and SOUTHALL on May 17 in Austin, Texas.

THE BLACK CROWES' 2026 touring lineup consists of the Robinson brothers Chris (vocals) and Rich (guitar) alongside drummer Cully Symington, keyboardist Erik Deutsch and guitarist Nico Bereciartua. Longtime bassist Sven Pipien is sitting out the tour and is being replaced by Mark "Muddy" Dutton of BURNING TREE.

THE BLACK CROWES' latest studio album, "A Pound Of Feathers", came out on March 13 via Silver Arrow Records. The 11-song set was recorded over a 10-day period in Nashville with Grammy-winning producer Jay Joyce, and with only Symington, the band's drummer since 2023, joining Rich and Chris in the studio.

Founded by brothers Chris and Rich Robinson, THE BLACK CROWES make music for the mavericks, playing rock 'n' roll that's hip-swinging and heavy, dirty and debonaire, bluesy and ballsy, ecstatic and electrifying, and soulful and soaring. They don't fall in line, and they never cared to either. Instead, they're right at home with the outsiders, the drifters, the lost souls, the hustlers, and the hellraisers who inhabit timeless tunes like "She Talks To Angels", "Hard To Handle", "Wiser Time", "Twice As Hard" and "Black Moon Creeping". No matter where culture went, the multiplatinum Grammy Award-nominated group fearlessly charted their own course, taking flight with the five-times-platinum "Shake Your Money Maker" and never coming back down. Their path twisted and turned from seminal records a la the two-times-platinum Billboard 200 No. 1 LP "The Southern Harmony And Musical Companion" and gold-certified follow-up "Amorica" to a once-in-a-lifetime jaunt with Jimmy Page and accompanying gold-certified live record "Live At The Greek". The band's lore expanded with the chart-shaking "Warpaint" and "Before The Frost…Until The Freeze". Another generation fell under their spell as they launched their biggest headline tour yet to celebrate "Shake Your Money Maker"'s 30th birthday. They lit up the next chapter with 2024's "Happiness Bastards" — which garnered a 2025 Grammy Award nod for "Best Rock Album". Between widespread critical praise, they even picked up 2025 and 2026 Rock And Roll Hall Of Fame nominations.

Former SKID ROW frontman Erik Grönwall played his first full solo concert last night (Monday, May 25) at Cirkus in Stockholm, Sweden.

The setlist for the show was as follows, according to Setlist.fm:

01. Born To Break (live debut)
02. Headless Cross (BLACK SABBATH cover)
03. Bad Bones (live debut)
04. 18 And Life (SKID ROW song)
05. Black Velvet (Alannah Myles cover)
06. I Put A Spell On You / Child In Time / A Whiter Shade Of Pale
07. Hell & Back (live debut)
08. Save Me (live debut)
09. Living On The Run (H.E.A.T song)
10. Highway Star (DEEP PURPLE cover)
11. Who's The Winner (live debut)
12. Higher
13. Lost For Life (live debut)

Encore:

14. House Of The Rising Sun
15. I Will Always Love You (Dolly Parton cover)
16. Praying For A Miracle

Fan-filmed video can be seen below.

When the first of two gigs at Cirkus was first announced last December, Erik wrote in a social media post: "This one is BIG. Like… 'first time in 15 years' BIG. Honestly, I could argue it's the first time ever.⠀
⠀
"On May 2[5]th, 2026, I'm doing something I've never done before: My very first solo show. Live at the legendary Cirkus in Stockholm.⠀
⠀
"I've spent my entire career in bands — H.E.A.T., SKID ROW, MICHAEL SCHENKER and I've loved every second of it. But now… it's time to tell my story. To bring my music, my journey, my voice, and everything I've become onto one stage.⠀
⠀
"Cirkus is where the next chapter begins.⠀
⠀
"This show will be:⠀

* New music from the upcoming solo album⠀
* My most powerful interpretations from YouTube⠀
* A five-piece band⠀
* Pure f***ing rock 'n' roll⠀
⠀
"I've been in this industry for 15 years… and somehow it feels like it starts now.⠀
⠀
"Let's make May 2[5]th a night we'll never forget."

Erik's first fully original solo album, "Bad Bones", came out on May 22.

Known worldwide for his powerhouse vocals and commanding stage presence, Erik has previously fronted SKID ROW and H.E.A.T, and toured across Europe and Japan providing lead vocals for guitar legend Michael Schenker. With "Bad Bones", he now turns the focus inward.

Built entirely on original material, "Bad Bones" is Erik's most honest and uncompromising work to date - an album shaped by years of triumphs, setbacks, reinvention, and survival.

"I've fronted incredible bands and lived through experiences that changed me forever, but 'Bad Bones' feels like the true beginning of my own story," Erik says. "This album is 100 percent me — the good, the bad, all of it. After everything I've been through, I don't really know how to make music any other way than honestly anymore."

Musically, "Bad Bones" captures the spirit and energy of classic hard rock while delivering a sound that feels immediate, modern, and alive. Combining powerful hooks, organic instrumentation, and emotionally charged performances. From the defiant swagger of the title track to the emotional depth of "Praying For A Miracle" and the reflective honesty of "Written In The Scars", the album captures every side of Erik's artistic identity.

The album's first singles have already gained strong international support from major rock radio stations, including Bandit Rock (Sweden),Planet Rock (U.K.) and Star FM (Germany),while Erik's upcoming live shows continue to build momentum. Two hometown performances at Cirkus in Stockholm sold out months in advance, alongside a growing list of festival appearances across Scandinavia and the rest of Europe.

More than just a solo album, "Bad Bones" represents a new era for Grönwall — one built entirely on creative freedom, honesty, and a refusal to compromise.

"'Bad Bones' is about identity, survival, and having the courage to stand by who you are. I do things my way and I play by no rules," Erik says.

In a recent interview with Roppongi Rocks' Stefan Nilsson, Grönwall stated about his solo album, on which he worked with his producer and former H.E.A.T bandmate Jona Tee: "It was just one of those things that I've built my career in bands, I've loved being in bands, but I also asked myself, who am I as a songwriter when I release my own music? 'Cause I did a solo album after [appearing on the competition show] '[Swedish] Idol', but I have to say that was more Sony Music's album. And to be fair against the people I worked with then, and I didn't really know what I wanted to do either. So it was kind of, like, 'Okay, you have a guy who can sing stuff, probably. What do we do? Maybe this.' And then we just put it out there. And it was way too fast. We put it out just to get it out for people to shop for Christmas. [Laughs] So, yeah, it wasn't from the heart. But now it is. And I've never been prouder of an album than I am right now. I've really taken the time, and Jona has been next to me. And I've been experimenting. I've been soul searching, like, 'What if we do this? No, that doesn't feel right. This, no. Okay.' And then I realized that who I am as an artist is everything I've done so far, combined — H.E.A.T, SKID ROW, Michael Schenker. It's not that hard. It's rock and roll. If you can count to four, you can do rock and roll. 1, 2, 3, 4 — it's done. That's all you need."

Grönwall, who was diagnosed with acute lymphoblastic leukemia in March 2021, also spoke about his decision to join SKID ROW in early 2022 and his eventual departure two years later. He said: "For me, it was an obvious 'yes' [when I was asked to join SKID ROW], but I think what people have to understand is that I got the question five months after my bone marrow transplant against leukemia. [I had a] new immune system, new blood type — [I went through] a total reset of the immune system. I weighed 55 kilos [around 121 pounds] after all the chemo. And I got the question. If the question came a month before, earlier, a month earlier than that, I wouldn't have been able to do it. So it was perfect timing, but still the worst timing. So for me, it was a yes, but it was also one of those, like, 'If my doctor says no, I'm not gonna do it.' Because … health always comes first. So that's what I try to live by. And sometimes it's hard in this business because you've got beer in the fridge. So it was a yes for me, and I wanted to do it."

Erik, who auditioned for "Swedish Idol" back in 2009 by singing a cover of SKID ROW's "18 And Life", continued: "SKID ROW has been one of those fans that I've been listening to when I grew up. I love the band. I had a lot of fun in that band, but it was really hard for me to… Here I am doing what I love, my dream, and I get to do it with one of the bands that I grew up listening to. And it was just so surreal. And I did the '18 And Life' when I auditioned for 'Idol' and it was just, like, 'Is this happening? It's surreal.' But at the same time, I had this voice in my head saying, 'Health first, health first.' You gotta respect the guy who went through all the shit at the hospital, the guy who fought for his life. You have to stand up for that guy now. And I felt like it was really hard to say 'no' to touring and to doing shows, because you don't wanna be that guy. You don't wanna be the typical singer. [Laughs]"

Asked if his departure from SKID ROW to focus on his health was also an "easy" decision for him, Erik said: "It was harder. It was really hard. And also because I had a really good time in the band and still have a lot of respect and love for the guys. But, for me, I asked for… I wasn't saying 'no' to touring completely. I was just saying I need a month off at home in between tours. Just 'cause I was still doing checkups at the hospital and I still do it. I actually have one in February coming up. So I kind of felt like I was everywhere and I didn't really take care of myself. And that became stressful because knowing what I've been through, and I don't know what can happen if… It's very unpredictable. Cancer is very unpredictable. So I just wanted to take care of myself, recuperate, have that time. I was still living in Sweden, so [I] just [wanted to] have that time to really take care of myself. So, [what I asked for was] one month off and three weeks on the road, one month off, three weeks on the road. But they are a touring band, and that didn't work for them. And that's completely fine. No hard feelings. That was just something I needed. And then that happened. I decided to take a step back and started doing more stuff on YouTube."

Erik added: "I love singing and I love putting stuff out on YouTube, doing songs I love, interpretations. But then I also found a love for writing music again. So I asked myself after SKID ROW, like, who am I? Who am I? Because I've always built my career in bands. So what do I sound like? And that's what we're gonna find out now."

A year ago, Erik opened up about his decision to exit SKID ROW, telling Shawn Ratches of Laughingmonkeymusic: "It was a really, really tough decision. And if I could have stayed in the band, I would. It just got to a point where I was, like, well, if I'm gonna respect the guy who went through all of this and respect my own values, I just had to make that decision. But it was the right decision, but it was a hard decision."

