German/American metal legends ACCEPT were joined by special guests John Norum (EUROPE),Fredrik Åkesson (OPETH) and Ola Englund (THE HAUNTED) during their headlining concert Wednesday night (May 6) at Cirkus in Stockholm, Sweden. Filling in on drums for the gig was former MEGADETH drummer Shawn Drover. Fan-filmed video of the show can be seen below.

Drover joined ACCEPT as a "special guest artist" at the veteran metallers' first three 50th-anniversary concerts of 2026: on May 1 at the Karmøygeddon Metal Festival in Kopervik, Norway, on May 3 at Filmstudion in Gothenburg, Sweden and in Stockholm.

When Shawn's participation in the shows was first announced in April, ACCEPT said in a statement: "The one and only drummer Shawn Drover (ex-MEGADETH) will be the first special guest artist for ACCEPT's 50th-anniversary celebrations LIVE! Joining the band for the first three shows in May. An absolute legend and beast of a drummer, we are thrilled to have him join us on stage as part of this very special and unique year."

As previously reported, ACCEPT will celebrate its 50th anniversary with an extensive European tour in late 2026, marking a major milestone in the band's extraordinary five-decade career at the forefront of heavy metal. The dates form part of ACCEPT's 50th-anniversary tour, comprising 24 headline shows across 11 European countries.

The tour will see the band bring half a century of metal history to stages across Europe, performing for fans in major cities throughout Germany, France, Spain, Italy, Austria, Switzerland, the Netherlands, Belgium, Poland, Hungary and the Czech Republic.

ACCEPT guitarist Wolf Hoffmann said: "It's incredible to be celebrating 50 years of ACCEPT, and taking this anniversary tour across Europe makes it even more special. The support from our fans over the decades has been overwhelming, and we can't wait to bring these shows to so many countries and celebrate this milestone together."

Special guests on the tour will be Swedish metallers DYNAZTY and U.K. up-and-comers TAILGUNNER.

Since joining ACCEPT in 1976 at the age of just 16, Wolf played a central role in the band. His instantly recognizable and signature guitar style not only created the ACCEPT "sound" but influenced a plethora of other highly successful bands and guitarists. Because of Wolf's unflinching dedication, ACCEPT has become one of the most significant bands in heavy metal. Not only did he lay the musical foundations for the band, he also carried it through both the highs and lows of an extraordinary 50-year career.

Alongside the anniversary tour, ACCEPT will release a special 50th-anniversary album later this year, featuring newly re-recorded classics, rare tracks and guest appearances. "Teutonic Titans 1976–2026" stands as a definitive statement of the band's legacy, forged in steel and driven by unmistakable riffs. Arriving September 4, 2026 via Napalm Records, the album delivers some of the most iconic songs ever written in heavy music.

Chronologically progressing through albums from their formative years, from "I'm A Rebel" (1980) to "Eat The Heat" (1989),ACCEPT present their songs with an all-new, all-star lineup, alongside the signature voice of Mark Tornillo and Wolf Hoffmann's unmistakable riffs. By enlisting a who's who of metal, no two songs on "Teutonic Titans 1976-2026" are the same. Every track features a different combination of vocals, guitars, bass, and drums, giving each classic a fresh edge.

Tobias Forge (GHOST) delivers a commanding performance on the track "Save Us" ("I'm A Rebel", 1980),joined by Ray Luzier on drums. Philip Anselmo (PANTERA),Kirk Hammett (METALLICA) and Mikkey Dee (SCORPIONS) tear through the speed metal classic "Fast As A Shark" ("Restless And Wild", 1982). "Balls To The Wall" surges with the powerful range of Rob Halford (JUDAS PRIEST),alongside the guitar work of Matthias Jabs (SCORPIONS),while the reimagined "Love Child" is elevated by Billy Corgan (SMASHING PUMPKINS) and David Ellefson (MEGADETH) (both songs from "Balls To The Wall", 1983).

Other guest stars on ACCEPT's extraordinary release include K.K. Downing (JUDAS PRIEST),Bobby "Blitz" Ellsworth (OVERKILL),Hansi Kürsch (BLIND GUARDIAN),Chris Jericho (FOZZY),Ralf Scheepers (PRIMAL FEAR),Billy Sheehan (MR. BIG),Ola Englund (THE HAUNTED) and Jeff Loomis (NEVERMORE). The album also features a re-recording of "Hellhammer" ("Eat The Heat", 1989),performed by ACCEPT's current lineup: Wolf Hoffmann, bassist Martin Motnik, guitarist Philip Shouse and drummer Christopher Williams, joined by Jason McMaster (DANGEROUS TOYS) on vocals.

ANTHRAX will release a new song, "It's For The Kids", on Friday, May 15. The track, which can be pre-saved at this location, is the first single from the band's long-awaited new studio album, "Cursum Perficio", due on September 18 in North America via Megaforce and in Europe through Nuclear Blast. The mixing sessions, as well as some of the recording sessions, for the LP took place at Dave Grohl's Studio 606 in Northridge, California. ANTHRAX once again worked with producer Jay Ruston, who previously helmed 2016's "For All Kings" and 2011's "Worship Music" albums.

ANTHRAX filmed the official music video for "It's For The Kids" last December.

"Cursum Perficio" is the Latin phrase inscribed on a crest at the doorstep of Marilyn Monroe's final home, a Spanish Colonial hacienda at 12305 Fifth Helena Drive in Brentwood, Los Angeles, which she purchased in 1962. While often interpreted as "My journey ends," the phrase actually means "I will persevere" or "I am completing my journey".

"Cursum Perficio" will reportedly contain 11 songs, including "Persistence Of Memory", "The Long Goodbye", "Everybody's Got A Plan", "The Edge Of Perfection", "Infectious", "NYC 93", "Cursum Perficio", "T.O.M.B.", "Watch It Go" and "My Victory".

In a recent interview with Australia's Everblack podcast, ANTHRAX drummer Charlie Benante stated about "Cursum Perficio": "I'm so excited about it. I'm so happy about it. This record is really, really good."

Regarding ANTHRAX's touring plans in support of the upcoming LP, Benante said:  "The ANTHRAX record is a very important release to us. So we're gonna, of course, make the time to fulfill doing as many shows as we possibly could in support of this record.

"It's such a different time nowadays," he continued. "If this was 20 years ago, we'd be talking differently about how we're going to march this record out. But these days it's, like, I often said, what does a new record mean to people these days? I just feel like music has become so disposable that if I was gonna make a record, another record, and put my heart into it, I want people to anticipate, I want them to get ready to hear it. Because this record is not three or four songs deep of good songs and then the rest is shit. Every song on this record stands on its own. I mean, when one song finishes and the next one comes up, it's just, like, 'Holy shit. This one's fucking just as good as the last.'"

In March, ANTHRAX guitarist Scott Ian told Andrew Slaidins of The Rockpit's "50 Shades Of Slaids" about the 10-year gap between "For All Kings" and the band's new LP: "We weren't planning on [taking] 10 years [to release a new album]. In actual time, 'cause if you take out the time we were on tour for 'For All Kings', 'cause that record came out in '16, and we didn't finish the touring cycle till November of '19 on that album. We had already started writing at that point for a new record. And we thought we were just gonna take off for Christmas and New Year's at '19 going into '20 and then get back together in '20 and make a record. And then, of course, the world had other plans for everybody. So it wasn't until some point later in '21 that that started picking up again. Really, if you look at actual time we spent writing and recording the record, it's probably about three years, which, I think, that's pretty average these days, certainly for a band [like ours]."

On the topic of his expectations for "Cursum Perficio", Ian said: "I'm so fucking excited. Eight people have heard this fucking album. So I can't wait for people to hear it. I can't wait. And I know what we have. It's like having just the most powerful weapon in the world at your disposal, but you're missing this one little thing and you can't use it. [Laughs]"

Earlier this year, ANTHRAX bassist Frank Bello told Long & McQuade's Dan Coniglio about the group's upcoming album: "I'm very proud. It's so heavy. Some parts are really hard to play — really hard to play, which I'm happy to say, 'cause I like the challenge of it all. Joey's [Belladonna, ANTHRAX singer] vocals — I don't understand how the guy could sing like that, but he still is killing it. And I'm very psyched.

"If you like the last two records we've come out with and the past stuff, I think everybody's gonna be happy, 'cause as fans, we're very stoked," he added. "And it's been a while, guys, so thank you for waiting. It's been 10 years [since the release of the last album]. So we made sure it's worthwhile."

Asked about ANTHRAX's creative process, particularly as it relates to the upcoming album, Frank said: "We had to get over the COVID thing, like everybody else. We couldn't be one of those bands that were doing it over video, 'cause the latency, number one… Say we were jamming on something, it would come out a half a second later. It's, like, 'Oh,' and you lose the vibe. So we would just send files to each other and stuff like that. And then we got together when it was safe to get together, when they told us it was safe. So the three of us — Charlie, Scott and I — got together, as we've done all our lives, and started exchanging ideas. And from the files we've had, [we went through it and said], 'What's good? Is that good? Does that work here? Back and forth. And then you go home again and see what works. Then we start putting melodies to it, and then we put lyrics… It's really like making a cake. It really is that. So it starts with the foundation of the three of us getting the music together. Music [comes first] and then melodies, usually. Scott and I usually go back and forth with that a lot. Charlie comes up with a lot of great music ideas, but we all came out with a lot of music ideas in this. And then the melodies. Scott and I would work on that a lot. And it's an open thing. Everybody can come in with ideas. That's the idea. And then the lyrics would come on top. And to get it through us, to make sure, as fans, and we've been doing this for a while — we cut out a lot of stuff: 'No'. 'Yes'. 'No'. 'Yes'. 'Cause you want the best, like everything else. Like mom and my grandmother said, it's gotta be the best. Work ethic. Editing is really tough, and it's hard. Sometimes you lose parts that you love, but if it's not good for the song. It's all about the song, man. At the end of the day, that's all we're about. It's about the song. And still to this day. Period."

After Coniglio noted that you can't be "married too hard to your ideas", Frank concurred. "I'm still brokenhearted," he said. "And it's true. I think every songwriter will tell you that. Especially when you're in a band, when you're just not writing the stuff by yourself. When you're collaborating, you have to be open and get ready for that. If that's not working, you can't force feed it in, 'cause it's gonna screw up the song and not make it as potent as it can be. You gotta say, 'All right, I gotta get rid of that ego thing and [be, like], 'Okay. You're right.' And learn to say 'you're right' and 'I agree'. And then when you really feel strongly about something, you gotta remember that other side of it and you gotta really fight your way through. And sometimes that works too. So it's a balance."

Earlier in December, Benante told the "100 Songs That Define Heavy Metal" podcast about the status of the band's long-awaited follow-up to "For All Kings":  "Not because it's our record, but God, this record is so good. And I know it took a long time to make, but I think people will really be surprised and they will really grasp this and just be, like, 'Oh my God. This is worth the wait.' At least that's what I think."

Regarding ANTHRAX's working relationship with Ruston, Benante said: "I'll tell you, man, Jay's done the last few ANTHRAX records, and he's become… We talked about [legendary THE BEATLES producer] George Martin before, and Jay has become that [for us]. And him and I have been working very close on this record."

Charlie continued: "I know other bands will understand when I say this — it's, like, you could have three or four songs and it's, like, 'Okay, they're good.' Then you have seven, then you have 10, then the record starts to take shape.

"A couple of months ago, I started to listen to all of [the songs from the new ANTHRAX album] in the order that I think we're gonna put the record in, and it's, like, 'Wow, this is really good,'" Benante added. "It's the best thing when you could put them all together and it just flows. So I'm really excited about it… We pushed the envelope on this record too, so I'm happy about that."

In July 2025, Benante told the "Talk Is Jericho" podcast that he had "just finished the album cover" for the upcoming ANTHRAX album "and that is fucking trippy as hell," he said. "I designed it with this artist, who is killer. You know David Blaine, the magician. He did a six-part series recently [National Geographic's 'Do Not Attempt'], and Mark [Stutzman], the artist, he did a lot of the conceptual art for it.

"It's so weird how things happen to me," Charlie continued. "It's, like, I was looking for an artist and I'm watching this David Blaine documentary, and there's this art, which is exactly what I wanted. And I contacted him, and he loved the idea and he was a fan. So it's so crazy how things just turn out that way. So I'm really happy about that."

Earlier in July, Bello told SiriusXM's "Trunk Nation With Eddie Trunk" about ANTHRAX's new album: "I can't say the title [of the album yet], but what I can say is people who have liked the last two records, and there's been a lot of you, and thank you for that, I think we took another step from that. And this isn't just a salesmanship thing. I am, as a fan, really proud of the band stepping up like this — musicianship, songwriting. Joey's vocals — I'm not even joking when I say this about Belladonna, it's one of the best singing he's done on an ANTHRAX record. I'm not even joking with that. So, we made sure the melodies, everything is right with this record. We're ready to go. It's been a long time, but I think we have the goods. I'm really proud of it, and I can't wait to play this stuff. It's gonna be a little challenging, definitely, but I'm looking forward to getting out there again."

ANTHRAX celebrated its 40th anniversary in 2021 with a number of special activities and events. Formed by Ian and bassist Dan Lilker in Queens, New York on July 18, 1981, ANTHRAX was one of the first thrash metal bands to emerge from the East Coast and quickly became regarded as a leader in the genre alongside METALLICA, SLAYER and MEGADETH.

Active over the past five decades, ANTHRAX has released 11 studio albums, been awarded multiple gold and platinum certifications, received six Grammy nominations, toured the world since 1984 playing thousands of shows, including headlining Madison Square Garden and playing Yankee Stadium with the "Big Four".

"For All Kings" was called by some critics ANTHRAX's strongest album to date. Its arrival followed a five-year period during which the group experienced a rebirth of sorts, beginning with ANTHRAX's inclusion on the "Big Four" tour, and continuing with the release of comeback LP "Worship Music".

California metallers DEVILDRIVER played their new single, "Dig Your Own Grave", live for the first time this past Saturday (May 9) at the Welcome To Rockville festival in Daytona Beach, Florida. Fan-filmed video of the performance can be seen below.

"Dig Your Own Grave" is taken from DEVILDRIVER's upcoming eleventh full-length album, "Strike And Kill", which will arrive on July 10 via Napalm Records.

Joining frontman and mastermind Dez Fafara in DEVILDRIVER's current lineup are the guitar duo of Alex Lee and Gabe Mangold, drummer Davier Ortega Perez and returning bassist Jon Miller.

In a new interview with Jai That Aussie Metal Guy, Dez stated about"Dig Your Own Grave": "When I first got the music, I was just intrigued by what we were writing. And I think that everybody knew it was time to kind of go back to start a little bit. I've had Alex, my guitar player, and Davi, my drummer, have been with me a very long time now, actually. I got my original bass player back after — I don't know — a 12, 15-year hiatus; he's been gone. So him back and writing, and then I got Gabe as well, who produced the record and is playing guitar. But once we started writing, we all kind of said, 'What's the direction?' And I said, 'Look at the logo, man. The logo will tell you what we fucking need to write.' Like, period. And even for myself. So when I got the first three or four tracks, I was blown away. I was, like, 'Okay, this is where we wanna go.' And I started making voice notes for everybody, sending it, and they came back about the voice notes and said, 'Look, don't make a change. You're going the right direction.' And it just started to really fall in place, man."

Dez continued: "I feel blessed to have this group of guys around me at this time in my life after everything I've been through in life, that this is happening. And I think that watching people come to the table with this first single… I really don't read comments and shit — I don't put myself online like that — but in my ears is my managers, my label, are my bandmates, and they're, like, 'People are loving this.' And I go, 'Great. Let's give them more of the same.' So the next single that's coming is very old school, almost first-, second-record old school, and that just came out. We didn't decide to, like, 'Let's go back to start.' We just said, 'Let's write something heavy and groovy like what we are,' and that's what came out. So I think people are really gonna enjoy the second and the third single. But the best thing is this: when you get the record, you're gonna listen to it in its entirety, and at the end, you're gonna be, like, 'I wish we had more.' But there's already 13 tracks… I mean, even the label said, 'Look, we're good with 11,' and I said, 'Okay, these other two songs. You wanna leave them off?' And they were, like, 'Oh, fuck no.' I said, 'Well, then there you go.' If people are gonna spend money, let's give 'em their money's worth. And I think that's what we did with 13 tracks."

Elaborating on "Strike And Kill"'s overall presentation, Dez said:  "Look, people are gonna love this record. I love everything from the artwork to the music that I was given. I let the guys choose the song arrangements, like what's gonna go first on the record. Even the setlist, what set do you guys wanna play? And it's good for me to have a powerful team behind me, because I can sit back and go, 'No, you tell me what you wanna play. You tell me the order of the songs on the record. You guys tell me if you like the visuals that I've come up with.' And it's a powerful tool to be able to let that happen and to listen, man.

"The first time that I listened to the record in its entirety was about two weeks ago," Dez added. "And we were going through the mountains over here in California. I had no signal on my phone, which, for me, is a miracle, and I was, like, 'Great.' I got no phone calls for 45 minutes," and we put the record on. And when it was done, I actually said to my wife, who was driving, I go, 'That's it?' And she's, like, 'Yeah, that's it, man. You guys got 13 tracks.' And I was, like, 'I want more.' So that's a really good thing, I think, for sure to have. And this thing is back on track. And wait till you see it live, man. It is a no-nonsense throwdown."

When "Strike And Kill" was first announced in April, Fafara said in a statement: "My headspace hasn't changed. I have not become complacent or soft in my view of the world or in my music. Metal is our outlet as listeners and writers, so on this record we focused on 'getting it all out' lyrically, and backing those lyrics with savage, relentless music that fuels the heavy California groove like no other. DEVILDRIVER has never sounded like any other band, we do our own thing in our own way, and I'm the most proud of that.

"I'm so proud of these musicians, this music, and the vibe around this record," he added. "DEVILDRIVER sounds like no one else out there right now, we are here to strike and kill!"

"Dig Your Own Grave" was previously described as "a vitriolic onslaught of machine gun riffs and uncompromising aggression, lyrically lambasting fools responsible for their own undesirable fates."

About the track, Fafara stated: "'Dig Your Own Grave' is about how one wrong decision, one wrong move can see your whole world turned upside down, effectively 'digging' your own grave… it's that simple. It can also refer to how your decisions can fuck someone else. This is why there's the line 'Six feet ain't deep enough for you,' because only a deep, deep hole is fitting for what you've done or tried to do to others. Be careful when you choose to make decisions at midnight."

Following DEVILDRIVER's career-defining double album "Dealing With Demons Vol. 1 & 2" — with "Vol. 1" sitting at #1 at metal radio for a triumphant 15 weeks, and "Vol. 2" celebrated by internationally revered media like Metal Injection, Kerrang! and Blabbermouth, who lauded "you can't stop the unstoppable" — the band sets out on a rabid hunt with "Strike And Kill", holding the blade to your throat, and serving up that trademark DEVILDRIVER blend of melodeath elegance, blackened atmosphere, tectonic grooves, and Fafara's iconic visceral delivery.

Wasting no time, the album bursts open with the incendiary "Dig Your Own Grave", a flurry of assault rifle kicks and crunchy riffs encircle the listener casting them into the waiting abyss before transitioning into "Dead In The Water", showcasing the vibrant melodeath tapestries of master guitar duo Alex Lee and Gabe Mangold. "Sanctified In Scars" implements industrial pulsating beats and ethereal sonic textures, sanctifying Fafara's venomous voice with blackened tremolo excellence. The album’s title track, "Strike And Kill", is a reconciliation of hardships and lessons learned, built upon the backs of blisteringly technical riffage and dizzyingly swift drumming by Davier Perez. Tracks like "In The Moonlight" and "Never Coming Home" wrap listeners in serenely blissful guitarmonies, elevating the brutality with elegance and emotion. "Ride Or Die" unleashes pure metal inertia, pulling listeners in with unrelenting force. Exemplifying their technical edge with tracks like "Headed For The Fall" and "You're Just A Ghost", the band embraces mind-bendingly off-kilter patterns that spin listeners' heads. "Summoning Shadows" offers the albums longest respite from carnage, with textured acoustic guitars building tension before the band comes crashing back in with triumphant power. "Shut The Silence On" and "Oath Of Iron" get super thrashy with their ballsy riffage and blast beats, before "All Bets are Off" brings things to a cataclysmic conclusion.

"Strike And Kill" track listing:

01. Dig Your Own Grave
02. Dead In The Water
03. Sanctified In Scars
04. Strike And Kill
05. In The Moonlight
06. Ride Or Die
07. Headed For The Fall
08. Shut The Silence On
09. Never Coming Home
10. Summoning Shadows
11. You're Just A Ghost
12. Oath Of Iron
13. All Bets Are Off

Additionally, DEVILDRIVER will be touring across the western United States with UPON A BURNING BODY and OV SULFUR. Kicking off August 14 in San Diego, California, the "Strike And Kill" North American tour 2026 will hit a slew of major cities, including Dallas, Chicago, Salt Lake City, and Reno, before its conclusion on September 5 in Anaheim, California.

DEVILDRIVER is:

Dez Fafara - Vocals
Davier Ortega Perez - Drums
Jon Miller - Bass
Alex Lee - Guitar
Gabe Mangold - Guitar

Renowned guitarist Joel Hoekstra, who has worked with WHITESNAKE, NIGHT RANGER, Cher and the TRANS-SIBERIAN ORCHESTRA, made his live debut with RATT frontman Stephen Pearcy on Saturday, May 9 at Adventist Health Ampitheater in Tulare, California as part of the singer's "Undercover" 2026 tour. Fan-filmed video of the concert — courtesy of the Star channel on YouTube — can be seen below.

Pearcy is currently commemorating the 40th anniversary of RATT's third album, "Dancing Undercover", released in 1986, by hitting stages across America with a blistering set of 1980s knockout hits.

Joining Stephen and Joel in Pearcy's current touring lineup are Blas Elias (SLAUGHTER, TRANS-SIBERIAN ORCHESTRA) on drums, Matt Thorne (ROUGH CUTT, RATT) on bass, and Erik Ferentinos on guitar.

New York-based Hoekstra currently plays for TRANS-SIBERIAN ORCHESTRA. Joel is also well known for his work with WHITESNAKE, Cher, NIGHT RANGER, the Broadway show "Rock Of Ages", his fill-in work with FOREIGNER, ACCEPT, his annual sets on the Monsters Of Rock cruise, recording projects like REVOLUTION SAINTS, ICONIC, viral collaboration videos with the likes of Dino Jelusick, Arnel Pineda, Mike Portnoy, Billy Sheehan and his acoustic shows with Brandon Gibbs.

Exhibiting a knack for music education, he has also been a frequent columnist for Guitar World magazine, taught at Musician's Institute, Rockstars Of Tomorrow, Guitar Workshop Plus, and has often been a counselor at Rock 'N' Roll Fantasy Camp.

Over the years, Joel has released three instrumental solo albums and four critically acclaimed albums with JOEL HOEKSTRA's 13. Most recently, he was the guest guitarist on "Dancing With The Stars" ("hair metal" episode) and played with Cher at her Rock And Roll Hall Of Fame induction and the "SNL 50" homecoming concert.

In a 2023 interview with Headbangers Lifestyle, Joel spoke about how playing with Cher compares to his more usual hard rock gigs. Hoekstra said: "One of the things I always say — if you just keep an open mind and work hard, sometimes strange things work out in really cool ways.

"It was a great live experience to work with Cher," he continued. "It is different to being in a rock band; you're not on the shirt, you're not on the album [nor involved in the] writing for the album, and, let's face it, if you're going to see Cher in concert, you're going to see Cher; you're not saying, 'Hey, I'm gonna see Joel Hoekstra playing guitar for Cher.'"

Regarding the performance aspect of playing with Cher and how it was different from touring with WHITESNAKE, Joel said: "There are similarities. I'd say, with Cher, you interact more with the music director; somebody who's handling the music, because there's also dancers and this big team of people touring. [WHITESNAKE frontman] David Coverdale, he's, at times, a little bit more just one of the guys; a part of the band. There's a difference there — not that [Cher's] not a nice person and down to earth, it's just between the dynamics of the two."

The kickoff to the 2026 season is ONLY 10 DAYS AWAY! Who is joining us for Stephen Pearcy of RATT with special guests -...

Posted by Spade Entertainment on Wednesday, April 29, 2026

In a new interview with Full Metal Jackie's nationally syndicated radio show, KREATOR frontman Mille Petrozza was asked how he keeps the songwriting process challenging after making sixteen studio albums with the band, including KREATOR's latest, "Krushers Of The World", which came out in January. He responded (as transcribed by BLABBERMOUTH.NET): "Keeping it fresh is the key. Otherwise it becomes boring and it becomes a routine, and that's something that we try to avoid. It's kind of hard, I know, but I think what really helps is taking time and wait[ing] until you are inspired. Rather than putting out albums every two years, we put out albums every four to five years. So that means after two years of touring, I will have inspiration and there will be some new themes that I can think of, writing lyrics, and new themes for songs and new ideas and new riffs and new music. And I just wait for the right moment to come. And hopefully we are keeping it fresh. It's hard for me to judge because I'm too involved in the music, but I think we're doing our best to not repeat ourselves. Even though we found our style, we try to keep it somehow exciting."

Asked if the joy he gets out of the creative process has evolved for him in the four decades since he started KREATOR, Mille said: "It became better and better over the years because I kind of know my craft a little better, like the technical side of things, which is in my DNA now. I've been doing this since my teenage years. I'm in my fifties now, so I've been doing this for a long time. So the craft is there. The technical skills, all that is there. It's like you're painting a picture — you're painting a nice artwork and you know all the colors, how they would look at the end of the day and what you wanna express. So it's the same with the music."

He continued: "The most important thing is that the band enjoys what we do first. And if we get something out of this and we do demos and we feel the excitement of a new thing that wasn't there before, and we create something new, that's the best thing in the world. And it's something that I have done all my life. And I don't think I'm gonna stop doing this until the day I die, really. I mean, it's just what I do. And it's fun. It's more exciting than in the early days, because in the early days, we were still trying to figure it out. It was more of a challenge to kind of get the things that we had in our mind on tape, playing-wise, technically. Nowadays the technique is there. Now we have to kind of express the emotion and the feeling, which is a different level of excitement."

"Krushers Of The World" 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).

KREATOR will embark on a U.S. tour this spring. The band, which last conquered American audiences and venues in 2024, will return for a headline tour next month, with stops at key festivals, including Welcome To Rockville, Sonic Temple and Maryland Deathfest. The tour kicks off on May 7 in Fort Lauderdale, Florida, and runs through May 23 in Huntington, New York.

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.

Mille's official German-language autobiography, which he wrote with journalist, author and presenter Torsten Groß, "Your Heaven, My Hell - Mein Leben, Heavy Metal Und Wie Das Alles Passieren Konnte", was published in August 2025 via Ullstein Verlag.

Photo credit: Robert Eikelpoth

In a new interview with Thomas S. Orwat, Jr. of Rock Interview Series, JUDAS PRIEST guitarist Richie Faulkner was asked if he would be interested in being part of PRIEST if there was ever a situation where singer Rob Halford, bassist Ian Hill and guitarist Glenn Tipton decided that they didn't want to participate in PRIEST anymore, but they wanted to continue the band without any members of the classic lineup. Richie responded (as transcribed by BLABBERMOUTH.NET): "I don't know. Maybe not. I think that if the guys weren't in it anymore — they're PRIEST. They built this thing over five decades, and I think if they didn't wanna do it anymore, I think that should be it. In my personal opinion, if they're not in it anymore, then it should rest. People might have different ideas about that, but that would be my opinion. I think. If Rob, Glenn and Ian didn't wanna do it anymore — well, it would be me, [drummer] Scott [Travis], [guitarist] Andy [Sneap]… PRIEST, I think, means too much to limp along without those founding members. So, I would say no. I think if they weren't in it, let it rest."

Earlier this month, Faulkner addressed the fact that some fans have criticized bands like RUSH for choosing to tour again without the full classic lineup. Asked by the Metal Forever Music Defenders Of Metal podcast how he feels about various long-running bands hitting the road without all the original players, Richie said: "I think as long as the guys wanna do it, they should do it. If people don't wanna go, then don't go. And people kind of vote with their ticket, don't they? If RUSH got up there and you've got 20,000 people in an auditorium and the guys wanna do it, do it. But if RUSH turned up and there was five people there, they've got an issue. Maybe people don't wanna see it. I can name other bands as well. If the guys wanna do it and people are showing up in the thousands to see it, then why not do it? If people don't wanna go, then don't. Simple as that. That's what I'd say."

Halford and Hill are the only remaining members from JUDAS PRIEST's "classic" lineup in the current PRIEST touring band, which also includes guitarists Faulkner and Sneap and Travis.

Hill is the sole remaining original member of PRIEST, which formed in 1969. Halford joined the group in 1973 and Tipton signed on in 1974. Rob left PRIEST in the early 1990s to form his own band, then came back to PRIEST in 2003. Founding guitarist K.K. Downing parted ways with the band in 2011, and was replaced by Faulkner.

Nearly three decades Richie's senior, K.K. left PRIEST amid claims of band conflict, shoddy management and declining quality of performance.

In December 2010, JUDAS PRIEST announced that its "Epitaph" farewell world tour would be the band's last. Downing left PRIEST before the start of the trek, and a year later Halford said "it's turned out not to be the final world tour" and explained the band had "got into gear again" since they recruited Faulkner.