Grönwall went on to say that both he and the members of SKID ROW "took a risk" when they decided to work with each other. "I remember once saying to [SKID ROW bassist] Rachel [Bolan], like, 'Wow, you guys took a really big risk with me.' And he was, like, Yeah, but you took it that times four' or something, 'cause there are four [other] people in the band. But the thing is we found each other right away. And I still think we were so good for each other. They helped me and I hope I added value to SKID ROW. It feels like it. And they added value to Erik Grönwall, the Grönwall business. So it was a really, really good relationship we had, and we had a really good thing going. But they definitely took a big risk."

Elaborating on the factors that were involved in his decision to leave SKID ROW, Erik said: "I understand it's hard to grasp how what a bone marrow transplant comes with or a leukemia treatment comes with. There's so much, and it's not like there's any blueprint for it. It's just, 'Okay. Today this is happening to your body. Okay, we've gotta check what that is.' And it's blood tests every month, every third month, every six months. And it's a big thing. And it's a lot to keep keep track on, obviously. But we were really good for each other. And those guys were very extremely generous from day one. Very democratic. It was democratic from day one. It wasn't like I was the hired guy. I was part of the band. So they made me feel really good about that. And I wanted to be a part of the band as well. There's a lot to say, obviously, but we had a really good thing together."

Regarding why SKID ROW turned down his proposed touring schedule of three weeks on the road, including traveling, and then one month off, Erik said: "I can't speak for them, obviously. I gave them a proposal that I thought would be manageable for me, but it didn't work for them. And they have to do what they do, and they've been doing this for a long time, and they somehow always manage to come back again. So it's not for me to say."

Erik added that he really wanted to make things work, given the circumstances, but he was given no choice but to leave.

"I can also feel saddened that we ended up here," he said. "But I think we really tried to find a solution. And at the end of the day, everybody's gotta do what they feel is best for them."

Grönwall also spoke highly of SKID ROW's original singer Sebastian Bach, who hasn't fronted the group since his 1996 departure.

"I've always said, from the day I joined SKID ROW, I was, like, if I meet [Sebastian], I'm gonna shake his hand and just say, 'Thank you for the inspiration,' because he was a vocal inspiration for me when I grew up," Erik said. "And I will say it again, what he did on [SKID ROW's] 'Slave To The Grind' [album] — [one of] top three best vocal performances of all time in rock and roll history. That was insanely good. So, for me, it was a privilege to go out and sing those songs. There's a lot of stuff going on vocally, which makes it fun, obviously. It's not fun on bad days, though. When you have a cold, then it sucks — then it's the worst job in the world —but on good days, it's great."

SKID ROW's longtime friend Lzzy Hale (HALESTORM) handled lead vocals for the band's four concerts in late May 2024 and early June 2024, two months after Erik's exit from the group.

At the time of Grönwall's departure, SKID ROW members said in a statement that they were "proud" of what they had "created and accomplished with Erik" over the previous two years" and wished "nothing but the best to him and his health."

In January 2025, Erik told Finland's Chaoszine about his exit from SKID ROW: "Leaving the band was one of the toughest career decisions I ever had to make. I loved being in that band. It didn't hurt waking up being the lead singer of SKID ROW. But I would still be in the band if that was an option.

"I left to respect the person who went through the leukemia — I mean, the person at the hospital," he explained. "I promised myself that I would always put my health first. And when I felt like I couldn't do that being in the band, I just had to make that decision.

"I loved my time in the band. I had so much fun with the guys. We clicked right away, and I will always look back at that time with a smile, for sure. And I would have loved to stay in the band. But given the circumstances, we just couldn't find common ground in terms of how much we should tour."

Grönwall went on to clarify that he was always open to continuing with SKID ROW if an agreement had been reached regarding how much time to spend on the road.

"I'm not sure if it's been said in any interview, but, for me, it was never about not touring at all," he said. "I just wanted to have more time in between to recover. So, my suggestion was three weeks on the road, including traveling, and then one month off, three weeks on the road, including traveling, one month off, just to have that time in between. But they didn't find that feasible, and that's totally fine. I mean, SKID ROW has been doing this since before I was born. [Laughs] They have a recipe. I totally respect that they didn't find out feasible at all. But it was what I needed, and here we are."

The English version of Grönwall's autobiography, "Power – Music, Death, Life", was made available in December 2024 via HarperCollins.

Grönwall, who was a member of the Swedish hard rock band H.E.A.T for nearly a decade before exiting the group in October 2020, announced in September 2021 that he was cancer free after receiving a bone marrow transplant one month earlier.

Grönwall sang on four H.E.A.T studio albums — "Address The Nation" (2012),"Tearing Down The Walls" (2014),"Into The Great Unknown" (2017) and "H.E.A.T II" (2020).

More recently, Erik sang on two of Michael Schenker's albums, 2024's "My Years With UFO" and 2025's "Don't Sell Your Soul". He also toured Europe and Japan with the legendary German guitarist.

In September 2021, just four months before joining SKID ROW, Grönwall released his new cover version of "18 And Life" via all streaming platforms.

In 2018, Grönwall debuted in the U.S. for 10 million viewers in NBC's live broadcast of Andrew Lloyd Webber's and Tim Rice's musical "Jesus Christ Superstar". Along with John Legend, Alice Cooper, Sara Bareilles and others, Erik played the key role of Simon Zealotes.

In late March 2022, SKID ROW released its first single with Grönwall, "The Gang's All Here". The song is the title track of the band's latest album, which arrived in October 2022 via earMUSIC.

SKID ROW played its first show with Grönwall on March 26, 2022 at Zappos Theater at Planet Hollywood Resort & Casino in Las Vegas, Nevada as the support act on the rescheduled dates for SCORPIONS' "Sin City Nights" residency.

Grönwall lives in Knivsta, a city in Uppsala County in east central Sweden, with his wife and their son.
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Long-running Texas-based doom metallers SOLITUDE AETURNUS performed at this year's Maryland Deathfest on May 21 in Baltimore, Maryland. Fan-filmed video of the concert can be seen below (courtesy of Will Bozarth / VLOGJAMMIN').

SOLITUDE AETURNUS's lineup for this year's Maryland Deathfest included singer Jason McMaster, who stepped in as a guest vocalist following the recent departure of Robert Lowe.

The band, which returned to activity in 2024, has played sporadic live shows in the last couple of years, including at the Up The Hammers festival in Greece this past March.

On April 28, SOLITUDE AETURNUS members John Perez (guitar),Edgar Rivera (guitar),Lyle Steadham (bass) and Logan Cade (drums) released the following statement via social medial: "To all our dedicated and loyal fans, we have some significant news to share. After much consideration, the band has decided to part ways with vocalist Robert Lowe. No doubt this will come as a shock to everyone, but we feel this is a necessary change if we are to move forward as an active band.

"We would like to thank Robert for his years of amazing work with the band, and wish him the best in any and all of his future endeavors. This was not an easy decision, of course, but we feel positive about it as we move forward with more shows and other plans.

"No replacement has been named as of yet, however, we will still be performing at the Maryland Deathfest on May 21 with our good friend and fellow Texan, Jason McMaster, stepping in as guest lead vocalist. Many of you know Jason from his fantastic resume of bands, including WATCHTOWER, DANGEROUS TOYS, IGNITOR, and the recent reformation of SA SLAYER. Jason has also performed as guest vocalist for ACCEPT and ARMORED SAINT, so we are confident he can handle the job, and we are excited to bring you a unique and HEAVY performance!

"Thanks to all our fans for your continued support. We will continue to bring you the HEAVY music and performances you expect from SOLITUDE AETURNUS, now and in the future!"

SOLITUDE AETURNUS's latest album, "Alone", came out in 2006.

Formed as SOLITUDE in the spring of 1987, SOLITUDE AETURNUS began after Perez quit his former seminal thrash metal band ROTTING CORPSE. Assembling a group and recording a demo in early 1988, SOLITUDE began planting the seeds within the tape-trading and underground metal network. In late 1988 changes started to occur and the band finally settled on a lineup that consisted of Perez, Rivera, Lowe, Steadham and John "Wolf" Covington on drums. A legal threat from another group forced SOLITUDE to change the name to SOLITUDE AETURNUS during the spring of 1989.

SOLITUDE AETURNUS entered the prestigious Dallas Sound Lab in January of 1990 to record their classic debut album, "Into The Depths Of Sorrow". After some shopping around, the LP eventually caught the attention of Roadrunner Records. Following numerous delays, the album finally saw the light of day in July 1991, a full year and half after it was recorded. No tours followed, although by this time SOLITUDE AETURNUS had already written enough songs for a second album. In March of 1992 the band entered Sound Logic recording studios to begin the sessions for "Beyond The Crimson Horizon". The album was released in July 1992 and eventually a U.S. tour was set up with Paul Dianno's KILLERS. Within a year, the band was dropped from Roadrunner and SOLITUDE AETURNUS had signed a new recording contract with Pavement Records. The band decided to get away from its familiar surroundings and took off for England to record its third album, "Through The Darkest Hour". Recorded in late March 1994 at Rhythm Studios, this was to be SOLITUDE AETURNUS's best work to date, showcasing a more riff-oriented and heavier direction. "Through The Darkest Hour" received critical acclaim all across the globe upon its release in August 1994. The band went on the road with metal legends MERCYFUL FATE for an extensive U.S. tour and shortly after embarked on their first tour of Europe with fellow doom band REVELATION. After this tour, SOLITUDE AETURNUS went through a long break that would last until April 1996, when recording for the next album commenced. During this time Perez started his own Brainticket Records label as well as recording a solo album. The next album, "Downfall", was recorded in Dallas, and despite receiving praise once again for their efforts, SOLITUDE AETURNUS was extremely dissatisfied with the end product. After years of hard knocks and never-ending struggles, the band underwent its first major lineup change, with Steadham leaving to pursue other musical interests. The band continued on, enlisting the services of Teri Pritchard (LAST CHAPTER) in as temporary bassist. It was this lineup that toured Europe in April 1996 with Swedish power metal band MORGANA LAFEY. Another unintentional break followed and a split from Pavement Records eventually occurred. During this time, new bass player Steve Moseley was added to the band. SOLITUDE AETURNUS then signed on to German label Massacre Records in December 1997 and recorded what was to become "Adagio". The band went back to Rhythm Studios in England and the album was recorded in March 1998 and released in June of the same year. The band toured Europe in September 1998 with SAVIOR MACHINE. After several festival shows during the years after "Adagio", SOLITUDE AETURNUS underwent a temporary hiatus with members taking time off to focus on other things. Perez focused his efforts on the Brainticket Records label and also recorded another psychedelic album with his LIQUID SOUND COMPANY in 2003. Moseley, Lowe and Covington formed another group during this time called CONCEPT OF GOD. During this hiatus, Rivera and Covington both left the band. Longtime SOLITUDE fan and veteran metalhead Steve Nichols joined the band on drums in 2005, along with master bassist James Martin. With this new lineup, the band completed a mini tour of Greece and Germany during spring of 2006 and spent countless hours crafting the songs for "Alone", SOLITUDE AETURNUS's sixth studio, which was released in November 2006 via Massacre Records.

San Francisco Bay Area thrash metal veterans DEATH ANGEL will celebrate the 10th anniversary of their critically acclaimed eighth studio album, "The Evil Divide", with a special vinyl reissue arriving July 24 via Nuclear Blast Records.

Originally released on May 27, 2016, "The Evil Divide" marked another triumphant chapter in the band's storied career, capturing the ferocity, precision, and relentless energy that have defined DEATH ANGEL for more than four decades. Helmed by renowned producer Jason Suecof at AudioHammer Studios, the album further cemented the band's standing among thrash metal's elite, earning widespread acclaim for its explosive songwriting, technical intensity, and emotionally charged performances.

The 10th-anniversary LP edition will feature the bonus track "Wasteland", DEATH ANGEL's powerful interpretation of the 1986 song originally performed by THE MISSION. Previously available only on select limited CD digipak editions outside the United States, the track will now make its vinyl debut while also becoming available for streaming worldwide for the very first time.

The reissue arrives as DEATH ANGEL continue celebrating another landmark in their legacy with their ongoing U.S. tour commemorating the 35th anniversary of their landmark 1990 album "Act III".

DEATH ANGEL is a pioneering American thrash metal band formed in 1982 in Daly City, California, and a vital force in the legendary Bay Area thrash movement. Emerging as teenage prodigies, the band quickly built a reputation for blistering speed, technical precision, fearless songwriting, and ferocious live performances — qualities that continue to define them more than four decades later.

Formed by cousins Rob Cavestany (guitar),Dennis Pepa (bass) and Andy Galeon (drums),alongside vocalist Mark Osegueda and guitarist Gus Pepa, DEATH ANGEL cut their teeth in local clubs before exploding onto the international stage with their 1987 debut album "The Ultra-Violence", recorded when Galeon was just 14 years old. Its complex arrangements and explosive energy immediately distinguished them within the Bay Area scene. They followed with 1988's "Frolic Through The Park", which featured the breakout single and MTV favorite "Bored", even leading to the band hosting "Headbangers Ball". In 1990, their major label debut "Act III" (Geffen) revealed a more dynamic and melodic dimension while retaining their thrash intensity. With MTV airplay for "Seemingly Endless Time" and "A Room With A View" and a feature in People magazine, the album cemented their status as one of thrash metal's most musically adventurous acts.

After reuniting in 2001, DEATH ANGEL embarked on a powerful second chapter — one that would become among the strongest stretches of their career. Rather than leaning on nostalgia, they delivered a run of acclaimed releases that fused classic Bay Area aggression with sharpened songwriting and modern production. Beginning with "The Art Of Dying" (2004) and continuing through "Killing Season" (2008),"Relentless Retribution" (2010),"The Dream Calls For Blood" (2013),"The Evil Divide" (2016) and 2019's "Humanicide", the band refined their attack while expanding their dynamics. Across these albums, intricate riff craftsmanship, blistering tempos, and socially aware lyricism became hallmarks of their modern era. "Humanicide" earned DEATH ANGEL a Grammy nomination for "Best Metal Performance", further solidifying their place among contemporary thrash metal's most vital and respected forces.

In 2025, the band unveiled two standalone singles, marking their first new material in several years and signaling the next phase of their evolution. "Wrath (Bring Fire)" delivered a high-velocity assault rooted firmly in classic Bay Area ferocity, while "Cult Of The Used" emerged as a sharp, socially charged anthem driven by precision riffing, thunderous rhythm work, and commanding vocals. Together, the releases reaffirmed DEATH ANGEL's creative momentum and uncompromising intensity.

To celebrate the 35th anniversary of "Act III", DEATH ANGEL launched a special anniversary tour performing the album in its entirety. The run combined full-album performances with select classics from across their catalog, offering longtime fans a rare and immersive experience. The tour included major U.S. markets and multiple hometown Bay Area performances — including two advanced sold out shows at the legendary Fillmore — underscoring the album's enduring impact. The "Act III" anniversary tour continues into 2026 and 2027, with additional dates to be announced.

The current lineup — Mark Osegueda (vocals),Rob Cavestany (guitar),Ted Aguilar (guitar),Damien Sisson (bass) and Will Carroll (drums) — has remained intact for nearly two decades, forming one of the most stable and formidable configurations in the band's history. That longevity translates powerfully to the stage, where DEATH ANGEL continues to tour extensively across North America, Europe, South America, Asia, and Australia, appearing at major festivals and headlining club and theater dates while maintaining their reputation as one of thrash metal's most electrifying live acts.

Photo credit: Kristin Gerbert

ANTHRAX played its new single, "It's For The Kids", live for the first time during the band's concert on Tuesday, May 26 at Vasil Levski Stadium in Sofia, Bulgaria as the support act for IRON MAIDEN. Fan-filmed video of the performance can be seen below.

According to Setlist.fm, the setlist for ANTHRAX's show was as follows:

01. Among The Living
02. Madhouse
03. Caught In A Mosh
04. Metal Thrashing Mad
05. It's For The Kids (live debut)
06. Antisocial (TRUST cover)
07. Got The Time (Joe Jackson cover)
08. Indians

"It's For The Kids" is taken from ANTHRAX's long-awaited twelfth full-length studio album, "Cursum Perficio", which will arrive on September 18 via Megaforce in the U.S. and Nuclear Blast in Europe. It marks the band's first record in ten years since 2016's "For All Kings", which debuted in the Top 10 of the Billboard 200. The phrase "Cursum Perficio" is Latin for "My journey has come to an end," "My journey is over," or "I complete my journey." It proves apropos for such a complete body of work.

"Cursum Perficio" will be available as a standard CD; Target-exclusive CD with a fabric patch of the album cover; standard black double LP with pop-up gatefold; Target-exclusive double LP, red zoetrope with pop-up gatefold; Amazon-exclusive double LP, purple zoetrope LP with pop-up gatefold; merch-exclusive lilac vinyl double LP with pop-up gatefold; Metal Injection-exclusive white vinyl double LP with pop-up gatefold; Talk Shop Live-exclusive signed with red ripple vinyl double LP with pop-up gatefold; Indie-exclusive red, orange yellow vinyl double LP with pop-up gatefold.

For "Cursum Perficio"'s first single and video, "It's For The Kids", the quintet bulldoze the way for the album's impact. It's a classic ANTHRAX ripper locked and loaded with buzzsaw-sharp riffs, explosive drumming, and a howling and head-banging hook. It undoubtedly has all the makings of a future live staple.

The band dove into recording "Cursum Perficio" in earnest during 2022, working out of Dave Grohl's Studio 606 in Los Angeles. They carefully pieced together what would be this magnum opus, mining their history with reverence, delivering on fan expectations tenfold, and broadening the scope of their signature sound. Produced by Jay Ruston and ANTHRAX, the result is an album that's as angry, aggressive, and alive as their most celebrated fare.

"It was quite a journey from the inception of this album to its completion," ANTHRAX guitarist Scott Ian says. We were supposed to make this in 2020, but the universe had other plans for everyone. After the pandemic, we got to be a band again. When we started working on the record, we were just happy to be in a room together. It was so exciting that it was like being reborn in a way. All of that energy and emotion went into the music. The fear of being forced out of our lives and the joy of coming back together are present. The title 'Cursum Perficio' feels like ANTHRAX. It resembled what we went through to get to the point of finishing the record."

"There was an awful lot of growth between 'Worship Music' in 2011 and 'Cursum Perficio'," ANTHRAX drummer Charlie Benante elaborated. "This album is a culmination of everything we've learned. I was watching a Marilyn Monroe documentary, and I saw 'Cursum Perficio' written on a tile in her last home. When I found out what the phrase meant, it immediately clicked with me. We aren't saying this is our last record, but our journey has come to an end. I believe we've completed the task."

"We had to make 'Fistful Of Metal' and 'Spreading The Disease' to be able to write 'Among The Living'," Ian goes on. "In the same respect, it took 'Worship Music' and 'For All Kings' for us to be able to write 'Cursum Perficio'. I very much compare this record to 'Among The Living'."

"We left it all on the table," agreed ANTHRAX bassist Frank Bello. "We really know who we are as ANTHRAX, what turns us on, and what we need to do. I don't think anybody knows what's next, but we're hungrier than ever. From here on out, we're going to go full throttle for every fucking minute."

"A friend of mine said, 'It's For The Kids' is a straight-up love letter to your fans,'" Ian says. "That's exactly what I wanted it to be. The album needed a four-minute thrash song that harkened back to our first era. Whether it's the aggression or the big chorus, it represents all the best parts of ANTHRAX in a very angry four-minute package. For the video, we wanted to throw back to our 'Madhouse' video — thematically it just made sense and this idea opened the door for us to share the experience with our fans. For all of us!"

"The video for 'It's For the Kids' turned out really well," Benante says. "I don't necessarily like doing videos and this one had elements of things that I really love. There were fans in it, they showed up, they enjoyed it, it made me enjoy the video just seeing them enjoy it. Hearing the song for the first time, their reaction to it, and just the interaction with them was just great. I think the director did a great job on it. It's kind of a throwback to our first ever video, 'Madhouse'. So I think fans are gonna see it and think 'oh look at that, I see what they did.' But yeah, great song and a great video. 'It's For the Kids' is one of the songs that I felt was so strong, and the riff behind it and the rhythm behind it was almost like a tug of war, it's like a push-pull. It has this tension to it where the drums are just playing at a high pace speed, and the guitars are doing pretty much quarter notes with it. And the drums are just going full speed ahead. One of my favorite songs on the record and one of my favorite riffs. I really think this song is a gift to ANTHRAX fans who have been with us throughout the years. This basically is ANTHRAX at its best. Fast-paced, thrashing, melodic fucking metal."