Tipton was diagnosed with Parkinson's disease more than 15 years ago but announced in early 2018 he was going to sit out touring activities in support of PRIEST's "Firepower" album. He was replaced by "Firepower" and "Invincible Shield" producer Sneap, who is also known for his work in NWOBHM revivalists HELL and cult thrash outfit SABBAT.

Travis joined PRIEST after an audition in Spain in November 1989.

Scott made his recording debut with PRIEST on the band's 12th album, 1990's "Painkiller", which marked Halford's last recording with the band for more than decade, as he left PRIEST in May 1992 to pursue a solo career.

Cleopatra Records has released "Bullets Ready", the latest single from KINGS OF THRASH, featuring former MEGADETH bassist David Ellefson and ex-MEGADETH guitarist Jeff Young.

"Bullets Ready" delivers a powerful vocal duet between KINGS OF THRASH vocalist Chaz Leon and Gabriel Connor, frontman of the rising Los Angeles theatrical rock group RED DEVIL VORTEX. The track also features a special guest appearance by former EXODUS vocalist Steve "Zetro" Souza.

"Bullets Ready" was mixed by Grammy-winning producer Cameron Webb, known for his work with MOTÖRHEAD, DANZIG and GODSMACK.

Young reflects on the origins of the song: "During the making of the [former MEGADETH drummer] Nick Menza [documentary] film, I acquired several demo recordings of Nick playing various drum progressions. In essence, the introduction, verses and chorus of 'Bullets Ready' came from playing along to one of Nick's energetic grooves.

"During [MEGADETH's] 'So Far, So Good... So What!' tour, it was often David, Nick and myself that would conduct the soundchecks. It was a surreal and nostalgic feeling to be playing along and writing riffs with my longlost friend. Nick's playing inspired so much of this song and his spirit is forever encapsulated inside this recording."

KINGS OF THRASH was formed in April 2022, following a special appearance by Ellefson and Young at "Ultimate Jam Night" at the legendary Whisky A Go Go in Hollywood, California. The event was honoring the legendary "Big Four" of thrash metal — METALLICA, MEGADETH, SLAYER and ANTHRAX. During the evening, Ellefson and Young performed three classic MEGADETH songs alongside vocalist Chaz Leon. The electrifying performance sparked an immediate chemistry that led to the formation of KINGS OF THRASH.

KINGS OF THRASH was built around a concept envisioned by Ellefson: creating a live experience celebrating early MEGADETH albums and rarely performed deep cuts from his decades-long tenure with the thrash metal pioneers. This vision became known as "The MEGA Years".

In November 2022, KINGS OF THRASH took to the stage with four proof-of-concept concerts in San Diego, Phoenix, Las Vegas and Hollywood. Their performance at the Whisky A Go Go on the Sunset Strip was filmed and recorded resulting in the acclaimed release "The Best Of The West - Live At The Whisky A Go Go". The double live album and DVD were released by Cleopatra Records in spring 2023 in both digital and vinyl formats.

In 2025, Cleopatra Records released KINGS OF THRASH's first thrash/punk-inspired song "Lockdown". With its accompanying music video, directed by KINGS OF THRASH drummer Fred Aching, the group distinguished themselves as more than just a nostalgic tribute band.

The new music video for "Bullets Ready" was shot in Hollywood, California and again directed by Aching. Additional scenes were filmed at the infamous Nelson Valley Ghost Town in El Dorado Valley, Arizona — the same location as seen in the movie "3000 Miles To Graceland".

Now, with the progressive strains of "Bullets Ready", KINGS OF THRASH continues expanding its musical scope, while performing worldwide on their massive global tour. Dates in Canada, U.S., Norway, Ireland and U.K. are on the docket.

In January 2023, Young told Ultimate Guitar that he and Ellefson had not received any feedback from Mustaine about their new band or their recent live shows. "We couldn't care less… and it's a win-win for him," Jeff said. "Because all the publishing, for example, on the 'Best Of The West', he's getting all that money. We're making him money and he doesn't have to do anything. So, we're performing the songs because they're part of our history and the fans want to hear them and we will benefit from that, and so will he, so it's a win-win. How much cooler can anything be than that? So, if he has something to say about it… I wouldn't imagine it would be very objective… not that anything he's ever said has been objective."

Jeff's comments were similar to those he made in 2022 when he told Thomas S. Orwat, Jr. of the Rock Interview Series that he and Ellefson were "really not concerned" about Mustaine's reaction to KINGS OF THRASH. "I don't pay attention," he said. "I haven't really paid attention or followed MEGADETH since, I think, I heard the 'Rust In Peace' album a couple of times, and then what you might hear on the radio or in the press.

"For us, this isn't about any spite or retaliation; it's a celebration of the music that we were all a part of, that we helped create," he explained. "And it's fun for us to do this.

"People said, 'You should do this.' And we said, 'Hey, yeah, you're right. We should do this.' It's a win-win — it's a win for us, and it's a win for [Mustaine], because any performance royalties, anything… If we did include live tracks, he would make money off that. It's promoting albums that hopefully fans will go back and buy, which is putting money right in his pocket. Especially 'Killing Is My Business', I think a lot of people are gonna go back and wanna rediscover that album after this tour.

"For us, it's all about positivity," Young added. "We're all in this moment — we're living in the moment, and we're not looking beyond. We're not reading any of the comments on Blabbermouth or any of the stuff. Because we know what our intent is, and intent is everything. And our intent's positive. We like playing together. We know we're crafting original music. We're not relying on this; we don't need to ride the coattails of this. This is just something that the fans wanted, and you wanna give fans what they want."

Ellefson told Yes! You CAN Play Guitar! that the intention behind KINGS OF THRASH is not to stick it to his former bandmates. "This is a celebration, not a retaliation," he explained. "This is a good moment. This is a happy moment, to celebrate these songs and these tracks and these records. So we go at it with just fun… It's, like, 'Wow. Wouldn't it be fun if we went out and played these records?' And we're doing it. So it's meant to be this celebration and bringing people together. And honestly, that was kind of always my role in MEGADETH. Dave [Mustaine] always called me 'The Ambassador', and I was always that guy, and I am that guy. So it's, like, let me just continue that role in our community and have one of good will."

Ellefson was fired from MEGADETH five years ago after sexually tinged messages and explicit video footage involving the bassist were posted on Twitter.

David was in MEGADETH from the band's inception in 1983 to 2002, and again from 2010 until his latest exit.

In 2004, Ellefson filed an $18.5-million lawsuit against Mustaine, alleging the MEGADETH leader shortchanged him on profits and backed out of a deal to turn Megadeth Inc. over to him when the band broke up in 2002. The lawsuit was eventually dismissed and Ellefson rejoined MEGADETH in 2010.

Young's entire career with MEGADETH was spent recording and touring in support of the band's 1988 platinum-selling album "So Far, So Good...So What!"

Jeff made headlines in December 2009 for accusing Mustaine of, among other things, "dissing, exaggerating and just plain lying on some level about nearly every talented musician that has passed through his dysfunctional little ensemble." He also disputed Mustaine's claim in an interview that Young's drug problem led to MEGADETH's 1988 Australian tour being called off and the group being "banned" from performing in the country.

Photo courtesy of O'Donnell Media Group

In a new interview with U.K.'s The Sound Lab, RIVAL SONS singer Jay Buchanan was asked if he has thought about a possible musical direction for the band's next album, which he and his bandmates are planning to record in the coming months. He responded (as transcribed by BLABBERMOUTH.NET): "Yes, I have. And some music has been written, songs have been written. But I think that once we get in there, seeing the type of energy that the music takes on and the songs take on, I think that getting everyone together in the same room and kind of hashing it out, I think is going to be — that's really gonna dictate. Because the songs are one thing, but also the energy of the band and when we become something that's greater than the sum of its parts when we're together, again, at its best. I think that letting that spirit and letting that energy be and do what it needs to do, I think that's very important. So we'll see that when we get into the studio. And we'll do some writing in the studio as well."

He continued: "In some ways, with the last two records that we put out, [2023's] 'Darkfighter' and 'Lightbringer', creatively they were a real stretch. And I'm very proud of those records, because we made some music that doesn't sound remotely like anybody else. But I think at the same time, I think maybe we might be looking at a little bit of a return to form, like bring it back to a small club sound, a sweaty, small stage, sort of a high-energy sound. So I know I'm definitely gonna be looking to do that on at least a number of songs. But we'll see about the entire collection. That remains to be seen."

In March, Buchanan, who released his debut solo album, "Weapons Of Beauty", in February, was asked by SPIN Presents Lipps Service With Scott Lipps if RIVAL SONS' next studio LP will be "heavier" after he took a turn to pursue a quieter direction with his solo material. Jay responded: "That's a fair question, because I've thought that same thing. I don't have to just live within the — whatever one ballad we're gonna have on this next record or whatever. I have a renewed sense of duty in so many ways. I don't have anything to prove. I wanna have fun with my friends. And it's crossed my mind many times — I just wanna make a fucking black T-shirt record. That's it. Something really, really rough, really unrefined and as close to the bone as possible. [Something like THE BLACK CROWES' second album, 1992's] '[The] Southern [Harmony And Musical] Companion', like these ones where it's, like, it's so raw, it's almost like toothache raw. Like, 'Oh.' I think I would like to do something like that. But at the same time, Scott [Holiday, RIVAL SONS guitarist] and I — it's a collaboration, So once we put things together, it's gonna be that way."

This past January, Buchanan was asked by SiriusXM's "Trunk Nation With Eddie Trunk" if the writing process for the new RIVAL SONS album will be the same as he and his bandmates have done it in the past. Jay said: "Actually, well, no. Our first — I don't know — five, six records or so, we would write on the floor and just write on the fly. And that's definitely panic inducing because I've got a lot of work to do when it comes to that stuff. But ever since — goodness — [2019's] 'Feral Roots' and then 'Darkfighter' and 'Lightbringer', we take our time. We write in advance, and also we'll write in the studio, certainly. But we're going in with some material, and we'll definitely write on the floor."

As for the possibility of RIVAL SONS' new album arriving in 2026, Jay said: "Well, I'm not exactly sure, because we were supposed to be in the studio right now. We were supposed to be recording right now, but, unfortunately, my wife was given a breast cancer diagnosis back in December [2025], and so for me, I'm home. I'm gonna take care of my wife and get her through this. And so everything, of course, will work out with medicine and treatment and all of that stuff, but I wanna be right here. This is where I belong right now. And then as soon as she gets through this, then we'll get in the studio. So hopefully, hopefully we can get this record out this year. But it's kind of a little bit up in the air in terms of the exact timeline. We're piecing it together, as my wife [and I], we're just starting this journey with all of this. And so we're learning the ropes in real time right now. So we'll see how things go.

Back in December 2024, Jay was asked by The Logan Show whether it is safe to say that the next RIVAL SONS record would once again be produced by Dave Cobb, Jay said: "More than likely. I mean, we've been together a really, really long time, but we've gotta talk with Dave. I think that something like that, even though we've worked together so much, everybody has to come together and feel really good. Things have to align properly. We always talk about it and see where everybody's heads are at.

"I love working with Dave," he added. "Gosh, we've recorded nine records with that man. That's a lot of time together… He's just so damn good at what he does. We love Dave, and I do. He's a good friend and an extremely talented person."

Asked if Cobb is "essentially almost like a silent member of RIVAL SONS now", having done so many albums with the band, Jay said: "Well, you could say that from a recording standpoint. When we've gone in to make records, we do 'em with Cobb, but I think that the band… We've covered so much ground, we've covered so much ground artistically and literally all over the world touring so much over the years, I think that when it comes to a certain degree of record making, he's like a fifth member that way, but it's only within that vacuum of when we're making the records. Because who the band is outside of when we're go in to make records is so much more. Our live show and the actual ethos and who the band is at its core, I think, is just so much more than what we do in the studio, because the writing takes place outside of the studio or outside of Cobb's purview, or so much of it. Dave Cobb, he'll lend a hand on inspiration and writing here and there, but I think that when we're writing, it is very much like that. But I think that the more the band has grown, I think that it's less and less so, and it's less and less so that way, because we, and I think that Cobb would agree, that him watching us grow the way that we have, like our creative approach and everything. It's wonderful to work together knowing each other so well. Cobb knows me just about as well as anybody else does. And having a shorthand of communication definitely helps out when you're in the studio. A lot of the time you'll just be thinking the same thing, and I think that that just comes from making so many records together that you can be on the same page. And then at other times be on a completely separate page because you're so close. It's like family."

In June 2021, RIVAL SONS delivered two live performances from Catalina Island, California which were originally streamed via Veeps to fans at home across the world, many of whom were still in lockdown because of the COVID-19 pandemic. Those performances were later made available to watch on YouTube and to stream on audio platforms.

RIVAL SONS play rock 'n' roll in its purest form without apology or pretense. They simply plug in, turn up, and rip on a path of their own. Along the way, they've architected a critically acclaimed catalogue, including "Pressure & Time" (2011),"Head Down" (2012),"Great Western Valkyrie" (2014),"Hollow Bones" (2016) and "Feral Roots" (2019). The latter represented a creative and critical high watermark, scoring a pair of Grammy Award nominations in the categories of "Best Rock Album" and "Best Rock Performance" for the single "Too Bad". Elevating the band to another level, "Do Your Worst" vaulted to No. 1 at Rock Radio as their biggest hit to date. Speaking to their impact, Rolling Stone attested, "RIVAL SONS have done their part to introduce new fans to rock." Beyond sharing stages with everyone from BLACK SABBATH, THE ROLLING STONES and AC/DC to GUNS N' ROSES and Lenny Kravitz, they've ignited television shows such as "The Late Late Show With James Corden". During 2021, they launched their own label Sacred Tongue Recordings distributed by Thirty Tigers and celebrated the anniversary of their debut album with live streamed performances from Catalina Island Casino. In 2023, they continued to subvert expectations with two full-length LPs — the aforementioned "Darkfighter" and "Lightbringer". Though the genesis of these albums is intertwined, they also speak to the band's perpetual progression forward.

RIVAL SONS once played over 250 shows in a year, and they are regulars on the festival circuit both through Europe and North America.

Buchanan released his debut solo album, "Weapons Of Beauty", in February through Sacred Tongue Records via Thirty Tigers.

Photo credit: Patrik Skoglöw

In a new interview with Fernanda Hein of Chile's Sonar FM, MEGADETH guitarist Teemu Mäntysaari was asked for his opinion on phone-free concerts, such as was the case with Swedish metallers GHOST, who instituted a no-phone policy on their recent tour by utilizing Yondr pouches. He said (as transcribed by BLABBERMOUTH.NET): "I think that idea is really cool. I've been to a couple shows that had that, where you would take your phone and you would put it in a kind of a locked bag. And we actually did that as well when we did our album pre-listening session in Nashville, which was like a small kind of a private VIP party for a couple hundred people. So we did that there as well, because we didn't wanna show those songs, of course, to everybody beforehand."