"When I hear certain tracks, I immediately go, 'I want to do this song. It might have a shot," ANTHRAX singer Joey Belladonna notes. "Even the first time I started singing a tune like 'Madhouse', I figured it was going to be a strong one. You just know. There's a lot of variety to each of our records. To me, 'It's For The Kids' is nice, straight-up ANTHRAX. It has a lot of fire and a punch to it. Vocally, it's really cooking. It was definitely fun to hammer down on this one and put a lot of drive into it."

ANTHRAX guitarist Jonathan Donais adds: "'It's For The Kids' is a right-to-the-point thrasher. It's fast, aggressive, catchy and definitely going to be a fun one live. I love the 'Madhouse'-inspired throwback vibe of this video. Involving the fans and capturing their reactions to a new song adds some energy that really stands out."

"I'm psyched for people to hear 'It's For The Kids'!' Bello comments. "This is a heavy, driving song with a big hook chorus-a combination of classic ANTHRAX and current. I can't wait to play it live! Had a (cold!) blast filming the video too. It's a great, energy packed video with a bunch of amazing ANTHRAX fans having a good time on a freezing day in Pennsylvania. The metal kept us all warm."

SUN DONT SHINE (formerly EYE AM),the band featuring Kirk Windstein (guitar, vocals; CROWBAR, DOWN, KINGDOM OF SORROW) alongside former TYPE O NEGATIVE members Kenny Hickey (guitar/vocals) and Johnny Kelly (drums),plus Todd Strange (CROWBAR, DOWN),has released the official music video for the song "All You Wasted". The clip, which was shot by Mike Holderbeast, can be seen below.

"All You Wasted" is taken from SUN DONT SHINE's debut album, "From Birth To Death", which came out on April 1 via Corpse Paint Records.

"From Birth To Death" track listing:

01. Power To Live
02. Cryptomnesia
03. Coming Down
04. All You Wasted
05. When It's Time To Leave
06. The Promise Song
07. What You Are
08. Black To Red
09. In The End

At its core, SUN DONT SHINE is about rejecting the overly polished and letting the music speak for itself. Every track feels like a journey — restless, dynamic, and emotionally charged — driven by a chemistry that can only come from players who have been through life's highs and lows together.

Although it was announced in June 2025 that SUN DONT SHINE would release an EP called "Coming Down" via Corpse Paint Records, the band later revealed plans to focus instead on putting out a full-length effort.

The first single from SUN DONT SHINE, "The Promise Song", came out in January 2025.

Under the band's original name EYE AM, SUN DONT SHINE released two singles, "Dreams Always Die With The Sun" in June 2023 and "Cryptomnesia" in November 2023, via Corpse Paint Records. The songs' accompanying music videos were shot and directed by Mike Holderbeast at OCD Recording And Production.

SUN DONT SHINE isn't just a band – it's a powerful convergence of four iconic musicians who have shaped the landscape of hard rock.

"I don't want our music to be one-dimensional," says Hickey. "I don't want it to be just dark and doomy or always so heavy. I want it to be both light and dark, dynamic and unpredictable."

It's a sentiment that runs deep in their sound, where each track takes on a life of its own, exploring contrasting moods and textures that reveal more with every listen.

With Windstein's earth-shaking riffs and Hickey's evocative, often ethereal melodies, the band strikes a delicate balance between heavy and haunting. Kelly's drumming keeps things tight but never feels constrained, while Strange's bass lines act as the backbone, holding down the bottom end with a ferocity only years in the rock trenches can cultivate.

Yet what truly sets SUN DONT SHINE apart is the chemistry among its members. You can hear it in every note, a raw, almost unfiltered energy that comes from playing with people who have been through it all together — both the highs and the lows. Their music is about embracing imperfections and channeling them into something transcendent, capturing a moment rather than chasing perfection. It's messy, it's visceral, and it's real.

The group's dynamic blend of heaviness and atmospheric nuance makes them a standout, but SUN DONT SHINE's identity goes deeper than their sound. With influences spanning everything from BLACK SABBATH to THE BEATLES, their music tells stories of resilience, reflection, and catharsis. Every song feels like a journey, guided by a sense of purpose that's as intense as it is unpredictable.

For Windstein it's about "breaking new ground." Whether they're delving into bone-crushing riffs or taking a melodic detour, SUN DONT SHINE is less concerned with fitting into a genre and more focused on creating music that resonates with their own experience and emotions.

Speaking to Meltdown of Detroit's WRIF radio station, Kelly stated about how SUN DONT SHINE came together: "That was started with Andrew Spaulding. I met him; he was a merchandiser for DANZIG. And then TYPE O went on tour after that. We brought him out and he worked with TYPE O up until Peter [Steele, TYPE O NEGATIVE frontman] passed away. And we all remained good friends and stuff. And he started an indie label; he started a small little label. And he suggested putting me and Kenny together with Kirk Windstein and Todd Strange from CROWBAR. We've all been friends — I've known Kirk and Todd for, like, 30 years at this point. So we've always been friends and we've always crossed paths and hung out and this and that but never really had the opportunity to get in a room and play together. And Drew had it worked out. We all met in Florida. We got into a room, came up with that song, recorded it the next day, and that was it; it was done.'"

Regarding the name change from EYE AM to SUN DONT SHINE, Hickey told Revolver magazine: "There was another metal band called I AM, and also a rap band called EYEAM, spelled exactly like [us] on Spotify. We did try to trademark the name, but we found out that the rapper owned it. So, we were not able to go forward. But that was just a mock-up name that Andrew came up with, you know what I mean? We didn't figure we were gonna even be a band, you know? So, when it actually became serious, and we had plans to actually put something out, we needed an actual name that could work, and that we could own the trademark to. Same thing happened with TYPE O back in the day. We were called SUB-ZERO, but there was another band named SUB-ZERO and they threatened [to sue]. We had to change it. We had all gotten the negative tattoos already — you know, 'Sub-Zero' — and then history [became] history. It ended up being TYPE O NEGATIVE."

In addition to their work with TYPE O NEGATIVE, Hickey and Kelly had previously collaborated in a band called SEVENTH VOID, which released one full-length album, "Heaven Is Gone", in 2009, and SILVERTOMB, which issued "Edge Of Existence" in 2019.

Original CROWBAR bassist Strange returned to the band in 2016 for the touring cycle in support of the band's "The Serpent Only Lies" album.

Strange, who originally left CROWBAR back in 1999, stuck around for two years before departing once again to focus on his family life.

Windstein, who also plays in the New Orleans supergroup DOWN, released two albums with HATEBREED's Jamey Jasta under the KINGDOM OF SORROW banner. He also issued two solo albums.

Photo credit: Charles Dye (courtesy of For The Win Media)

International symphonic metal legends KAMELOT — renowned for their infectious melodies, cinematic storytelling, and electrifying live performances — return with their haunting new album, "Dark Asylum", arriving August 28, 2026 via Napalm Records. Now 14 albums deep into a genre-defining career — including "Haven", "The Shadow Theory" and most recently "The Awakening" — the band continues to stand as a commanding force in modern metal after more than three decades.

Set within a shadowed Neo Victorian-era world, "Dark Asylum" invites listeners beyond the gates of RavenHill Asylum — an imposing institution once built as a grand cathedral, now repurposed into a place where science, faith, and madness uneasily coexist.

KAMELOT founder and guitarist Thomas Youngblood comments: "'Dark Asylum' follows a soul trapped inside a world of masks, fractured memories, and psychological torment, wandering the endless halls of RavenHill in search of truth, identity, and redemption. What begins as a descent into darkness gradually transforms into a journey of awakening, where beneath the fear, illusion, and chaos lies the possibility of healing, hope, and ultimately a path out of the shadows into Sanctuary. The album explores the duality between despair and salvation, blurring the lines between reality and madness through theatrical storytelling, haunting atmospheres, and deeply emotional themes."

KAMELOT frontman Tommy Karevik adds: "'Dark Asylum' invites listeners into the hidden chambers of the human mind. A journey where every door reveals a different story, yet all remain deeply connected. At its core, the album explores the duality of human nature: the constant tension between fear and hope, chaos and stillness, destruction and healing. 'Dark Asylum' reflects the struggle to remain sane within a cold and barren world, while ultimately discovering that salvation is not something found externally, but something that already exists within us all. Through self-exploration, awareness, and inner peace, healing becomes possible. This concept opened the door to a more cinematic and haunting sonic landscape, allowing us to experiment with darker, more eerie musical themes."

Longtime KAMELOT producer Sascha Paeth returns to helm the album, alongside Jacob Hansen, who oversees mixing and mastering.

Karevik concludes: "The imagery was intentionally painted with delicate strokes, capturing the fine line between beauty and disorder, and the way chaos and tranquility coexist within the same space. The result is an immersive experience that feels both unsettling and deeply human. A descent into darkness that ultimately searches for light."

Deepening the immersion of RavenHill, "Dark Asylum" will be released on a plethora of exciting platforms, including standard gold, solid silver, and classic black vinyl editions, certified vinyl with the white label, white splatter, and blood filled variants, the latter of which are each paired with an official 24-page booklet. Multiple CD digipak available, with the two-disc version including an instrumental version of the album, alongside cassette and digital options.

KAMELOT pushes further into cinematic and atmospheric territory on "Dark Asylum", diving deeper into theatrical darkness while preserving the signature hooks that define their sound. Candlelight trembles along towering arches and cold stone corridors as you are greeted familiar specters: AVANTASIA mastermind Tobias Sammet, ELUVEITIE's Lea-Sophie Fischer, VISIONS OF ATLANTIS's Clémentine Delauney, DECESSUS frontwoman and current reigning Miss World Chile champion Ignacia Fernández, Rannveig Sif Sigurðardóttir and Sólveig Sara Leupold and Billy King. Identity fractures, reality bends, and control slips into unseen hands, guiding its central figure through a descent into psychological darkness that ultimately leads toward transformation… and perhaps sanctuary. From the cinematic sweep of "Ashen World" to the introspective depth of "Sanctuary", and the layered mystique of "Ivy, My Dear", "Dark Asylum" unfolds as a fully immersive journey, blending orchestral grandeur, haunting melodies, and theatrical storytelling into one cohesive vision.

"Dark Asylum" track listing:

01. Sanctorium
02. Ashen World (feat. Ignacia Fernández)
03. ⁠Dark Asylum
04. Sanctuary (feat. Clémentine Delauney & Ignacia Fernández)
05. Nocte Veritas
06. One Last Masquerade (feat. Tobias Sammet)
07. ⁠Ivy, My Dear
08. Godlike Alchemy
09. The Sleeping Mind (Orphic Paradigm)
10. Kaleidoscope
11. Enigma (Think Of Me)
12. Cassandra's Disease
13. Beneath the Moon (Tunglið) (feat. Rannveig Sif Sigurðardóttir, Sólveig Sara Leupold, Lea-Sophie Fischer)
14. ⁠The Puppet King
15. ⁠Sanctum Requiem

KAMELOT is:

Tommy Karevik - Vocals
Thomas Youngblood - Guitars
Oliver Palotai - Keyboards
Sean Tibbetts - Bass Guitar
Alex Landenburg – Drums

Photo credit: Timo Maczollek / Nat Enemede

Bret Michaels says that he and his POISON bandmates have agreed that they would not perform under the POISON name without "all four original members".

Bret's comments come just a day after POISON drummer Rikki Rockett once again expressed optimism that the band would hit the road in 2027 to commemorate the 41st anniversary of POISON's debut album, 1986's "Look What the Cat Dragged In".

Earlier today (Thursday, May 21),the POISON frontman shared the following message via his social media: "Recently, it has come to my attention that there have been some offers for POISON in 2027 and because I would be traveling to awesome Atlantic City tomorrow and Charles Town WV Saturday and both performing & with family over Memorial Day weekend, and out of respect to the other members in POISON to honor the weekend, I would kindly ask that all offers be discussed the week following Memorial Day, as it is a weekend for remembrance and, as I'm the son of a veteran and almost every member of my family have served or is currently serving, as well as the fact I'll be traveling, that we all look to moving discussions of POISON 2027 to the following week which also gives time to see if I can move some of The BMB [BRET MICHAELS BAND] shows and special events that are already being contracted for 2027.

"As I've always said, I'm forever grateful and excited to see my other POISON band members for a reunion and put on a great show for the fans. But as everyone really knows, there is a lot of stuff to agree on and a lot of moving parts and schedules to discuss. I'm sure each member will have the respect to discuss this after Memorial Day weekend as we all know there is no chance to do a real, all-original members reunion if not all the original members are there, nor would we want to, nor would the promoters want it as POISON is nothing more than a name without the original C.C. [DeVille, POISON guitarist], Bobby [Dall, POISON bassist], Rikki and myself giving 100% mind, body and soul. All members of POISON agreed that we will not perform as the name POISON without all four original members. As the fans know, POISON runs off of excitement, positive energy and real live music.

"I have a great feeling we're all going to attempt to make all of this work for 2027."

Rockett recently confirmed that he will pay tribute to "Look What The Cat Dragged In" album by performing the entire LP with his new band, THE ROCKETT MAFIA. This year marks the 40th anniversary of the album, which features the hits "Talk Dirty To Me", "I Want Action", "Cry Tough" and the album's title cut. THE ROCKETT MAFIA features Rikki on drums, Brandon Gibbs (DEVIL CITY ANGELS) on vocals and guitar, Stacey Blades (L.A. GUNS) on guitar and backing vocals, and Tyson Leslie on bass and backing vocals.

In 2015, Rockett and Gibbs joined forces with Dall and DeVille to play several shows as THE SPECIAL GUESTS in what was widely perceived as a not-so-subtle message to Michaels that they weren't willing to remain completely inactive while he pursued a solo career.

Last month, Bret told SiriusXM's "Trunk Nation With Eddie Trunk" that he and his POISON bandmates were "hoping" to go back on tour in 2027, "'cause I know it's a big question. I think — I really strongly think '27, without going into details yet, is going to be a good reunion year for POISON. I think it's gonna be awesome," he said.

Referencing Rockett's recent claim that the band's 2026 tour was no longer happening after Bret allegedly demanded to earn $6 for every dollar each of his bandmates stood to make from the shows, Michaels continued: "Most people like the drama. I'm an anti-drama guy. I love the guys. I think '27 is gonna be great.

"Rikki is my brother. And you're allowed to agree and you're allowed to disagree, but we're gonna go out there and make it an incredible [tour], honestly," Bret added. "If '27 all works out here … we'll jump on the phone, get the whole band on there, or at least me and Rikki just talking it up and be able to lay out some dates and bring a great reunion tour. But I'm grateful for POISON and I love my brothers and and sisters in the BMB [BRET MICHAELS BAND, Bret's solo group], and I don't see any reason we can't do both and make it great."

This past January, Bret denied that POISON's proposed 40th-anniversary tour fell through because he allegedly wanting more money. During an interview with "Chaz & AJ In The Morning" on 99.1 WPLR, Michaels teased that POISON's 2027 tour could be called "40 Plus One", since it would happen on "Look What the Cat Dragged In"'s 41st anniversary.

"As this thing got further down the road… Remember, when you're booking stuff, we're already booking stuff solo into '27. So this just got backed up. And I'm hoping that, as a founding member, obviously that would be a great day, and I'm positive we can make that happen in '27," Michaels said.

Asked why the 2026 tour was no longer happening after he allegedly demanded six times as much as each of his bandmates, Bret said: "Well, I'm gonna answer that honestly. It never happened. We never got to that part of negotiations."

He noted that when discussions about a tour begin, "they ask me to put together solo numbers and an average, and that's the first part we turn in."

"We ask what the stage is gonna look like, where do we start the tour? I even got into where we're starting the dates, and then all of a sudden, '26, the shows in '26 wanted solo answers, so we moved this to '27 back last summer," Michaels explained.

Bret added that "even the other members haven't commented. They're, like, 'I thought this is going in '27 now,'" Michaels said of the tour.

Michaels went on to say that he and the other members of POISON are still "all friends."

"If you wanna discuss something, we have each other's phone number for the last 45 years," he added.

He continued: "No offense. I love Rikki. I love Bobby. I love C.C.. Don't negotiate on the air [during an interview]. Just call me on the phone, and we'll work out what[ever needs to be worked out]. We've worked it out for 40 other years. Let's work out what we need to work out."

When the interviewer noted that he didn't think anyone would blink if Bret asked for more money, Michaels clarified: "Again, I wanna go into this. That never came up on the table. What comes up on the table is, what's people making solo? What are we doing? You throw it out there. And it's not their fault either. It never finished, the negotiations, on everything. Where's the tour start? Who's opening for us? What lights, what sound, what's the stage look like?

"It's hard to explain to everybody how much goes into making a show great," Bret continued. "And with me, when I'm solo. I could make this decision on the bum runners. If I'm out with POISON, we're four founding members. And rightfully so for that situation. So I wanna make sure the fans hear the truth. It should be a four-way discussion. That's what POISON's meant to be."

POISON last hit the road in 2022 when it supported MÖTLEY CRÜE and DEF LEPPARD on a massive stadium tour. After that tour ended, Michaels went back to performing sporadic shows — consisting almost entirely of POISON hits — with his solo band.

In a January 2026 interview with the New York Post's Page Six, Rockett claimed that Michaels was demanding too much money while they were in discussions about a 40th-anniversary tour.

"We had a great offer, I thought, but we left the table. It didn't work," Rikki said at the time. "Really what it came to was C.C., Bobby and I were all in, and I thought Bret was, but he wanted the lion's share of the money, to the point where it makes it not possible to even do it. It's like $6 to every one of our dollars. You just can't work that way."

"I don't do this just for the money," Rikki continued. "I do have a love for this, absolutely. But at the same time, you don't want to go out and work really hard just to make somebody else a bunch of money."

POISON was founded in 1983 and released "Look What the Cat Dragged In" in May 1986.

In a new interview with Josh Klinger of the Rock 95.5 Chicago radio station, POISON drummer Rikki Rockett once again expressed optimism that the band will hit the road in 2027 to commemorate the 41st anniversary of the band's debut album, 1986's "Look What the Cat Dragged In". Regarding why the tour didn't happen in 2026 to coincide with the LP's 40th anniversary, Rikki said (as transcribed by BLABBERMOUTH.NET):  "I don't wanna throw anybody under the bus — I'm not gonna do that — but I will say this: literally tomorrow we are having a conversation with management. We have been made an offer for 2027, and we're going to talk as a band and with management. And I will know more tomorrow. It's a shame we're not doing the interview tomorrow. So hopefully everything will work out and we'll be able to get on track and do something.

"Maybe everything happens for a reason," Rikki continued. "I mean, it's just so funny that if POISON would do a 41st anniversary. I mean, we almost got killed by a disco ball. We almost got killed by pressing hands on a tour bus and falling out of the bus. I mean, we can be a comedy of errors at times, but usually those errors work out some way, somehow and turn into something cool. So I'm hoping this does."

Rockett also once again confirmed that he will pay tribute to "Look What The Cat Dragged In" album by performing the entire LP with his new band, THE ROCKETT MAFIA. This year marks the 40th anniversary of the album, which features the hits "Talk Dirty To Me", "I Want Action", "Cry Tough" and the album's title cut. THE ROCKETT MAFIA features Rikki on drums, Brandon Gibbs (DEVIL CITY ANGELS) on vocals and guitar, Stacey Blades (L.A. GUNS) on guitar and backing vocals, and Tyson Leslie on bass and backing vocals.

"POISON would probably never have done the whole record in its entirety," Rikki explained. "And we're doing it from first note to last note — last scream, I said. So we're doing the whole record, and then some other things we're gonna throw in, too. A couple of B-sides that POISON never does, and couple of DEVIL CITY ANGELS songs, because Brandon and I were in DEVIL CITY ANGELS. So it'll be a really, really cool night. And I just thought, again, it's something POISON wouldn't do. I don't wanna do something Bret [Michaels, POISON frontman] would do [with his solo band]. I don't wanna do something POISON would do at this point in time. I mean, back in the day, of course, we did the whole record, because those were the songs that we had."