Teemu continued: "I think that's a cool idea, during the live shows, and those couple of bigger shows that I've been to where that was done, I think people really get to concentrate on the music when it's not through the phone screen, but it's actually direct contact. And I think it's nice for the audience as well. I mean, of course it's a kind of trade-off — then people don't get to share the videos and photos from the show. But if the band has their own, like, media crew there filming stuff and it's still shared, then you still get the video clips and you still get the stuff in the social media. So I think that's probably gonna get more common, and more people probably will start doing that once it gets easier to do. And I think it's a great idea."

Asked if MEGADETH has thought about recording any of the live shows during the band's ongoing farewell tour for possible future release, Teemu said: "We are actually recording all the shows always. And usually it's just the audio part. So our front-of-house engineer records everything always. And whenever we can, we also do video, and we're looking into different possibilities of doing more shows with video as well. And, yeah, [we are] hoping, at some point, to have enough material to choose from to do some kind of a live release."

GHOST made its entire 2025 and 2026 tours phone-free experiences — with attendees maintaining possession of their phones at all times, secured in Yondr pouches — after playing a pair of phone-free shows in Los Angeles in 2023 for the filming of the "Rite Here Rite Now" concert film. IRON MAIDEN asked fans to put their phones away while attending concerts on the British heavy metal legends' recently launched "Run For Your Lives" world tour. Other acts, such as TOOL, have also employed a similar approach, requesting fans stay off their phones until the final song of their set.

Through the use of technology like Yondr, fans are able to place their phones in a pouch that unlocks only after they leave the no-cell-phone zone. The pouch can also be unlocked at specific cell phone stations inside the venue.

Phone-free concerts are touted as a way to cut down on illegal filming and non-stop selfies that can take away from the performance.

Yondr founder Graham Dugoni said his company's pouches were created for "phone-free spaces" where "creativity and productivity could flourish in the absence of technology."

Phones, Apple watches and other communication devices are placed in the pouch and sealed using a magnetized lock, which can be opened with an unlocking base.

Mäntysaari was born in Tampere, Finland and began playing guitar at the age of 12. In 2004, he joined the band WINTERSUN. He has also been a member of SMACKBOUND since 2015.

MEGADETH's new, self-titled album, the group's first with Mäntysaari, was released on January 23 via a partnership between MEGADETH leader Dave Mustaine's Tradecraft imprint and the Frontiers Label Group's new imprint BLKIIBLK.

MEGADETH once again worked with Chris Rakestraw, a producer, mixer and engineer who also helmed the band's previous two albums, 2022's "The Sick, The Dying... And The Dead!" and 2016's "Dystopia".

In a new interview with Ed Hack of This Day In Metal, SYMPHONY X singer Russell Allen spoke about the progress of the songwriting sessions for the band's long-awaited follow-up to 2015's "Underworld" album. He said (as transcribed by BLABBERMOUTH.NET): "Tons of music has been written by [SYMPHONY X guitarist Michael] Romeo and stuff, and lyrics by the guys — some lyrics myself, Mike and Mike [LePond, SYMPHONY X bassist]. And we are pretty far into it in terms of the amount of material we have now.

"We haven't booked anything else [touring-wise] for the rest of the year," Russell continued. So we're gonna spend the next five months, or whatever it is, to get this thing done. It's been a lot of years in the making. Mike Romeo's at a — I almost wanna say [he's coming up with] God-level orchestration sort of stuff. The guy's just, like, phew. And I'm so proud of him, because when we were kids, I heard that. I said, 'Hey, I know you're a killer guitar player, and this is so important to you guys.' But I said, 'Bro, you can score, man. You can do this.' And I was just always wanting him to put more symphony in SYMPHONY X, man. So he went full-on, and he's really, really good at it. He's doing movie stuff now. I mean, the guy's just a straight-up badass composer. And so I'm super proud of him. And I'm really excited for the world to hear what he's cooked up on the music end for this new album."

Allen added: "So that's what we're doing. We're working on it now. We took a couple of weeks off. I'm gonna start with them probably this next week or so. Give everybody a chance to decompress, and then we're gonna start digging in. I'm ready. I'm in the studio. This is my little dungeon in my place. Mike's got his. So that's what we're doing."

Asked about the lyrical direction of the new SYMPHONY X material and if there "a theme or a concept emerging" at this point, Russell said: "Yes, there's totally a concept thing emerging. And I'm not gonna give anything away. It's not gonna surprise anyone. I mean, we are what we are. But it's really great, and I'm excited about it, because, again, the themes are just the themes."

He continued: "If you've noticed, I pull more on the first-person perspective… So I always like to gravitate towards things that tell more the feeling of the character. And so that way I can kind of relate to it on a personal level and bring some of that personal touch. So that's kind of where we're at, and that's where I'm at. And so I'm hoping to bring more of that sort of like really intense personal-touch stuff to this record."

In October 2024, Romeo told the "Coffee With Ola" podcast about the upcoming SYMPHONY X LP: "With us, it's not like, 'Oh, yeah, we're just gonna write one — how do you say? — single, and then just have a bunch of filler. It's, like, everything's gotta be as good as it can be. So, yeah, it gets harder and it takes longer. Then you throw in COVID and a bunch of other things, and then it's just, like, 'Oh, shit.' Now it's, like, I don't know — eight years or something. I lost track.

"What's different now than in the past is that we could take a bunch of time off. There would be some royalties from CDs back in the day coming in and kind of float on the downtime and really get the record done and then come back out [with a] new record, tour. So now it's, like, well, that money's gone. So we have to tour a little bit, keep things going, work on the record, go back out. So it's been like that for a while. And for me — I do most of the writing, so for me it's hard because you're sitting in the studio for whatever month, 'I got this idea,' and you're trying to put these things together, and it's, like, 'Oh, we've gotta go on tour now.' All right, cool. We do our thing. And then you come back, and it's, like, 'What the fuck was I working on again? Was this riff here?' And so you're trying to arrange all this stuff. And then you're, like, 'Oh, I've got all these new ideas.' So then you keep adding. And then after a long period of time, it's, like, 'Oh my god, there's so much stuff I can't even manage it now.' Plenty of material — like three hours of stuff — but now it's actually making sense."

Elaborating on when SYMPHONY X might be done composing the material for the next album, Michael said: "It's gonna take some time to organize everything. It's not like there's nothing there. It's [not], like, 'Oh, man, we have to start from scratch.' There's quite a bit. It's actually overwhelming. I never remember being this overwhelmed by the amount of stuff, 'cause over the last year and a half or whatever, every time there was a break, it's, like, 'Okay, I'll write something.' I didn't stop and [go], like, 'Well, let me finish this.' It was, like, boom, 'I got all these ideas,' and I just kept going. So now it's, like, all right, no more writing. Now more arranging."

Romeo released his latest solo album, "War Of The Worlds Pt. 2", in March 2022 via InsideOut Music. The record featured guest vocals by Dino Jelusick (WHITESNAKE, TRANS-SIBERIAN ORCHESTRA).

Russell recently released a deeply personal new ballad titled "Love Her Like I Do (Ava's Song)" in recognition of Autism Awareness Month.

"Love Her Like I Do (Ava's Song)" is a heartfelt track which offers an intimate glimpse into Allen's experience as a father raising a daughter on the autism spectrum, delivering a moving message of empathy, acceptance, and unconditional love.

"Love Her Like I Do (Ava's Song)" reflects the emotional journey of watching his daughter grow, navigate social challenges, and find her place in the world. The song blends Allen's signature vocal intensity with a tender, vulnerable performance, resulting in one of the most personal recordings of his career.

The Alfred Rossy channel on YouTube has uploaded video of David Lee Roth's April 29 concert at ACL Live at The Moody Theater in Austin, Texas. You can check out the clips below.

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

01. Panama (VAN HALEN song)
02. Drop Dead Legs (VAN HALEN song)
03. Romeo Delight (VAN HALEN song)
04. Little Dreamer (VAN HALEN song)
05. Blues Jam
06. I'm The One (VAN HALEN song)
07. Dance The Night Away (VAN HALEN song)
08. Ice Cream Man (John Brim cover)
09. You Really Got Me (The Kinks cover)
10. Jamie's Cryin' (VAN HALEN song)
11. Unchained (VAN HALEN song)
12. New York State Of Mind (Billy Joel cover)
13. Mean Street (VAN HALEN song)
14. Ain't Talkin' 'Bout Love (VAN HALEN song)
15. Hot For Teacher (VAN HALEN song)
16. Everybody Wants Some!! (VAN HALEN song)
17. Jump (VAN HALEN song)

Roth, the 71-year-old lead singer for the rock band VAN HALEN, kicked off his 2026 solo tour on April 16 at Spokane Live! at Spokane Tribe Casino in Airway Heights, Washington.

Earlier this year, Roth announced a 30-date solo tour of North America. The VAN HALEN singer visited California, Arizona and Texas last month before playing in Tennessee, Florida, North Carolina and Ontario, among others, in May. June will see Roth hit New York, New Jersey, Ohio, Minnesota and Wisconsin, among other states. In August, David will play at the Sturgis Buffalo Chip in Sturgis, South Dakota.

Last year, Roth reversed his decision to retire from the touring circuit, announcing a U.S. tour which took place over the 2025 summer.

Roth's solo shows in 2025 saw him backed by Al Estrada on guitar, Ryan Wheeler on bass, Francisco Valentino on drums and Danny Wagner on keyboards.

Roth's summer 2025 U.S. tour concluded on September 14 in Napa, California.

Roth played his first full solo concert in more than five years on May 3 at the 2025 edition of the M3 Rock Festival at the Merriweather Post Pavilion in Columbia, Maryland.

Roth originally left VAN HALEN to pursue a solo career following the success of the band's album "1984", but he returned for a stint in 1996 and then took over as VAN HALEN's frontman again from 2007 until 2020, although the band had not toured since 2015.

In early 2021, Roth announced that he would be officially retiring following a residency at Las Vegas's House Of Blues at Mandalay Bay in 2022. "I am throwing in the shoes. I'm retiring," Roth said at the time. "This is the first, and only, official announcement. You've got the news. Share it with the world."

"I'm not going to explain the statement," he added. "The explanation is in a safe. These are my last five shows."

Roth's 2022 Las Vegas residency was eventually canceled because of "circumstances related to COVID".

https://www.youtube.com/@drownedparadise/videos

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📣 JUST ANNOUNCED: A Night With David Lee Roth brings Van Halen classics and more! April 29th at ACL Live at the Moody Theater.

🎟️ Tickets on sale this Friday, January 9 at 10AM https://bit.ly/3L3JXC2

Posted by ACL Live on Monday, January 5, 2026

In a new interview with Rock 100.5 The KATT FM's Cameron Buchholtz, ATREYU frontman Brandon Saller spoke about the band's decision to release a new version of ATREYU's 2004 gold-certified sophomore album "The Curse" last year. The LP was entirely re-recorded with MEMPHIS MAY FIRE's Kellen McGregor at the production helm and it does not feature former ATREYU singer Alex Varkatzas, who exited the group in September 2020.

Saller stated about the 2025 version of "The Curse": "There was motivating factors in doing that. One was, we were gonna go tour this album [celebrating its 21st anniversary] with this lineup. We want to be a transparent band and say, 'When you come to these shows, this is what it's gonna sound.' We find that to be incredibly honest, more so than probably most bands. Secondly, this is the first album in our career that we've ever owned. We've made it on our own. We released it on our own. We did the vinyl on our own. We own it 100%. So, we're, like, 'If you enjoy the new version of 'The Curse', know that when you listen to it, 100% of the money comes back to the band that you love,' rather than going to some record label that bought out our old record label. You know what I mean? So it's one of those things where, I think when people really understand why we did it, they're, like, 'Oh, okay. That's cool. That makes sense.'"

Asked if it was "a big process" to get ownership of "The Cursed" back to ATREYU, Brandon said: "We are very lucky where we have zero re-record clauses in any of our contracts, so we could re-record every one of our albums if we wanted to, which that might happen someday, because of the sheer ownership. But it's one of those things where if you re-record the masters, then you own them."

Addressing the fact that ATREYU released "Suicide Notes And Butterfly Kisses" (2002),"The Curse" and "A Death Grip On Yesterday" (2006) with Victory Records, Brandon said: "I would love the rights to [those original albums] back, but Victory doesn't even own them. Concord [who acquired Victory in 2019] owns 'em now."

ATREYU's new studio album, "The End Is Not The End", came out on April 24 via Spinefarm.

Produced by Matt Pauling, ATREYU's tenth LP is vibrant, inventive and beautifully aggressive. "It's the heaviest and most metal record we've made," Saller previously pointed out. "But it's also the biggest musical journey we've taken in years."

It was ATREYU's unquenchable appetite for creative achievement and pursuit of shared catharsis on stage that drove them to form the band as teenagers around the turn of the millennium. This ambition has propelled them from their humble DIY beginnings to massive festival stages (including two appearances at Ozzfest),sold-out headline tours, film and video game soundtracks, and performances alongside renowned artists such as LINKIN PARK, AVENGED SEVENFOLD, DEFTONES, SLIPKNOT and BRING ME THE HORIZON.

"We just refuse to become boring," Saller declared. "We're not chasing what’s cool. We're not chasing anything. We're trying to do what isn't being done, and play exactly what we want to hear. And somehow, 25-odd years later, it's still growing. We still have much more to accomplish."

ATREYU recently embarked on a spring tour supporting SEVENDUST, kicking off April 20 in Indianapolis, Indiana before concluding in Knoxville, Tennessee on May 20.

Since forming around the turn of the millennium, ATREYU has pushed well beyond its DIY roots — earning multiple RIAA gold records, Top 20 Billboard 200 debuts, and spots on major film and video-game soundtracks. Their previous album, "The Beautiful Dark Of Life" (2023, Spinefarm),debuted in the Top 10 on Billboard's Top Hard Rock Albums and has already racked up over 75 million streams, with singles like "Gone" and "Watch Me Burn" lighting up rock radio and flagship playlists like Spotify's "Volume" and Apple Music's "The Riff".

Photo credit: Sean Stiegeimeier

LIVING WRECKAGE — the modern metal band featuring guitarist Jon Donais (ANTHRAX, SHADOWS FALL) and bassist Matt Bachand (SHADOWS FALL, ACT OF DEFIANCE) — has released a new single, "Righteous Side Of Sanity". The lyric video for the track can be seen below.

"Righteous Side Of Sanity", the first single from LIVING WRECKAGE to feature vocalist Sage King, is a fury of a song bringing together classic riffs and modern turmoil, with lyrics that breathe life into the freedoms we seem to have forgotten. It surges forward with an unrelenting intensity, channeling the raw energy of old-school rock and metal while confronting the chaos and contradictions of the present day. The track balances aggression with purpose, its driving instrumentation underscoring a message that feels both urgent and reflective. Every riff and lyric works in tandem to evoke a sense of defiance, reminding listeners of the values and liberties that can too easily fade into the background.

Elevating the song's impact is its production, handled by Chris "Zeuss" Harris, whose reputation for crafting powerful, polished records adds another layer of depth to the release. Known for his work with heavyweights like ROB ZOMBIE, QUEENSRŸCHE, SHADOWS FALL and HATEBREED, Zeuss brings a commanding clarity and weight to the track, ensuring that its message hits as hard sonically as it does thematically. The result is a song that not only demands attention but lingers long after the final note, leaving listeners both energized and introspective.

In addition, the single will be featured on Sound System, from the creators of Guitar Hero, Rock Band, Rocksmith and more beginning October 16, 2026. Sound System is the ultimate music and rhythm gaming experience that honors the magic of the classics while unlocking modern creativity, community and infinite replay.

LIVING WRECKAGE is a fearless collision of hard rock hooks and metal muscle, a band that thrives on straddling the line between two worlds and refusing to pick sides. Founded by Donais, Bachand, guitarist Matt LeBreton (DOWNPOUR) and drummer Jon Morency (LET US PREY),the group built its foundation on a lifelong passion for the golden age of rock and metal. That love of the classics fuels their fire, but LIVING WRECKAGE has always been about bringing that energy into the present with a sound that feels both timeless and cutting edge.

The band's self-titled debut, produced by Shane Frisby and mixed by Pete Rutcho, landed in 2021 to critical praise and introduced fans to their high-voltage blend of hard rock swagger and metallic bite. Singles like "Endless War" found traction on SiriusXM's Liquid Metal, while tours with legends such as OVERKILL, BUCKCHERRY, PRONG and METAL CHURCH proved that LIVING WRECKAGE could command any stage they stepped on.

In 2023, the lineup expanded with the addition of vocalist Sage King, whose dynamic range and inventive harmonies opened a new chapter for the band. His presence elevated both the live attack and the studio approach, giving LIVING WRECKAGE a tidal wave of layered vocals and new dimensions of melody. With the lineup now complete, the chemistry is undeniable.

Currently working with acclaimed producer Zeuss, the band is taking its time to craft the follow-up album set for release in 2026. Unlike the rushed pace of the debut, the new sessions are deliberate and uncompromising, with every riff, harmony, and lyric scrutinized until it reaches its full potential. Experimenting with darker tunings, intricate vocal layering, and more adventurous songwriting, LIVING WRECKAGE is expanding its sound without abandoning its roots. The result is heavier, moodier, and more emotionally resonant, tackling themes of grief, addiction, and betrayal while still keeping the spirit of rock's cathartic release alive.

At its core, LIVING WRECKAGE is about connection. Their music speaks to metal die-hards and rock purists alike, bringing together generations of fans under one roof. Onstage they embody a work-hard-play-hard mentality, delivering explosive performances that remind audiences why this music matters. Offstage they remain a band of brothers, unified in their goals and driven by the thrill of creation.

LIVING WRECKAGE is the bridge, carrying the larger-than-life energy of arena rock into the visceral intensity of modern metal. The party is still raging, but the stakes feel higher, the songs cut deeper, and the sound is stronger than ever.

LIVING WRECKAGE 2026 is:

Sage King - Vocals
Jon Donais - Guitar
Matt LeBreton - Guitar
Matt Bachand - Bass
Jon Morency - Drums

Currently touring across Canada on their "Birthing The Giant" 20th-anniversary tour, six-time-Juno-nominated Canadian hardcore punk heavyweights CANCER BATS will release their eighth studio album, "Give Me Dirt", on August 7 via Bat Skull Records in partnership with New Damage Records in Canada and via Marshall Records in the rest of the world.

Ahead of their forthcoming release, CANCER BATS, composed of lead vocalist Liam Cormier, drummer Mike Peters, bassist Jaye Schwarzer and newest addition Jackson Landry on guitar (Jackson replaced Scott Middleton in 2023),have dropped a new single, "Stay Stuck", complete with an accompanying video.

"'Stay Stuck' was such a fun song for us to write. It was one of the first songs that we finished while working on the new record and we really all felt like we had tapped into the classic CANCER BATS bouncy fun element we've had in songs since the beginning," shares Cormier. "The lyrics explore the idea that, at any age or moment in life, we all reach a point where we realize something has to change. Maybe it's the path we're on, or just the way we see things, but there's that instant where we say to ourselves, I'M NOT WASTING ANY MORE TIME! We're all moving towards something bigger, chasing goals and dreams that the world can't take away from us. That's what keeps us going."

Filmed by Mitch Barnes, who also worked on the video for "Lonely Bong", the hilarious and super-fun video for "Stay Stuck" finds the band stepping into a series of day jobs, roles that closely mirror those they held prior to forming CANCER BATS. At the heart of it, the band wanted to capture the sense of optimism they carried through those years. Even in jobs that can feel routine or demanding, they were always focused on what lay ahead.

Reflecting on the concept, Cormier explains: "The idea is that we were always having fun and staying positive in those jobs thinking of the future that we knew was coming for us. I think lots of times those jobs can feel like a grind and we wanted to look more at the fun times and how it's really just that stepping stone to really living your dreams. CANCER BATS, as a band, also just really like an excuse to make fun and funny music videos so that was our whole thinking for the concept. A great cinematic vehicle for us to all have a really good time."

"Stay Stuck" is available now on all digital streaming platforms. The official video can be seen below.

As the follow-up to their 2022 Juno-nominated, critically acclaimed seventh studio album "Psychic Jailbreak", "Give Me Dirt" pushes CANCER BATS' artistry to new heights, fully realizing the sound they have pursued throughout their musical careers. Produced by legendary metal producer Kurt Ballou (CONVERGE, KVELERTAK, HIGH ON FIRE, EVERY TIME I DIE) and Zach Weeks at GodCity Studios in Salem, Massachusetts, with vocals recorded by Ian Romano (THE OUTFIT, PIGPEN, ANCIENT SHAPES) at Camera Varda Studios in Welland, Ontario, "Give Me Dirt" sees CANCER BATS at their most sonically inspiring.

As with their earlier work, the music came together organically, with all four members jamming in the same room. One key lesson the band carried over from their last album was that the real magic happens when everyone is fully collaborating. Once the riffs, breakdowns, and grooves were locked in, Cormier returned to rural Nova Scotia to craft the lyrics and vocal hooks. Many of the songs took shape on dusty forest roads, along winding dirt bike trails, and while brewing campfire coffee on secluded North Shore beaches.

Inspired by a year of travel, "Give Me Dirt" unfolds as both an outward and inward journey, grounded in a deep connection to nature. The songs explore leaving urban life behind, processing personal loss, and confronting environmental devastation, while also reflecting on lessons drawn from the natural world.

Motorcycle travel forms another central thread on "Give Me Dirt". From riding through the harsh conditions of the Canadian Rockies to a transformative journey in the mountains of Nepal just before recording, these experiences shaped the album's perspective.

The overarching theme of returning to nature and re-connecting with the physical world, also provided inspiration for the album's artwork. Instead of using digital tools, Cormier created a giant four-foot-by-eight-foot mixed-media painting for the front and back covers. Using materials like paint, paper, stencils and drywall mud, he incorporated whatever he could get his hands on to build a large-scale, tactile piece. A second artwork of similar size was created for the liner notes featuring handwritten lyrics, collages, and similar paints and stencils used on the cover.

Cormier explains his motivation: "So many people I find are so sick of A.I. these days and all things that look too polished. I wanted the artwork to capture the energy of the album but also represent us as a band, we are rough and dirty, our sound is loud and a mix of so many influences. Making art like this felt like such a good visual representation of not only the songs, but also CANCER BATS ourselves."

"Give Me Dirt" track listing:

01. World Wild Fire Death Race (feat. Nate Newton)
02. Stay Stuck
03. Don't Trip
04. Bright Eyes Of Gold (feat. Chris Creswell)
05. Give Me Dirt
06. Long Tooth (feat. Brooklyn Doran)
07. Speed Wizard
08. Ocean Crash
09. Positive Grid
10. Prognosis
11. Fool Like You (feat. Efrem Schulz)

Photo credit: Joey Senft

In a new interview with Kerrang! magazine, longtime IRON MAIDEN drummer Nicko McBrain spoke about the five-year period when the band was fronted by Blaze Bayley. Singer Bruce Dickinson exited MAIDEN back in 1993, paving the way for the Bayley era and a string of four solo albums from Bruce. Bayley fronted IRON MAIDEN from 1994 until 1999. The two MAIDEN albums he appeared on, "The X Factor" and "Virtual XI", sold considerably less than the band's prior releases and were their lowest-charting titles in the group's home country since 1981's "Killers".

"For Blaze to replace Bruce was very difficult," Nicko said. "Bruce was more soprano than baritone, which is what I think Blaze was, so there was an issue with the fans accepting him and we were playing the small theatres, and played some clubs in Florida. But here's the thing: it never diminished the spirit of the band. Certain shows Blaze had a struggle with and fans kind of went, 'Oh, this isn't really MAIDEN at their finest,' but we were still MAIDEN, we were just a different MAIDEN. The essence of the band hadn't changed in the slightest.

"With Blaze, I loved that guy," Nicko continued. "I was a father figure to him, I said, 'I'll take you under my wing when we go out.' We spent a lot of time together, and I loved him. At the end, I did have my trepidation, if you like, about some of the performances as we were going down the line into the 'Virtual XI' tour, which is documented in the movie. But we never lost the essence of what IRON MAIDEN was, especially with Steve [Harris, MAIDEN bassist and founder] at the helm. Steve never wavered and was 125,000,000 percent supportive of Blaze, as we all were. But then cracks started to appear. It was looking like, 'We've got to either change this or we aren't going to survive.' And then Bruce, obviously [returned] and we know the story of what happened."

McBrain also addressed the fact that he was still pissed off with Dickinson for leaving when the singer returned to MAIDEN, and how he actually told Bruce that during their first reunion meeting.

"I knew I had to say something to him, because it's how I felt," Nicko said. "I felt betrayed by him, halfway through the 'Fear Of The Dark' tour, announcing that he was leaving. I thought, 'I'm gonna have to put this to bed with him.' You know there were doubts as to his motives of coming back. But then, after that first meeting in Brighton, it was done. We were in the pub and I put my arm around him and said, 'Look, mate, it's great, I'm glad you're back, but listen, I can't change the way I feel and what I said about that. I love you, but that's how I feel.' He just turned around and said, 'I wouldn't have it any other way, Nicko, I love you too.' And that's the last we ever — to this day — spoke about it."

Asked what he thinks that said about both him and Bruce, Nicko — who converted to Christianity in 1999 following an experience he described as "a calling" — responded: "Well, it tells me the sincerity and the truth inside his heart. As I said, I needed to say that to Bruce because I wanted him to know everything wasn't going to be, 'Oh, yeah, you know what I said? Bollocks to that.' It was something that was on my mind. I think it was all God's plan — not Rod's [Smallwood, longtime MAIDEN manager] plan, bless him — because who could have planned it other than God saying, 'Right, you're going to get a new singer, then you're going to get the old one back, and he's going to bring Adrian [Smith, IRON MAIDEN guitarist] with him, and then you will make those records.' We came out with 'Brave New World', which was the beginning of us going back into the mega stadium touring that put us back on the map. Bruce and Adrian coming back completed the band."

Last October, Dickinson was asked by the "Talk Is Jericho" podcast, hosted by FOZZY frontman and wrestling superstar Chris Jericho, if he paid attention to what MAIDEN was doing while he was out of the band. Dickinson said: "No. [It's not that] I didn't have any interest in listening [to MAIDEN's Blaze-era albums]. I was just too busy doing my own stuff. So, it was kind of peripheral awareness, but in a way I was just, like, 'This is none of my business. I'm not in the band anymore.' And I wished Blaze well, 'cause when he joined the band, I thought, 'Wow.' 'Cause his voice is very different to mine. I loved what he was doing in WOLFSBANE. And I thought, 'Well, this is… I hope it works out the right way.' And sadly it didn't. But I love Blaze. I think he's a great character. There's not a malicious bone in his body. He's a great guy."

Asked if it was his or bassist Steve Harris's idea for MAIDEN to perform the Blaze-era songs "The Clansman" and "Sign Of The Cross" upon Dickinson's return to the band, Bruce said: "You know what? I actually can't remember. But when I heard it, I was just, like, 'Well, I think I could put some blood on the walls with that.' To be honest with you, not all of the songs that they did with Blaze, I think, would necessarily suit my voice. Because some of the songs they wrote for Blaze are not really in my range — they're a little bit low. Whilst Blaze would sing a particular tune with a lot of power, 'cause it was in his range, I would frankly struggle to make that tune sound as effective as Blaze, 'cause it's a little bit below where all the horsepower kicks in with my voice."

Back in 2018, Dickinson was asked by the "Rock Talk With Mitch Lafon" podcast why he agreed to perform some of the Bayley-era IRON MAIDEN material upon his return to the band in 1999. Dickinson said: "Well, you know, life's too short to go around chucking your ego around like that — it's childish, it's stupid. And, actually, some of those songs kind of worked [with my voice], some of them didn't, but you know what? They were all songs which a lot of IRON MAIDEN fans bought, and some of them, in particular 'The Clansman' and 'Sign Of The Cross', I think we really nailed those songs and I thought it was great material. Blaze's voice, obviously, was quite different than mine — it was a slightly lower register — and, actually, I wasn't complaining, 'cause I could use this kind of lower baritone tone and get quite kind of robust on it all. And I really enjoyed singing those songs."

Dickinson went on to say that he "had the utmost respect for Blaze, because he stepped into a situation that was extremely difficult for him. Because, manifestly, his voice was so different to mine and yet he had to try and sing some of those [older IRON MAIDEN] songs. He was in a difficult place. And he was a very, very nice guy, and still is a very nice guy, and I have a huge amount of respect for him."

Dickinson told the "Do You Know Jack?" radio show that he "was surprised" Blaze was chosen to replace him in IRON MAIDEN. "I was delighted for Blaze, but there was a whole bunch of other really good singers out there," he said. "I thought 'Wow, they could have picked somebody with a voice that could do what my voice did.' But they picked Blaze. Obviously, they picked somebody different, but that came with its own set of challenges. I just wondered whether anybody in the management was really giving anybody any serious words of truth on how hard this could be."