Last month, Bret told SiriusXM's "Trunk Nation With Eddie Trunk" that he and his POISON bandmates were "hoping" to go back on tour in 2027, "'cause I know it's a big question. I think — I really strongly think '27, without going into details yet, is going to be a good reunion year for POISON. I think it's gonna be awesome," he said.

Referencing Rockett's recent claim that the band's 2026 tour was no longer happening after Bret allegedly demanded to earn $6 for every dollar each of his bandmates stood to make from the shows, Michaels continued: "Most people like the drama. I'm an anti-drama guy. I love the guys. I think '27 is gonna be great.

"Rikki is my brother. And you're allowed to agree and you're allowed to disagree, but we're gonna go out there and make it an incredible [tour], honestly," Bret added. "If '27 all works out here … we'll jump on the phone, get the whole band on there, or at least me and Rikki just talking it up and be able to lay out some dates and bring a great reunion tour. But I'm grateful for POISON and I love my brothers and and sisters in the BMB [BRET MICHAELS BAND, Bret's solo group], and I don't see any reason we can't do both and make it great."

This past January, Bret denied that POISON's proposed 40th-anniversary tour fell through because he allegedly wanting more money. During an interview with "Chaz & AJ In The Morning" on 99.1 WPLR, Michaels teased that POISON's 2027 tour could be called "40 Plus One", since it would happen on "Look What the Cat Dragged In"'s 41st anniversary.

"As this thing got further down the road… Remember, when you're booking stuff, we're already booking stuff solo into '27. So this just got backed up. And I'm hoping that, as a founding member, obviously that would be a great day, and I'm positive we can make that happen in '27," Michaels said.

Asked why the 2026 tour was no longer happening after he allegedly demanded six times as much as each of his bandmates, Bret said: "Well, I'm gonna answer that honestly. It never happened. We never got to that part of negotiations."

He noted that when discussions about a tour begin, "they ask me to put together solo numbers and an average, and that's the first part we turn in."

"We ask what the stage is gonna look like, where do we start the tour? I even got into where we're starting the dates, and then all of a sudden, '26, the shows in '26 wanted solo answers, so we moved this to '27 back last summer," Michaels explained.

Bret added that "even the other members haven't commented. They're, like, 'I thought this is going in '27 now,'" Michaels said of the tour.

Michaels went on to say that he and the other members of POISON are still "all friends."

"If you wanna discuss something, we have each other's phone number for the last 45 years," he added.

He continued: "No offense. I love Rikki. I love Bobby. I love C.C.. Don't negotiate on the air [during an interview]. Just call me on the phone, and we'll work out what[ever needs to be worked out]. We've worked it out for 40 other years. Let's work out what we need to work out."

When the interviewer noted that he didn't think anyone would blink if Bret asked for more money, Michaels clarified: "Again, I wanna go into this. That never came up on the table. What comes up on the table is, what's people making solo? What are we doing? You throw it out there. And it's not their fault either. It never finished, the negotiations, on everything. Where's the tour start? Who's opening for us? What lights, what sound, what's the stage look like?

"It's hard to explain to everybody how much goes into making a show great," Bret continued. "And with me, when I'm solo. I could make this decision on the bum runners. If I'm out with POISON, we're four founding members. And rightfully so for that situation. So I wanna make sure the fans hear the truth. It should be a four-way discussion. That's what POISON's meant to be."

POISON last hit the road in 2022 when it supported MÖTLEY CRÜE and DEF LEPPARD on a massive stadium tour. After that tour ended, Michaels went back to performing sporadic shows — consisting almost entirely of POISON hits — with his solo band.

In a January 2026 interview with the New York Post's Page Six, Rockett claimed that Michaels was demanding too much money while they were in discussions about a 40th-anniversary tour.

"We had a great offer, I thought, but we left the table. It didn't work," Rikki said at the time. "Really what it came to was C.C., Bobby and I were all in, and I thought Bret was, but he wanted the lion's share of the money, to the point where it makes it not possible to even do it. It's like $6 to every one of our dollars. You just can't work that way."

"I don't do this just for the money," Rikki continued. "I do have a love for this, absolutely. But at the same time, you don't want to go out and work really hard just to make somebody else a bunch of money."

POISON was founded in 1983 and released "Look What the Cat Dragged In" in May 1986.

During METALLICA's May 24 concert at Deutsche Bank Park in Frankfurt, Germany, METALLICA guitarist Kirk Hammett and bassist Robert Trujillo performed a cover of the ACCEPT classic "Fast As A Shark". Fan-filmed video of the performance can be seen below.

METALLICA launched the "M72" world tour in Amsterdam in April 2023 and has since performed for an estimated four million fans worldwide. As with all tour dates, the band is donating a portion of ticket sales to local charities through METALLICA's All Within My Hands foundation. Established in 2017, the foundation has raised more than $20 million, supporting vocational and technical education, food insecurity relief and disaster response initiatives.

METALLICA added one unusual feature to its shows on the band's recent tours: at each stop, Hammett and Trujillo have been covering songs from some of their musical heroes — often choosing songs that are far removed from the band's traditional metal sound. The "doodles," as the band refers to them in their setlists, are pared-down interpretations — just bass and guitar and sometimes Trujillo singing.

During a 2020 appearance on "Drinks With Johnny", the Internet TV show hosted by AVENGED SEVENFOLD bassist Johnny Christ, Trujillo stated about how the idea for the "doodle" came about: "We were in Europe — this wasn't the last European tour, but the tour before that. We were in Amsterdam, and we had tried a couple of... There was a duet moment, where we were supposed to play a METALLICA song that's maybe, like, a deep cut, so we'd play 'I Disappear' or something, and we started noticing that we weren't getting the result we wanted. It was, like, we'd go up there and we'd start playing, like, 'Eye Of The Beholder' or something, and then the crowd's expecting James [Hetfield, METALLICA frontman] to come out and sing, and it's, like, 'Man, this ain't working.' They were feeling like it was a prelude moment, and I started thinking, 'We've gotta do something different.' So Kirk came out this one night, and he started playing that song by CHIC ['Le Freak'], and it totally caught me off guard. And I'm, like, 'Oh, damn. Okay, I see where he's going.' He's walking out to the front of the snake pit playing this funk jam. He got me the first night, 'cause I didn't exactly know the bass line, so I improvised it. And then the second night, I got it."

He continued: "So it kind of started there for a split second, though we were still doing the METALLICA deep cuts. And then we got to Europe, and we were in Amsterdam, and one of our management team members suggested, 'Why don't you play [a song by the Dutch rock band] GOLDEN EARRING, 'Radar Love'? Check that out.' And we were, like, 'Really?' So I started played the bass line, and then the crowd started singing, and it was, like, 'Hold on a minute. There's something here.' So then we started to kind of formulate some local bands from each city. Like, one of the highlight moments was in Prague [Czech Republic — we played a country song called 'Jožin Z Bažin' [by Ivan Mládek], which was huge. And then we played, in Barcelona, a gypsy kind of flamenco acoustic song, by an artist called Peret — it's called 'El Muerto Vivo', And I'm singing in Spanish, I'm doing my best, and the people went nuts. And we go, 'Hold on. We've got something here.' So what we ended up doing… We came out of that tour — we scraped through it; it wasn't perfect, but we scraped through it. And then when we got home, we did some U.S. dates, we did all that, but we knew we were going back to Europe where it really worked. I said, 'I'm going deep.' So I did a bunch of research, and I researched every single city, even Estonia, and I found out what cool either punk, alternative, country — it didn't matter the style — and I learned the fucking language, and I did the phonetic with the lyric, and we went out and did full arrangements. I'm talking about if there was an accordion solo, Kirk was playing it. So we did our homework, and we really, really went into it. I was going to [Kirk's house in] Hawaii to work with him on the arrangements. I spent, like, five days there strictly on the [songs]. We weren't even surfing, we were just 'boom.' So we put a lot of hard work in it. I mean, we were surfing a little bit, but that wasn't the priority. We were actually really spending time on this.

"So I would say on that last tour run, 'cause we were in these massive stadiums, sold-out shows… And every night was great, but there was a handful of grand slams where people were crying and it was this heavy… Like, you're paying tribute to somebody in, like, Moscow, who is like the David Bowie of Moscow, and people are just, like, 'Oh my god.' They don't know what they're gonna get. All of a sudden, we surprise them, and they get what they didn't expect. [Playing a song by] Johnny Hallyday in Paris, at Stade De France, [in front of] 85,000 people. So to be up there and to feel that energy and emotionally connect with the crowd on that level was special. But it was such hard work. I don't know how we [pulled it off].

"I was meeting with people, like, I would even sometimes do it by phone, and I'd be there for two hours getting the language pronunciation right. So it was a lot of work… And sometimes you'll take some beatings," he admitted. "I remember a couple of the shows when we first started doing it, man — beatings, bro; beatings… I remember, there was a couple of 'em, but there was one… It was in Pennsylvania. It was like college — it was over where Penn State is. And holy cow, man. I thought we would play like the fight song for Penn State. Man, we got, like, 10 seconds into that thing, and nobody cared. It was, like, 'Oh my god.' And I stopped playing — I literally stopped playing. I was so embarrassed. And Kirk kept playing. And then, luckily, we kind of went into a METALLICA… Like, in the U.S., we would parlay it with a local song — these are U.S songs — and then we would always kind of justify it by going into a METALLICA [track], like 'Dyers Eve' or something. Just like, 'Okay, we screwed that up, but we got this.' So it was kind of our savior in the States."

In 2019, Hammett told Cosmo Music about his live "doodles" with Trujillo: "We never really know what the response is going to be. You have to understand, we're going into a country; we're picking some song that's seemingly random and abstract to us, and we're learning this song that we've never heard before from this artist that we've never heard before, and we're taking a chance and playing it in a stadium in front of 60,000 people, and we're hoping that we make the right choice. The last, I would say, three legs [of the tour], we've been hitting it out of the park, but before that, there were some growing pains. There have been a few times we've picked the wrong song and played it and people go, 'Huh?' We'll go into a place like Indianapolis, and we'll play a song by an obscure punk band called THE ZERO BOYS, because we think they're cool... We played the hell out of it, and it was really cool, but we looked out at the audience, and they were just like, 'Huh?' Rob and I always tell each other and people don't recognize it, it's not the end of the world as long as we play it well, and they're entertaining in the way we play it, so we have that to fall back on... We were in Nashville, and we played a Loretta Lynn song... The next day, we got a message from Loretta Lynn, who said she was actually at the show with her family and was so tickled when we broke into her song. She said she might think about covering one of our songs sometime, but in the meantime, we should do more of her songs."

Not every artist that has been spotlighted in the "doodle" has been flattered by the Trujillo/Hammett version of their music. Former CELTIC FROST frontman Tom Gabriel Fischer (a.k.a. Tom G. Warrior) was not impressed with the rendition of the group's "The Usurper" that Hammett and Trujillo performed during METALLICA's May 2019 concert in Zurich, Switzerland. "They butchered it, and it was humiliating," Fischer told Rolling Stone. "Why don't they leave their millionaire fingers off it? They've long lost the ability to play true metal in my opinion. Maybe I should go onstage and do a really miserable version of [METALLICA's] 'Hit The Lights' with, like, 200 mistakes to set the balance."

In a new interview with Loud & Clear With Belgian Jasper, Canadian metal maverick Devin Townsend was asked what he is planning to do next, creatively speaking, following the release of his ambitious, orchestral metal opus "The Moth" on May 29 via InsideOut Music. He responded  (as transcribed by BLABBERMOUTH.NET): "There's a grace period that exists upon the completion of a record every time. You can't sustain that amount of adrenaline and that amount of dopamine for so long, and then it's over, and then just be, like, 'Oh, I'm good now.' You crash. It's just what happens. But 37 records into it now, I factor that in. Sometimes I forget, but I do factor it in now. And another reason why 'The Moth' was such a good metaphor for me is because you burn it up. It's, like, gone. 'The Moth', for me, the process that went into integrating my own whatever trip, the logistical challenges, the chaos of it, the theme, as soon as I concluded it, listened to it and recognized that it did what it was supposed to do, I never listen to it again, ever. Unless I have to learn it for live, it's done. So as soon as 'The Moth' was finished and I was, like, 'Yes, it does the thing.' I listened to it from beginning to end, and it fucked me up, and I was really, really emotional at the end, and I felt the catharsis. Then I was, like, 'Okay, good. Done.' And then I start moving on to something else, and 'Moth' is no longer a part of my trip other than interviews and things like that."

He continued: "Where do I go from here? Well, I can only tell you what I can report from this nebulous spot that is the fallout after the making of a record. That's the only thing I can do. History suggests that in two months' to three months' time I'll be making some other crazy fucking thing. But right now, where I landed after 'The Moth' is this really weird kind of existential quandary, where the recognition of what motivated a lot of the work in the past — need for validation, fear of not being accepted, having my identity so heavily tied to my work that in absence of it I don't exist, so productivity becomes like a fetish in a way — upon recognition of those things, all of which inadvertently 'The Moth' addressed, I'm in a weird place because a part of me feels like a tangible expression for the gratitude that I feel for the beauty that is the universe and the shocking awe that I feel about just this in general leads me to think that there's an unending, unyielding stream of creative momentum, that by articulating with a group of empathetic people, you are — I don't know — doing your dharma, so to speak. But there's another part of me that's just, like, 'Nah, fuck it. I just wanna play ambient music and go to the beach. And I think the one thing that I would say that is an indicator that that's a ways off, that second option, is I've got a lot of dependents. [Laughs] I've got family, staff, label, management, merch company. And if I'd have said, 'Fuck it,' and went to the beach and played ambient music, all these people that have had my back for so long would be out of a job. So it's this weird period here that I'm in where, again, in two months I'll probably be, like, 'Hey, I got 'Ziltoid 3' going'," a reference to his concept album about an extraterrestrial being named Ziltoid from the planet Ziltoidia 9, "and it's this crazy Marvel universe full of existential weirdos But if you're asking me right now, which you are, I'm kind of like, I just kind of wanna go to the beach and play floaty guitar. [Laughs]"

Devin added: "With that, that pressure — revenue streams, staff and all this stuff — is also compounded by the fact that I'm not playing pop music. You listen to 'The Moth', and is the world and the demographic at large that funds artists indefinitely clawing and chomping at the bit for like fucked up heavy metal operas? Nope. So with that, I've also got to have a plan, or else I'm just gonna endlessly be doing what I've been doing and just kind of, like, 'We're breaking even, we're breaking even, we're breaking even.' So what I've been trying to do over the past couple years at the same time, in addition to 'The Moth', is find different revenue streams as well, find ways for me to do whatever I want with full creative freedom, whenever I want, with whomever I want. And when I first started talking about this to management, to label, and everyone's, like, 'Well, you can't do that, at least not to the extent that you're wanting to with something like 'Moth'.' But I guess my belligerent nature also takes that as a challenge. And maybe my impetus to continue indefinitely is just that belligerence. Maybe in absence of that belligerence, I would just be on a beach playing ambient music. So for the sake of the people in my world that want me to continue, like, hooray belligerence. [Laughs]"

Earlier this month, Devin announced a return to live activity, with a European solo tour set to take place in September and October 2026. Townsend will perform a range of tracks from his 31-strong studio album discography across a range of different artist projects, including PUNKY BRÜSTER, CASUALTIES OF COOL, DEVIN TOWNSEND PROJECT and the genre-defining STRAPPING YOUNG LAD.

The "Metamorphosis" solo tour offers a rare unfiltered opportunity to see Devin back on stage, performing solo at 23 shows across 10 different countries in Europe. In typical Townsend fashion, expect the unexpected with a varied setlist that will doubtless change night by night, and, of course, a few (bizarre) surprises along the way.

Photo credit: Tom Hawkins

Hard rock band SALIVA has released a new single, "Sadistic Love", out now via Judge & Jury Records alongside the official music video.

"Sadistic Love" is a dark, moody, guitar-driven track that taps into the early-2000s sound that helped define SALIVA's legacy. Built around a heavy mid-tempo groove, the song builds tension before breaking into an explosive chorus, pairing the aggressive, melodic vocals of Bobby Amaru with an undeniable hook. Lyrically, the track explores love as both a lifeline and a weapon, capturing the all-too-familiar feeling of being trapped in a relationship that is falling apart but still impossible to let go of.

Amaru comments: "Some relationships become a battlefield. You fight, you break, you swear it's over, and then somehow you're right back in the middle of it again. 'Sadistic Love' is about being addicted to the very thing that hurts you. It's about chaos disguised as passion and pain disguised as connection. Sometimes the scars become part of the attraction. It's messy, it's toxic, it's real, and we wanted the song to feel exactly like that."

"Sadistic Love" marks SALIVA's fourth new single, continuing to build momentum toward the band's forthcoming new album, "Breaking Through", slated for release on August 14.

In addition to the new release, SALIVA will be hitting the road this summer. The band recently made appearances at leading rock festivals such as Welcome To Rockville and Sonic Temple.

Fans can expect additional announcements in the coming weeks as SALIVA continues rolling out new music and builds toward the release of "Breaking Through".

SALIVA exploded on to the hard rock scene with anthems like "Click Click Boom" and "Your Disease", the latter earning a Grammy nomination. Their major-label debut "Every Six Seconds" (2001) went double-platinum, followed by "Back Into Your System" (2002),which produced hits including "Always", "Raise Up" and "Rest In Pieces".

Since 2011, frontman Bobby Amaru has led the band through a new era with releases including "Rise Up" (2013),"Love, Lies & Therapy" (2016),"10 Lives" (2018),"Every Twenty Years" EP (2021) and "Revelation" (2023). In 2023, the band suffered the devastating loss of founding guitarist Wayne Swinny, whose legacy continues to shape their music and live shows. Reflecting on his passing, Amaru shared, "This band meant more to Wayne than music itself, and he wanted us to continue in its current form."

Most recently, SALIVA released "Revelation: Retold" (2025) via Judge & Jury Records, a deluxe reimagining of their 2023 album featuring guest vocals, unreleased tracks, and new takes on fan favorites, reinforcing the band's resilience and continued evolution.

Judge & Jury is an artist/production team founded by multi-platinum record producer Howard Benson (MY CHEMICAL ROMANCE, SKILLET, THEORY OF A DEADMAN, DAUGHTRY, KELLY CLARKSON, FLYLEAF, HALESTORM, IN FLAMES, etc.) and second-to-none active rock record holder Neil Sanderson (founder/songwriter/drummer of THREE DAYS GRACE).

SALIVA is Bobby Amaru (vocals),Brad Stewart (bass),Josh Kulack (guitar),Sebastian LaBar (guitar) and Sammi Jo Bishop (drums).

In a new interview with Entertainment Tonight's Nischelle Turner, Ozzy Osbourne's son Jack offered an update on the status of the long-awaited Ozzy and Sharon Osbourne biopic. Jack said (as transcribed by BLABBERMOUTH.NET):  "We are full steam ahead. We've been in development at Sony for a number of years now. The script is done. We're just making some final tweaks and hopefully [we'll] get a director attached pretty soon."

Asked if he has someone in mind to play Ozzy in the movie, Jack said: "We do have someone that there's been some communication with. I can't really say who. Studios, they like to do the big reveals. But, yeah, we have someone in mind, a really brilliant actor. And yeah, we're very excited if it works out the way we hope. If Hollywood approves and the powers that be give us the green light, then we're ready to go. So it's very exciting."

Jack previously spoke about the Ozzy and Sharon Osbourne biopic during a May 12 livestream on his YouTube channel,. Jack said at the time:  "I can tell you this: we are moving ahead. I was on calls today about it. The script is right there. We are good. This movie will absolutely happen. Realistically — I mean, look, we're already halfway through '26 — it probably won't come out until '28. But you never know. But, yeah, we're full steam ahead. We're about to start going out and getting a director attached. So, fingers crossed. I'm really excited. It's, yeah, very much been a labor of love, of course. But, yeah, I'm excited — I'm excited for everyone to see this film."