In August 2019, Harris was asked by SiriusXM's "Trunk Nation With Eddie Trunk" why was it important for MAIDEN to still play Bayley-era songs even though Dickinson had been back in the band for so many years. Harris responded: "We're doing 'The Clansman', which is from [1998's] 'Virtual XI' [album], and we're doing 'Sign Of The Cross', which is from [1995's] 'The X Factor'. We've done 'em before, anyway, with Bruce; he really likes those songs, so he was really happy to do 'em. And I'm not gonna complain, 'cause I'm happy with doing 'em songs. But I think it just mixes the set up a bit. I know that those albums are not as well known as some of the other albums, especially over here [in the U.S.], but they're really good songs, and live, I think, they come into their own. So, yeah, it makes for an interesting set."

Pressed about whether he still stands behind the material that MAIDEN wrote and recorded while Bayley was in the band, Harris said: "Oh, definitely. I said at the time that I thought a lot of people would, in the future, get into those albums a lot more and maybe understand 'em a bit more and give 'em more of a chance. And that's what's happening — loads of people are really enjoying those albums more now. I think there's some really, really good songs on both those albums, and they stand out to me as most of our other albums. But it's like anything — I think you need to hear the stuff a few times, and I think a lot of people couldn't get past the fact that we had a different singer, and it was one of those things. But it was well received more in the rest of the world, really; the U.S. was a little bit more awkward. But I think a lot more people are finding that they're giving it a second chance, if you like, and actually really enjoying 'em."

Less than two years ago, Blaze spoke to Tony Webster of "The Metal Command" about some fans' initial reluctance to embrace his era of MAIDEN. When Webster noted that Blaze's solo work over the last two decades has gone a long way toward "changing the narrative" of his time with MAIDEN, Bayley said: "Yeah, I think you're right, Tony. I'm hearing this a lot. People look back and they go… Some fans go, 'Of course I've got every IRON MAIDEN album, but the ones I haven't listened to are [Blaze-era albums] 'The X Factor' and 'Virtual XI'. And now that's all I can listen to that I haven't listened to a hundred times. I have to listen to those. And it's exactly what you say to me.

"'The X Factor''s got some incredible music on it, but the sound of it is so dark, and the way it was produced, it's not accessible like some of the other MAIDEN albums," Blaze explained. "You've gotta live with that for quite a few spins until you're tuned into what things are doing. Then you can get to the music. I think that was maybe a problem with it at the time. It's so dark and the sounds of things were quite different to what came before. People who did live with it, managed to find it. And it's different cultures as well, different countries. In Sweden and Spain, those albums, people loved them as much as every other [MAIDEN] album. But in other places, people didn't. It's a different thing."

Following the reveal of THE WHO's upcoming live album "Live At Eden Project", earMUSIC presents the album's second single: "You Better You Bet (Live at Eden Project)", available today as an instant gratification track with all digital pre-orders. To accompany the release, the live performance video is also on the earMUSIC YouTube channel. Another chance to witness the energy of that unforgettable July 2023 night in Cornwall.

Originally released in 1981, "You Better You Bet" became one of THE WHO's defining post-Keith Moon anthems, a song where punchy guitars, unmistakable synth lines, and Pete Townshend's personal lyrics collide with effortless brilliance. More than four decades later, it still remains a fan favorite, and at the Eden Project it once again had thousands singing, dancing, and celebrating a band whose music has shaped generations.

Few bands have shaped the landscape of rock music with the force and longevity of THE WHO. For nearly six decades, their sound, spirit, and unmistakable energy have echoed across generations, influencing artists and audiences around the world. In 2026, the band adds a remarkable new chapter to their legacy with "Live At Eden Project" — a landmark live recording that captures the raw power, emotional depth, and artistic ambition of their unforgettable July 2023 performance at Cornwall's iconic Eden Project.

Set within one of the U.K.'s most sustainable and visually striking venues — a breathtaking network of biomes nestled in the Cornish countryside — the concert stands as a testament not only to THE WHO's musical evolution but also to their enduring cultural relevance. Backed by the Heart Of England Philharmonic Orchestra, founding members Pete Townshend and Roger Daltrey delivered a performance that fused classic rock intensity with orchestral grandeur. The Eden Project's natural acoustics and enclosed structures created a warm, detailed sonic environment that offered a clarity and intimacy unmatched by traditional stadium settings.

The recording reflects this unique atmosphere. Fans have long cherished THE WHO's "special location" shows, and Eden stands among the most memorable — a once-in-a-lifetime convergence of music, environment, and artistic vision. The smaller capacity fostered a deeper connection between the band and audience, allowing for heightened interaction, greater emotional resonance, and a sense of being inside the performance rather than observing it from afar. This intimacy, combined with the band's refined orchestral approach, captures THE WHO at a defining moment in their modern era.

"Live At Eden Project" also presents one of the strongest and most focused setlists of THE WHO's orchestral period. Alongside beloved anthems such as "Baba O'Riley" and "Pinball Wizard", the album includes rarely performed gems like "Cry If You Want", "Anyway, Anyhow, Anywhere" and "The Rock", creating a career-spanning journey that balances hits, deep cuts, and orchestral showpieces with remarkable fluidity.

The LP's first single, "Pinball Wizard", is also available for streaming and download. The track offers a powerful first glimpse into the atmosphere and artistry of the Eden performance, capturing the heightened clarity, emotional nuance, and orchestral depth that define the full release.

Scheduled for release on May 29, "Live At Eden Project" will be available as a 2CD digipak, a limited 3LP gatefold edition pressed on recycled vinyl with no plastic shrink wrap and packed in a separate paper wallet, a standard 3LP gatefold, and across all major digital platforms. Every format showcases the full emotional and sonic range of a night that stands among the most compelling in THE WHO's recent history.

Vibrant, immersive, and uniquely alive, "Live At Eden Project" is the definitive document of THE WHO's orchestral era — a recording that captures not only a legendary band in peak form but also the spirit of a venue whose environmental ethos and natural beauty mirror the band's own commitment to evolution and innovation.

"Live At Eden Project" track listing:

01. Overture
02. 1921
03. Amazing Journey
04. Sparks
05. The Acid Queen
06. Pinball Wizard
07. We're Not Gonna Take It
08. Who Are You
09. Eminence Front
10. The Kids Are Alright
11. You Better You Bet
12. Anyway, Anyhow, Anywhere
13. Substitute
14. I Can't Explain
15. My Generation
16. Cry If You Want
17. Won't Get Fooled Again
18. Behind Blue Eyes
19. The Real Me
20. I'm One
21. 5:15
22. The Rock
23. Love, Reign O'er Me
24. Baba O'Riley

Photo credit: Brian Robinson (courtesy of Atom Splitter PR and Chris Hewlett PR)

Ex-QUEENSRŸCHE singer Geoff Tate played "The Answer", a song from his just-released third chapter in the band's classic "Operation: Mindcrime" album series, "Operation: Mindcrime III", live during his headlining concert Tuesday night (May 5) at the Bourbon Theatre in Lincoln, Nebraska. Fan-filmed video of the performance can be seen below.

Tate played "Power", the lead single from "Operation: Mindcrime III", live for the first time during his headlining concert Friday night (May 1) at the Pabst Theater in Milwaukee, Wisconsin.

"Power" was written by Geoff and his guitarist/producer Kieran Robertson. It features vocals by Tate, drums by Rich Baur, bass by DISTURBED bassist and "Operation: Mindcrime III" co-producer John Moyer, guitar by Dario Parente and Amaury Altmayer, and synths and strings by Tate and Robertson. It was mixed and mastered by Juan Urteaga at Trident Studios in Pacheco, California.

"Operation: Mindcrime III"Geoff Tate's own name and not under the QUEENSRŸCHE banner. The LP is once again a concept album with a storyline following Nikki, a drug addict-turned-assassin manipulated by a shadowy figure known as Dr. X. However, unlike the first two installments, "Operation: Mindcrime III" will tell the tale from the perspective of Dr. X, "how the story happened from his point of view," according to Geoff. "Which is kind of interesting, I think, because we've only heard it from Nikki's point of view, and he's been sort of this victim throughout the whole story," Tate previously explained. "And Dr. X's perspective is completely different, 'cause he's not the victim at all. So it's very aggressive."

In a recent interview with the "Let There Be Talk" podcast, hosted by rock and roll comedian Dean Delray, Tate stated about "Power": "It's a cool track. 'Power' is the first — I don't know — we call 'em singles nowadays. It's the first release on the album. And, yeah, it's a really cool song — very, very energetic, very up, and kind of says a lot in a very short time, which I like."

Regarding the writing process for "Operation: Mindcrime III", which follows 1988's "Operation: Mindcrime" and 2006's "Operation: Mindcrime II", Geoff said:  "I think you use whatever sort of way you can in order to get what you want. And, for me, I sort of look at it as a story, and I write the story out first of what is happening, and then I kind of dissect it and create chapters, and those chapters turn into songs. And then I kind of work to link them all together and follow a storyline that makes sense. And then you gotta kind of factor in musically how you're gonna tie it together. Does it make sense musically and melodically to put this song before this song, before this song, before this song? 'Cause that's a big thing too, is making it flow, so it doesn't seem obtrusive and people don't have to turn the page back to find out what happened, and they're kind of following along in a chronological order."

After Delray noted that "Power" "sounds like QUEENSRŸCHE", Geoff said: "Yeah. Well, part of the whole writing process was keeping the music in the universe of 'Mindcrime', writing within that style, I guess you'd say."

As for how "Operation: Mindcrime III" was recorded, Geoff said: "There's 13 songs on the record, and it was recorded all over the world. And the beauty of modern recording is that if you have the right equipment, the quality gear, we just take it with us wherever we go. And we set up in hotel rooms backstage at shows, venues. I think one track was recorded in a church. Just wherever we have the right kind of room for the sound, we can record there. We recorded one of the songs, parts of it, in this castle in Italy. Do you remember that character Casanova? Well, he was imprisoned in this castle way back when. And the place is just an amazing ruin, of course, but it had this one room that was just incredible. It [had] big, high ceilings, open environment, big stone walls and that kind of thing. But it added a really unique sound to the song. So anyway, we just kind of took advantage of that wherever we could and wrote the album as we were touring around the world, really. And I wrote music for the album and lyrics for the album. And Kieran Robertson, my writing partner for this project, contributed so much to this record, playing guitar and also writing music and lyrics too."

This past March, Tate was asked by Canada's The Metal Voice why he wanted to make another LP in the "Operation: Mindcrime" series. Tate said: "I'm interested in it. It's a subject I've always been interested in, the 'Mindcrime' saga, the story of these three characters, really: Nikki, Dr. X and Sister Mary. A fascinating triangle there of… Oh, it's an interesting relationship between all three of them. And Nikki's story has really been kind of chronicled on 'Mindcrime I' and 'Mindcrime II', and nothing has really been written about Dr. X. Like, who is he? What's he all about? Why is he the way he is? What got him to this place he's at? And I just found the subject to be interesting. And especially at the age I'm at now, where I'm probably very close to Dr. X's age, I'm looking at life differently now, and [I have] different goals, [and I have] a different reason to be, really, which I think probably happens with people as they age and get older. You've had past accomplishments, you've had things that you've done that you've really been interested, and you've followed your dreams, you followed your muse, and now you're at a different place where those wants and needs kind of change. So Dr. X is a character study, really, of where he is at and how he got to where he is."

Asked if "Operation: Mindcrime III' is "a prequel" to the first two albums or if it is a continuation of the story, Geoff said: "It's kind of a — hmm, I'd say it's in the same universe, but a different perspective. It's X's perspective. It's happening in time at the same time as 'Mindcrime I'."

On the topic of whether "Operation: Mindcrime III" is musically as heavy as the original "Operation: Mindcrime" album, Tate said: "Oh, yes. The new one is probably, I guess in the same realm. It's heavier than 'Mindcrime I'. I don't know. I'd have to go back and listen to it again, 'Mindcrime II', to see where it compared in the heaviness [laughs] scale."

As for his expectations for the "Operation: Mindcrime III" album, Tate said: "I just hope everybody can give it a spin, check it out. And especially with headphones. It's a wonderful headphone album. Absolutely. We spent a lot of time dialing all the details in that I find to be very important with the record, is it's gotta sound good on headphones. And it really sounds great with the mixing and the engineering on it. John [Moyer, DISTURBED bassist, who produced the album] did an amazing job putting it all together, and the sound, especially of the rhythm section — oh, it's phenomenal. It's really, really crunchy, punchy, big… I think it's miles above 'Mindcrime I' — absolutely. Especially the bottom end — the bass and drums, rhythm section. It's so modern, so huge. If you listen back to the 'Mindcrime I' album, it sounds like… I think it was one of the three first digital recordings made, and so it has a brittleness to it that you just don't hear anymore, 'cause the technology has gotten so much better now. The analog-to-digital converters are so much more sophisticated now. So, yeah, it sounds miles about that. I'm very happy, very happy with it."

Originally released in May 1988, QUEENSRŸCHE's third studio album, "Operation: Mindcrime" took the quintet to an entirely new level. The concept, revealed through the songs, revolves around the character of Nikki, a recovering drug addict disillusioned with a corrupt society. Drawn into a cult-like revolutionary group headed by Dr. X (voiced by the late and beloved British actor Anthony Valentine),Nikki is manipulated to assassinate political leaders until his friendship with nun Sister Mary finally opens his eyes to the truth. Regarded as one of the greatest concept metal albums of all time, "Operation: Mindcrime" was certified platinum in 1991 in the U.S. and was ranked in the "Top 100 Metal Albums Of All Time" by both Kerrang! and Billboard magazines. Rolling Stone included it on a similar list, noting that "nearly 30 years after its initial release, 'Mindcrime' feels eerily relevant."

The original "Operation: Mindcrime" album weaved themes of religion, drug abuse and underground, radical politics. By contrast, 2006's "Operation: Mindcrime II" was regarded as an unnecessary sequel that many felt cheapened the original album, despite being a decent record in its own right.

During QUEENSRŸCHE's 2012 legal battle with Tate over the rights to the band's name, guitarist Michael Wilton submitted a sworn declaration in which he said the idea to make "Operation: Mindcrime II" was first brought to the table by Geoff's wife and QUEENSRŸCHE's then-manager Susan Tate. "The band was hesitant and did not want to lessen the original," the guitarist claimed. "But Susan Tate and Geoff Tate hired a budget producer and took control without really any other input. Scott Rockenfield [drums], Eddie Jackson [bass] and I were squeezed out of having any input in the musical direction or business decisions, thus the project suffered. During the initial writing phase, I would show up to bring my input to the creative process only to find that the producer, the new guitar player (who were both staying with the Tates at the time),along with Geoff Tate had been up late the night before or up early that morning and had written the songs without me. I was then told my ideas were not needed as the songs were now done. I could, however, 'bring my own style' in during the recording after learning to play what they wrote for me. In frustration, I gave up on the writing process knowing that I would at least get to make changes in the studio to bring back the QUEENSRŸCHE sound into these songs that we were known for. The final straw was when they refused to let me to be a part of the final recordings and mixes. I was shut out and they had the nerve to replace some of my parts on my songs. They denied me flying to San Francisco to be a part of my band, telling me that everything was ready to go and I was not needed. Had the communication been better, and had I been aware that parts needed to be recorded or rewritten, I would have been there. It was not until years later that I even became aware of the issues during the final recording and mixing of 'Operation: Mindcrime II'. It was all under the control of Geoff and Susan Tate. Call it delusions of grandeur, but they were convinced that this was going to sell three times more than the original, and to date (six years later) this album has sold fewer than 150,000 copies. The original album sold over 500,000 copies within a year."

In April 2014, Tate and QUEENSRŸCHE announced that a settlement had been reached after a nearly two-year legal battle where the singer sued over the rights to the QUEENSRŸCHE name after being fired in 2012. Wilton, Rockenfield and Jackson responded with a countersuit. The settlement included an agreement that Wilton, Rockenfield and Jackson would continue as QUEENSRŸCHE, while Tate would have the sole right to perform "Operation: Mindcrime" and "Operation: Mindcrime II" in their entirety live.

Tate's replacement, Todd La Torre, has released four albums thus far with QUEENSRŸCHE: 2013's "Queensrÿche", 2015's "Condition Hüman", 2019's "The Verdict" and 2022's "Digital Noise Alliance".

🧠🎯🧠ANNOUNCING🧠🎯🧠
Legendary heavy metal singer Geoff Tate returns to The Bourbon on the last leg of his Operation...

Posted by Bourbon Theatre on Tuesday, December 16, 2025

In a new interview with Brazilian music journalist Igor Miranda, DREAM THEATER singer James LaBrie was asked if he and his bandmates have already started talking about working on the follow-up to the "Parasomnia" album, which came out in February 2025. He responded (as transcribed by BLABBERMOUTH.NET): "Whenever we approach a new album, it's where we feel that we're all presently sitting in life, what is affecting us, what is inspiring us, and most importantly, what do we feel should be the next chapter in DREAM THEATER as far as another album, its music, what is it going to represent, and something we can stand behind 100%. So we usually slowly transition to that when we know that we're gonna go into the studio, when we know we're gonna be writing a new album. That's when we start having the conversations as, 'Hey, what do you guys think about maybe this kind of an album or...?' And then at the same time, even regardless of all the conversations we have, each guy will come in with seeds of ideas, and we throw that on the floor. 'Here we go, man.' It's there. Which do we feel is something that's really cool and something that we can build on, something that we feel is going in the direction that we've been discussing? And so it's kind of like that."

James continued: "Right now the focus is we're on this world tour. We're gonna be on the world tour until — what? — mid-May. And that's the focus. Then we're gonna take a break for a little bit. And then probably late '26 or early '27 we'll get in to start writing and recording a new album. And then hopefully late '27 or early '28 we'll go back out with a new tour. And this is just — this is all not concrete. But this seems to be the idea at this point."

Last December, DREAM THEATER drummer Mike Portnoy told Troy Culpan of Australia's May The Rock Be With You about a possible follow-up to "Parasomnia": "Well, we have to wait, 'cause it's been a long tour. We've been out for a year now at this point. We started in October of 2024. And here we are, a year later now, and by the time we get down to Australia [in February 2026] and wrap up the tour cycle a few months after that, it'll have been a year and a half on the road. So, that's the focus right now. But once the tour cycle wraps and concludes by next spring or so, we'll probably take the summer [of 2026] off, 'cause it's been a long road, and then start thinking about a new album after that."

The progressive metal legends played their first concert with Portnoy in 14 years on October 20, 2024 at the O2 Arena in London, United Kingdom. The drummer, who co-founded DREAM THEATER, played on 10 of the band's albums over a 20-year period, from 1989's "When Dream And Day Unite" through 2009's "Black Clouds & Silver Linings", before exiting the group in 2010. Portnoy returned to DREAM THEATER in October 2023 after being replaced by Mike Mangini, who played with DREAM THEATER across five studio albums and accompanying world tours.

DREAM THEATER's ongoing "An Evening With Dream Theater" tour sees LaBrie, John Petrucci (guitar),John Myung (bass),Jordan Rudess (keyboards) and Portnoy perform "Parasomnia", in its entirety, as well as the entire seven-movement masterpiece "A Change Of Seasons", for the first time since Portnoy's return to the band in October 2023, in addition to other classics and fan favorites from DREAM THEATER's catalog.

DREAM THEATER's April 22, 2026 concert at Movistar Arena in Santiago, Chile was professionally recorded and filmed for an upcoming Blu-ray.

Last November, DREAM THEATER released "Quarantième: Live À Paris" via the band's longtime label partner Inside Out Music/Sony Music. "Quarantième: Live À Paris" documented DREAM THEATER's November 23, 2024 concert at Adidas Arena in Paris, France during the band's 40th-anniversary headlining tour of Europe. The effort contained a setlist that spanned the band's entire career with classics like "Metropolis Pt. 1", "Panic Attack", "Octavarium" and "Pull Me Under" represented among other fan favorites.

"Parasomnia" came out on February 7, 2025 via InsideOut Music. The LP was produced by Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returned once again to lend his creative vision to the cover art.

"Parasomnia" is an eight-song, 71-minute set which was recorded at DREAM THEATER's DTHQ studio on Long Island, New York. It is the follow-up to 2021's "A View From The Top Of The World", which debuted at in the top 10 of Billboard's Top Hard Rock Albums, Top Rock Albums and Independent Albums charts. Six songs on "Parasomnia" are over seven minutes and the closing epic "The Shadow Man Incident" clocks in at nearly 20 minutes.

Portnoy, Petrucci and Myung started DREAM THEATER as MAJESTY in 1985, after meeting at the Berklee College Of Music in Boston. LaBrie came on board in 1991, while Rudess joined in 1999.

Prior to Portnoy's return to DREAM THEATER, the drummer and Petrucci worked together on the latter's 2020 solo album, "Terminal Velocity", and toured together. Portnoy and Petrucci also joined Rudess and bassist Tony Levin for a third studio album as LIQUID TENSION EXPERIMENT in 2021.

Pioneering musician Kira Roessler (BLACK FLAG, DOS) will release her second solo album, "Enigma", on July 10 via Org Music. The LP marks a continuation of the minimalist, bass-driven approach introduced on her 2021 debut, expanding her distinctive voice with greater depth and nuance. The lead single, "How Could You", arrives May 6 alongside album preorders.

Across "Enigma", Roessler builds stark, spacious arrangements anchored by her melodic bass playing and understated vocal delivery. The result is a focused and intimate collection that emphasizes tone, restraint, and emotional clarity.

"'Enigma' is the continuation of the narration of my life through song — honest, if over-dramatized statements about what is in those moments," says Roessler. "Leaning into the raw feeling of it all. I feel very lucky to be able to share some new music with those who listen."

The album was co-produced with her brother, Paul Roessler (SCREAMERS),and features contributions from Petra Haden, whose backing vocals add subtle texture to the record's stripped-down framework. While maintaining a minimalist core, "Enigma" introduces expanded tonal elements and a broader dynamic range.

Lead single "How Could You" offers an early look at the album's direction, incorporating a looser, jazz-influenced feel while remaining grounded in Roessler's signature sense of space and control.

"Since I rarely find myself in conflict with anyone, there it was — how could you hurt me, even if I was wrong," she explains. "Treated as a jazzy mantra, because that's what came out."

Best known for her work in BLACK FLAG, where her melodic, unconventional bass playing helped redefine the band's sound during its later, more exploratory years, and for her long-running collaboration in DOS, Roessler has also built an accomplished career in film and television, with credits including "Mad Max: Fury Road", "Game Of Thrones" and "Project Hail Mary".

Decades into her career, Roessler continues to evolve her approach without revisiting past formulas. "Enigma" reflects that progression — a measured, deliberate work that prioritizes mood, space, and subtlety over immediacy.

"Enigma" will be available on CD, vinyl, and digital formats on July 10 via Org Music. All formats will be available for preorder beginning May 6.

Track listing:

01. Peas
02. How Could You
03. Fluid Reset
04. Jim
05. Truth
06. Collapse*
07. You Will Feel My Pain
08. Drinking And Driving
09. Crossed Purpose*
10. Whatever
11. Kill Him
12. Wild Card
13. Crawling
14. Enigma

* CD and digital only

All LP and CD purchases come with a download, delivered on release day.

Roessler was a member of BLACK FLAG between 1983 and 1985. She replaced founding member Chuck Dukowski and contributed to 1984's "Family Man" and "Slip It In" and 1985's "Loose Nut" and the band's pre-breakup album "In My Head". After exiting BLACK FLAG, Roessler formed a new band DOS with her now-ex-husband, MINUTEMEN's Mike Watt. She also contributed to MINUTEMEN's final album, "3-Way Tie", in 1985.

Photo credit: Tim Nalley

In a new interview with Metal Mayhem ROC correspondents Southern Cal and Bill The Rager, bassist/vocalist John Gallagher of the British/American metal trio RAVEN spoke about the progress of the songwriting sessions for the band's next album, following the arrival of last year's "Can't Take Away The Fire" EP. He said (as transcribed by BLABBERMOUTH.NET): "We have a lot of songs. We have a very, very large cache of songs. A lot of them were written before I had the accident [bleed on the brain, which required surgery in August 2025]. So with all that, a lot of them I couldn't even remember. Totally. I mean, it's tough when you're a sausage factory and stuff anyway. You just concentrate on the one you're working on, and then you go back, and we kick it around between the three of us and see where it is. So I've got perfect perspective on listening back to a lot of this stuff, and it's, like, 'Wow, that's really cool. I like that.' So it's a question of going through them and going, 'What would be a great opener?' 'What would be a slam-dunk follow-up?' 'What would be a great ender?' If you had something more epic, where would you put it? Where would a rock and roll one go? You try to pre-sequence, in a sense, and end up with, like, 12, 13 songs and maybe cut them and work it down from there. You always need an extra track for Japan or what have you. There's always something like that. But we like the concept of the 10, 11 songs, 40 minutes. You don't overstay your welcome. People's attention spans are slow enough to start with. But back in the day, that was your restriction due to vinyl, so it made sense. You could build a little narrative, little peaks and valleys up and down, and sequence it correctly and really hit hard. MONTROSE, first album. VAN HALEN, first [album]… I mean, VAN HALEN kept it real short, but within reason, the concept is still there."

Asked what the advantages were of being on a major label like Atlantic in 1980s compared to now when RAVEN is working with Silver Lining Music, John said: "Well, even back then, the major pro was distribution. And back then there was somewhere to distribute to. Now, not so much. You're talking about specialist mom-and-pop stores. You're not gonna get your record in Walmart. I mean, nobody is, unless you're K-pop or something or it's a best-of from 40 years ago. They don't have it. And the other shop that would be in the mall would have been FYE, and again, they're just selling off whatever they've got. They're not putting anything new in. So it's pretty strange. I mean, we sell an awful lot live… A lot of people will buy the CD, play the CD and buy the vinyl just to look at or to collect. We've got collectors that come out and they buy four copies of everything. It's, like, mental. I don't get that. But they want to sit down and immerse themselves in it, and we understand that 'cause we do the same thing. If I get an album I like, I wanna sit and listen to it and read the liner notes and see who did what, what the lyrics are, try to decipher them, who played on it, who produced, where was it recorded, what kind of socks were they wearing, all that good stuff. And that's in our DNA. That's from way back."

In August 2025, it was announced that RAVEN was postponing its previously announced summer/fall 2025 European tour so that John could undergo emergency brain surgery.

This past February, John told Metal Mayhem ROC about his health: "I call 2025 our medical gap year. My brother [RAVEN guitarist Mark Gallagher] had an ankle replacement and a knee replacement, which were kind of planned, but me getting knocked on the head and being in the ICU for two weeks and bleed on the brain wasn't planned. I'm just very, very lucky to pull through with it, with very little to show for it. Medically, I'm doing okay."

Speaking in more detail about Mark's surgeries, John said: "Well, the ankle, Mark needed the ankle for an awful long time. I mean, you guys have seen him running around like a crazy man, but you don't see him curled up in a ball after the show. He's been in a lot of pain for many, many years, and this is something he's wanted to do. And [it was] basically bone on bone, no cartilage, so it really needed to be done. And the other thing that followed from that, of course, is all those years of compensating for the ankle with the other leg, and the knee got shot because of that. So he got both of them done. So he's a little bit more metal than what he was before."

As for how he was feeling at the time and whether he was prepared to return to the road, John said: "Well, with my thing, I'm currently still on anti-seizure medication, which is being reviewed later this week. We'll see how we're doing. But I was basically given the green light to do whatever only a few weeks after with the caveat that 'you won't be strong enough to do any of that.' And they were right, 'cause [when] you get a head injury like that, it kind of sucks all the power out of your body to try and fix that. So it was humbling, put it that way. It took a hell of a lot out of me. But I'm doing pretty good now. And it was a little weird, a few strange things. As soon as I got back, I picked up a bass and started trying to play a few of my favorite MONTROSE riffs, and the fingers weren't going where they were supposed to go. So I put it down for a day or two and came back and realized I was about 80% of what I should have been. And I just had to work real hard and getting back to where I am — currently a little better than I was before. So I'm happy about that."

According to John, his inability to play the bass properly after being released from the hospital was "totally mental. Literally my fingers weren't going in the right place or were out of sync," he explained. "[It was] just a brain thing. Compared to a lot of people, I'm incredibly lucky. So it was just a small hurdle to work on, and it did scare me a little bit, but I was getting improvements almost immediately on that. And it only took a few weeks, and I got back to where I was supposed to be."

Referencing KISS guitarist Ace Frehley, who died last October after a fall at Ace's home, John added: "Believe me, very few moments go by where I'm not reminded [that] I could be where Ace Frehley is, and Ace could be where I am. God bless. I'm very, very lucky. My family, my friends, they've all been amazing. The doctors, the nurses, the whole deal."

Considered part of the "New Wave Of British Heavy Metal" movement of the early '80s, RAVEN is perhaps best remembered for its trailblazing tours in America in the early '80s that gave groups like METALLICA and ANTHRAX their first taste of the road.

RAVEN's classic albums "Rock Until You Drop", "Wiped Out" and "All For One" virtually invented both the speed metal and power metal genres, with the band consistently pushing the envelope while retaining its unique sound and attack — both in the studio and in their true element: onstage.

RAVEN's latest EP, the aforementioned "Can't Take Away The Fire", came out in February 2025 via Silver Lining Music.

Photo by Magalie Aspeele (courtesy of Earsplit PR)

SOCIAL DISTORTION has released "The Way Things Were", the third and final song to be released in advance of the band's long-awaited eighth album, "Born To Kill", out May 8 via Epitaph Records.