Jack also talked about the Ozzy and Sharon Osbourne biopic in February 2026 during an appearance on an episode of the acclaimed podcast series "The Magnificent Others", hosted by THE SMASHING PUMPKINS frontman Billy Corgan. He said at the time: "We're working on my dad's movie right now, and I'm one of the producers on it. We're doing it at Sony Studios. And I'm really kind of in the trenches with that. And it's funny. Out of all the team assembled on it, with these amazing producers and directors and act[ors], whatever, I'm the least qualified, but everyone just comes to me. I'm the middleman for everyone because if they need questions for my mom or if my mom needs questions for them. So I've found myself in this position where I'm the middleman with it all, and I'm really enjoying the experience and just learning about it."

He added: "Movies, they're different. It's a different animal."

Asked by Billy if the details of the biopic have been announced yet, Jack said: "Well, it was announced that we were doing it with Sony Pictures. We haven't done announced the cast yet, 'cause we haven't settled [on all of it].

"Initially it was gonna go from kind of my dad as a young man to the kind of mid-'90s, but we're shrinking it down," Jack revealed. "We're doing a rewrite right now. In my perfect vision of it, it would be kind of tail end of SABBATH, him going solo. [Because] you gotta have the love story. And that's kind of the main focus of the film, and all the craziness that happened in the early '80s and Randy's [Rhoads, late Ozzy guitarist] tragic death. But, yeah, it's an origin story."

In January 2026, Jack told "Influenced", the SiriusXM show hosted by multi-talented musician and artist Billy Morrison, about the Ozzy and Sharon biopic:  "We are in full steam in the next phase of development with this movie. That's an acted movie that we've been developing with Sony studios for, like, six years already."

As for which actor will play Ozzy in the film, Jack said: "We have our decided pick, and I can't say anything [yet], but it's a phenomenal, phenomenal actor. We have a director attached, and we're doing a rewrite right now."

After Billy noted that Ozzy would "get a kick out of" having a movie made about his life, Jack concurred. "Oh, he would," he said. "And all he kept saying — I'd give him updates: 'Oh, we met with this guy', and 'this is happening'. And he just would go, 'I don't give a shit. Just tell me when it's out so I can go see it.'"

It was reported by Variety back in October 2021 that Ozzy and Sharon had partnered with Sony Pictures and Polygram Entertainment for the film, which will focus on the love story between the BLACK SABBATH frontman and his wife and manager. It will be scripted by Lee Hall, who previously worked on Elton John's "Rocketman".

Ozzy and Sharon, along with their children Jack and Kelly, discussed the biopic in an April 2024 episode of their revived podcast.

"By the time they finish this film, I'll be dead… I wanna be alive to fucking see it," Ozzy said at the time. "Movies take forever to make. Forever," Sharon added.

Asked which actress she would like to play her in the biopic, Sharon said: "Florence Pugh or the little girl from 'Game Of Thrones'."

The film is being produced by Sharon and her children Jack and Aimée Osbourne via their label Osbourne Media (which was also behind the Showtime documentary "God Bless Ozzy Osbourne" and A&E's "Biography: The Nine Lives Of Ozzy Osbourne"),alongside Michele Anthony and David Blackman on behalf of Polygram Entertainment. Andrea Giannetti is overseeing development for Sony.

Variety also pointed out that music from BLACK SABBATH and Ozzy's solo career will be featured in the film.

In 2020, Ozzy stated about the biopic: "From what I understand, it's about Sharon and I and our relationship. It's how we met, fell in love, and how we married. She's my other half. She grew up a lot with me, and I grew up a lot with her."

"I hope it will be a story that everybody can relate to," Sharon said. "You don't have to be a fan of the music, because it's a story about a survivor. No matter what life throws at you, you pick yourself up and you start again. It's just an amazing story of overcoming everything that's thrown at you in your life."

Sharon added that the film will be "a lot more real" than the QUEEN biopic "Bohemian Rhapsody". "We don't want it to be squeaky, shiny clean and all of that," she said. "We're not making it for kids. It's an adult movie for adults."

Back in January 2019, Sharon told Variety that she had approached Danny Boyle ("28 Days Later", "Sunshine", "Trainspotting") about directing the film. "It's the madness of my childhood, growing up in the industry with a powerful father who was somewhat violent," she said.

Sharon went on to say that she "would get a complete unknown" to play Ozzy. "It's Ozzy at a very young age," she explained. "It's Ozzy at 20."

Sharon's father, former music mogul Don Arden, became known as the "Al Capone of pop" and the "English Godfather" for his tough-guy business practices while overseeing the careers of acts ranging from ELECTRIC LIGHT ORCHESTRA to BLACK SABBATH. Arden and his daughter became estranged in 1982 after she took over the management of Ozzy's solo career, also marrying the singer. Father and daughter were not on good terms for nearly 20 years until reconciling in 2002.

Sharon had to pay her father $1 million in a court settlement after she gained control of Ozzy's affairs.

Ozzy died on July 22, 2025 of a heart attack, his death certificate revealed. The certificate also reportedly said the 76-year-old musician suffered from coronary artery disease and Parkinson's disease.

Ten months ago, Osbourne reunited with the rest of the original BLACK SABBATH lineup — guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward — for what was his final performance at the "Back To The Beginning" charity concert in their original hometown of Birmingham, United Kingdom.

Photo credit: Ross Halfin

German/Finnish/French thrash metal veterans KREATOR played a special "deep cuts" 1980s set focusing on the band's "Pleasure To Kill", "Terrible Certainty" and "Extreme Aggression" albums on Saturday, May 23 at the Maryland Deathfest XXI at Market Place/Power Plant Live in Baltimore, Maryland. Fan-filmed video of the entire concert can be seen below.

According to Setlist.fm, KREATOR's setlist was as follows:

01. Ripping Corpse
02. Awakening Of The Gods (first half only)
03. Love Us Or Hate Us
04. Extreme Aggression
05. Riot Of Violence
06. Total Death (first half only)
07. People Of The Lie
08. Betrayer
09. When The Sun Burns Red
10. The Pestilence
11. Terrible Certainty
12. Endless Pain
13. Tormentor

KREATOR's sixteenth studio album, "Krushers Of The World", came out 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).

Prior to the album's arrival, KREATOR released several singles from "Krushers Of The World", including "Seven Serpents", "Tränenpalast" and "Satanic Anarchy". "Tränenpalast" features vocal coach Britta Görtz of extreme metal band HIRAES on guest vocals.

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

KREATOR, which last conquered American audiences and venues in 2024, embarked on a U.S. headline tour earlier this month, with stops at key festivals, including Welcome To Rockville, Sonic Temple and Maryland Deathfest. The tour kicked off on May 7 in Fort Lauderdale, Florida, and ran through May 23 in Baltimore.

The official KREATOR documentary, "Hate & Hope", was shown in July 2025 at the 42nd Munich International Film Festival and received a theatrical premiere in September 2025. The 110-minute film was directed by Cordula Kablitz-Post.

KREATOR frontman Mille Petrozza'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 in August 2025 via Ullstein Verlag.

Professionally filmed video of MEGADETH's April 30 concert at Tecnópolis in Buenos Aires, Argentina can be seen below.

Featured songs:

00:00 - Tipping Point
04:28 - Hangar 18
09:40 - Let There Be Shred
13:38 - Symphony Of Destruction (cut)
17:10 - Tornado Of Souls (cut)
21:48 - Mechanix
26:23 - Peace Sells
31:08 - Holy Wars... The Punishment Due

As previously reported, MEGADETH leader Dave Mustaine was pronounced Guest Of Honor of Buenos Aires during an event on April 29 at the legislature in the Argentine capital.

The Legislature of Ciudad Autonoma de Buenos Aires decided to confer the highest honor that can be awarded to foreign citizens who "have distinguished themselves in culture, in science, in politics, in sports or who have rendered important services to humanity" to Mustaine ahead of MEGADETH's concert at the city's Tecnópolis venue.

MEGADETH's final studio album, "Megadeth", debuted at the top of the U.S. album chart after earning 73,000 equivalent album units in the United States in the week ending January 29, according to Luminate. The bulk of that sum was driven by pure album sales (purchases of physical and digital copies of the album),totaling 69,000. The follow-up to "The Sick, The Dying… And The Dead!" was released via Mustaine's Tradecraft imprint on Frontiers Label Group's new BLKIIBLK label.

MEGADETH also claimed the top spot in Australia (highest previous position No. 2) and Austria (highest previous position No. 8). Other top five spots included No. 2 in Finland (and No. 1 physical),Sweden (plus No. 1 physical; highest previous position No. 9),and Belgium (highest previous position: No. 6); No. 3 in both the U.K. and Germany (highest previous position No. 6); No. 4 in the Netherlands (highest previous position No. 7); and No. 5 in both Italy (highest previous position No. 15) and New Zealand (highest chart position ever).

"The Sick, The Dying... And The Dead!" sold 48,000 equivalent album units in the U.S. in its first week of release to land at position No. 3 on the Billboard 200 chart. It marked MEGADETH's eighth top 10-charting album.

MEGADETH's previous top 10 entries on the Billboard 200 were "Countdown To Extinction" (No. 2, 1992),"Youthanasia" (No. 4, 1994),"Cryptic Writings" (No. 10, 1997),"United Abominations" (No. 8, 2007),"Endgame" (No. 9, 2009),"Super Collider" (No. 6, 2013) and "Dystopia" (No. 3, 2016).

For its final album, MEGADETH once again worked with Chris Rakestraw, a producer, mixer and engineer who previously worked on MEGADETH's last two LPs, the aforementioned "The Sick, The Dying... And The Dead!" and "Dystopia".

Last August, MEGADETH announced its plans to retire with a farewell album and tour.

"There's so many musicians that have come to the end of their career, whether accidental or intentional," Mustaine explained in a social media post. "Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now."

Mustaine has since clarified that MEGADETH's farewell run of shows could last "for another three to five years".

MEGADETH was founded in 1983 after Mustaine was kicked out of METALLICA, a band he was a part of for less than a year.

MEGADETH released its debut album, "Killing Is My Business… And Business Is Good!", in 1985.