An emotionally charged reminiscence in the vein of classics "Story of My Life" and "I Was Wrong", "The Way Things Were" is a potent distillation of the SOCIAL D ethos, featuring lyrics like "I wrote a song with a stolen riff / If you ain't got a song you ain't got shit."

"The Way Things Were" can be heard alongside the anthemic "Partners In Crime" and the album's previously unveiled title track below.

SOCIAL DISTORTION will give that title track its network television debut, when the band returns to "Jimmy Kimmel Live!" on Thursday, May 7. Check local listings for further details.

"Born To Kill" is more than the conclusion to a 15-year wait between SOCIAL DISTORTION albums, it's a revelation: 11 songs of pure, unadulterated rock fury, joy and catharsis, all imbued with the signature blend of defiance and world-weariness that has made frontman Mike Ness a poet and sage to the dispossessed for more than 40 years.

Hailed by Rolling Stone as "still full of piss and vinegar," "Born To Kill" wastes no time letting the listener know where its heart is: its hard-charging title track — surpassing four million streams in the month since it dropped — paying respects to Lou Reed ("Rock 'n' Roll Animal gonna come your way!") and Iggy and THE STOOGES ("The agenda is yeah to Search and Destroy") and lionizing David Bowie ("It's a Rock 'n' Roll Suicide") on "Partners In Crime". This is a man, a band, and a record that wear their influences proudly while creating timeless anthems and ballads that chart SOCIAL DISTORTION's path forward while celebrating its storied past.

The track listing for "Born To Kill" is:

01. Born To Kill
02. No Way Out
03. The Way Things Were
04. Tonight
05. Partners In Crime
06. Crazy Dreamer
07. Wicked Game
08. Walk Away (Don't Look Back)
09. Never Goin' Back Again
10. Don't Keep Me Hanging On
11. Over You

Co-produced by Ness and Dave Sardy, and featuring guest appearances from Benmont Tench of TOM PETTY AND THE HEARTBREAKERS and Lucinda Williams, and collaborative cover art by Ness and Shepard Fairey, "Born To Kill" is the latest installment in a remarkable catalog that spans nearly three generations, including "Mommy's Little Monster" (1983),"Prison Bound" (1988),the RIAA-gold-certified "Social Distortion" (1990) and "Somewhere Between Heaven And Hell" (1992),"White Light, White Heat, White Trash" (1996),"Sex, Love And Rock 'N' Roll" (2004) and "Hard Times And Nursery Rhymes" (2011).

SOCIAL DISTORTION will promote "Born To Kill" with an extensive North American tour, featuring support from THE DESCENDENTS and THE CHATS. The tour recently added four new shows in July, and runs through October 3 in San Diego. THE DESCENDENTS and THE CHATS support from August 25 through October 3. Support for the July dates is to be determined.

SOCIAL DISTORTION North American tour 2026:

July 17 - Montreal, QC - MTELUS
July 19 - Burlington, VT - Higher Ground Ballroom
July 20 - Portland, ME - State Theatre
July 22 - New Haven, CT - Toad's Place
August 25 - Phoenix, AZ - Arizona Financial Theatre
August 28 - Austin, TX - Moody Amphitheater
August 29 - Dallas, TX - The Bomb Factory
August 31 - Nashville, TN - The Pinnacle
September 1 - Atlanta, GA - Coca-Cola Roxy
September 3 - Raleigh, NC - The Ritz
September 4 - Washington, DC - The Anthem
September 5 - Asbury Park, NJ - The Stone Pony Summer Stage
September 8 - Philadelphia, PA - The Met Philadelphia presented by Highmark
September 9 - Boston, MA - Roadrunner
September 11 - Brooklyn, NY - Brooklyn Paramount
September 12 - Brooklyn, NY - Brooklyn Paramount
September 14 - Toronto, ONT - HISTORY
September 15 - Toronto, ONT - HISTORY
September 17 - Detroit, MI - The Fillmore Detroit
September 20 - Minneapolis, MN - The Armory
September 22 - Denver, CO - The Mission Ballroom
September 23 - Salt Lake City, UT - The Union Event Center
September 25 - Las Vegas, NV - The Chelsea at the Cosmopolitan of Las Vegas
September 26 - Reno, NV - Grand Sierra Resort - Grand Theatre
September 28 - San Francisco, CA - The Masonic
September 29 - Oakland, CA - Fox Theater
October 1 - Los Angeles, CA - Hollywood Palladium
October 2 - Los Angeles, CA - Hollywood Palladium
October 3 - San Diego, CA - Gallagher Square at Petco Park

Photo credit: Jonathan Weiner

Progressive metal innovators BETWEEN THE BURIED AND ME will descend underground on Friday, June 19 for a performance inside The Caverns, a state-of-the-art music venue within a natural limestone cave system in Grundy County, Tennessee.

In recent years, The Caverns has steadily expanded its presence in the metal and experimental music world, hosting landmark underground performances from drone pioneers SUNN O))) (twice),the subterranean intensity of BLOOD INCANTATION, the theatrical chaos of GWAR, genre-defying guitarist Buckethead (three appearances to date with another scheduled for August 7),and the return of cult sludge innovators ACID BATH. These performances have helped define The Caverns as a singular environment for heavy music in an underground setting.

In 2026, The Caverns was named to Billboard's 2026 Top Music Venues list, earning recognition for what the publication called its "Wow Factor," highlighting venues that deliver truly distinctive live experiences.

Joe Lurgio, general manager of The Caverns, said the venue's natural setting resonates with artists across genres — especially metal.

"The Caverns is a venue for all genres of music, and that certainly includes metal," he said. "Could there be a more perfect place for a metal show than surrounded by rock inside a prehistoric cave?"
BETWEEN THE BURIED AND ME's June 19 performance adds another chapter to The Caverns' evolving role as a destination for world-class artists seeking an environment unlike any traditional stage — where music is experienced deep within the earth itself.

Tickets and additional information are available at The Caverns' official web site.

Nestled in Grundy County, Tennessee, The Caverns is a world-renowned music destination with a stunning subterranean venue and natural acoustics that make every performance immersive and unforgettable. Above ground, an outdoor amphitheater offers sweeping views of the Cumberland Plateau. Visitors can enjoy guided cave tours, on-site camping, luxury yurts, and an on-site tavern. In the summertime, The Caverns also hosts Camp Caverns for kids ages 8–13. The Caverns is a one-of-a-kind destination for music, adventure, and connection.

BETWEEN THE BURIED AND ME, which released its latest album, "The Blue Nowhere", in September 2025 via InsideOut Music, recently announced a new U.S. tour in support of the LP. The 31-date headlining trek will kicks off on May 15 in Richmond, Virginia and conclude on June 20 in Winston Salem, North Carolina. BETWEEN THE BURIED AND ME will be joined on select dates by special guests including IMPERIAL TRIUMPHANT, FALLUJAH, THANK YOU SCIENTIST and THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE.

The U.S. tour follows a month of European performances through the months of February and March. Prior to that tour, BETWEEN THE BURIED AND ME released a stunning live recording of album highlight "God Terror", recorded in Denver during the band's North American dates.

In late 2025, an expanded digital version of "The Blue Nowhere" was released, featuring the bonus track "Overture" and instrumental versions of the album's original 10 tracks.

"The Blue Nowhere" has been hailed by Consequence as "another mind-bending prog metal journey," with Revolver noting the band's music is as "complex as ever," and Loudwire praising the album as "another characteristically compelling and eccentric record," from the genre-defying architects of modern progressive metal.

BETWEEN THE BURIED AND ME have built a reputation as one of heavy music's most forward-thinking and creatively ambitious bands. Over the past 25 years, they have released eleven albums, from their 2002 self-titled debut to 2025's "The Blue Nowhere", blending technical mastery with conceptual depth. Throughout their career, their albums have consistently landed on year-end best-of lists, earned a Grammy nomination in 2019 (with the award's web site praising their music as "versatile, imaginative and absolutely crushing the band's music"),been dubbed "prog metal heroes" by Kerrang!, and praised by Guitar World for their "epic" and "hugely diverse" sound.

BETWEEN THE BURIED AND ME is Tommy Rogers (vocals/keys),Paul Waggoner (guitars),Dan Briggs (bass/keys) and Blake Richardson (drums).

In a new interview with Stefan Nilsson of Roppongi Rocks, NAPALM DEATH bassist Shane Embury spoke about last year's passing of his longtime friend and LOCK UP bandmate, founding AT THE GATES frontman Tomas "Tompa" Lindberg. Shane said (as transcribed by BLABBERMOUTH.NET): "Well, Tomas, he's been my close friend, I suppose, since about 1996. He was ... He still feels like he's here, really, for me. So, how long is that? 30 years, I think. But I first met him in 1989 at a NAPALM DEATH show. And then I met him briefly again in 1994, when AT THE GATES released 'Terminal Spirit Disease', I think it was. But he was a really important person for the scene. He used to have a couple of beers and he would tell people, 'Oh, yeah, I invented the Gothenburg [Sweden metal] scene.' He was doing it tongue in cheek, but I sort of believe he did, to be honest. But we used to talk a lot. And strangely enough, on the last few releases, he would always send me the lyrics to read. I don't know why. He would say, 'Does this make sense in English?' I'm, like, 'Well, yes, it's fine.' And occasionally there'd be different things, different wordings, but I thought that was better, in a way. But I don't know why he always sent it. Because we used to have a similar kind of lyrical approach, I think. When we used to write together in LOCK UP, we would be quite philosophical, in a way."

Shane continued: "[Tomas was a] very deep thinker. And, of course, being in the heavy metal scene, it's an extreme world. If you're disciplined, unlike me, and probably unlike Tompa too, we'd drink, we'd party and get crazy. And a lot of people in the metal scene are like-minded individuals. We come together. It's almost like we're almost like shamans — whatever you wanna call it, really. We sort of channel these emotions. So he was a good friend. And it was very sad [when he died]. Really, really sad."

AT THE GATES' latest album, "The Ghost Of A Future Dead", came out on April 24 via Century Media Records. The follow-up to 2021's "The Nightmare of Being" marks a special tribute to Lindberg, who tragically passed away in September 2025. The LP features Tomas's final vocal recordings, recorded as demos before his 2024 surgery.

Lindberg was diagnosed with adenoid cystic carcinoma, a rare oral cancer, in December 2023, which led to a major surgery that removed a large portion of the roof of his mouth. He had also undergone radiation treatment and had been on a path to recovery, but then doctors found traces of the cancer in early 2025. In May 2025, an undisclosed "setback" placed Tomas in long-term care.

Lindberg was 52 years old at the time of his death.

In August 2025, Tomas's AT THE GATES bandmates announced that the singer was receiving "around-the-clock" care at an unspecified hospital after being diagnosed with adenoid cystic carcinoma (ACC),a rare, slow-growing but aggressive cancer that typically develops in the salivary glands, particularly the minor salivary glands of the head and neck.

In a new interview with Chile's La Tercera, MEGADETH leader Dave Mustaine spoke about his decision to embark on a farewell tour following his Dupuytren's contracture diagnosis which has made it "really painful" for him to play the guitar. He said (as transcribed by BLABBERMOUTH.NET):  "I have an injury to my hand here… And it's gonna get worse so that it eventually pulls my finger like this, and I won't be able to play like that. So at some point I'm gonna have to face doing a procedure, and if it doesn't turn out, then I can't play anymore anyway. I've thought about having somebody else play guitar and me just sing in MEGADETH, but I would never be happy. I think part of the magic is me playing guitar."

Mustaine also once again spoke about his decision to include his version of "Ride The Lightning", the title track of METALLICA's 1984 album for which he got a co-writing credit following his 1983 departure from the band, on the final MEGADETH album, simply titled "Megadeth". Dave said: "We decided to do that song, and I wanted to make it my own. Of course, I wrote that with James [Hetfield, METALLICA guitarist/vocalist]. So, it's mine. I just wanted to make MEGADETH's version different. So we sped it up — it's a little faster and we improved... Well, we didn't… wrong word. We modified the drums at the end, and we added a little bit more playing. And same thing with the [guitar] solo. We modified the solo and had there a little bit more playing in the solo section. So, it is ours. And, of course, James and I sing differently, but you can tell when either one of us is singing."

Asked if he has received any comments or reaction from the guys in METALLICA to his version of "Ride The Lightning", Dave said: "I wasn't looking for it. And they may have said something. I don't know. I was concerned what the fans were gonna say, and I was more concerned about our songs than what I wrote 40-plus years ago when I was a kid. I mean, the funny thing is I was so young when I wrote that song, and to try and understand that somebody that young could write something like that, it just shows you how talented a guitar player that James and I were. And we made a really good team."

Regarding how he plans to spend his time after the completion of MEGADETH's farewell tour, Dave said: "Probably just be a happy grandpa. 'Cause I love my family. It's the most important thing in the world to me. And I think when I stop, I'll still be involved in the music business. Who knows? I may wake up tomorrow morning and my hand will be miraculously healed and I have my career back. Who knows? But for now, I'm gonna make the best of it."

Dupuytren's contracture is often referred to as Viking Disease due to its commonality in Northern European populations. It sees tissue under the skin thicken to the point it pulls fingers into a bent position, as if the hand were clutching an imaginary axe.

In a separate interview with Jorge Lagás of Chile's Radio Futuro, Mustaine spoke about the name of MEGADETH's ongoing Latin American tour, "This Was Our Life", which will hit Mexico later this week. Asked if there will be a "farewell" portion of the tour to follow the current leg of the trek, Mustaine said: "I didn't plan it that way. All this stuff happened. We had already had the tour booked while we were still recording the album. And the time came where we had to come up with a name for the tour. But that was before I announced I was gonna have my career end. Because I have this [hand condition] that's gonna keep me from playing eventually… This is called Dupuytren's contraction. And it's progressive."

Regarding how he feels about the fact that MEGADETH's farewell tour will eventually come to an end, Mustaine said: "It's bittersweet. I'm glad we're touring as much as we're gonna tour right now. I'm sad because it's going to come to an end at some point. So, I call it bittersweet."

MEGADETH played its version of "Ride The Lightning" live for the first time during its headlining concert on April 26 at Movistar Arena in Bogota, Colombia.

Mustaine co-wrote the song "Ride The Lightning" with Hetfield, METALLICA drummer Lars Ulrich and then-METALLICA bassist Cliff Burton.

Mustaine was a member of METALLICA for less than two years, from 1981 to 1983, before being dismissed and replaced by Kirk Hammett.

Mustaine was not inducted into the Rock And Roll Hall Of Fame with METALLICA during the April 2009 ceremony at Cleveland, Ohio's Public Auditorium.

MEGADETH's final, self-titled album arrived in January via Mustaine's Tradecraft imprint on Frontiers Label Group's new BLKIIBLK label.

"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.

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).