Scot Coogan, Ace Frehley's longest-serving solo-band drummer and lead vocalist since 2006, has issued the following statement regarding his recent public silence and his intentions moving forward: "I have remained silent intentionally — to give my crew, management, and most importantly Ace's family the time and respect they deserve to grieve without noise, speculation, or opportunism.

"I personally feel it is far too soon to perform Ace's music, and I have absolutely no interest in profiting from his name, likeness, or legacy.

"Working with Ace since 2006 was one of the greatest honors of my life. We shared the stage on countless tours and collaborated on multiple recordings, but our connection went much deeper than music. Ace walked my wife down the aisle and stood beside me as my best man. He wasn't just someone I worked with — he was family. And because he was family, I will always protect and honor his legacy. Any money that comes to me connected to Ace's name, music, or likeness will be donated to an animal charity in his honor.

"In the meantime, I've continued working — recording in Los Angeles, performing with my LED ZEPPELIN tribute project, and focusing on building my own music and identity.

"When the time comes to honor Ace's contributions to rock and roll, it will not be rushed, and it will not be exploited. It will be done the only way that matters — with dignity, respect, and real love."

Scot's statement comes just weeks after the four musicians Ace Frehley handpicked for his Australian tour in 2018 — Philip Shouse on bass, Ryan Spencer Cook on guitar/vocals, Jeremy Asbrock on guitar/vocals, and Christopher Williams on drums — announced that they would honor the legendary original KISS guitarist by playing a series of shows where they will perform Frehley's 1978 solo album in full, along with KISS classics.

In 2018, Asbrock, Cook, Shouse and Williams performed with KISS bassist/vocalist Gene Simmons as the GENE SIMMONS BAND. The foursome were then invited to join Ace's band as Simmons was scheduled to return to KISS to prepare for the "End Of The Road" tour. Asbrock, Cook and Shouse accepted the invitation, but Willams could not do so due to a prior commitment with the German metal band ACCEPT.

Frehley passed away last October at the age of 74. The founding KISS guitarist died of blunt-trauma injuries to his head due to a fall, the Morris County Medical Examiner confirmed in a report. The manner of death was ruled an accident.

According to the report, a CT scan of Frehley's head revealed multiple contusions, bone fractures to the back of his skull, hemorrhages, and a subdural hematoma (the type of bleeding that occurs in a person's brain after a head injury). Additional bruises were found on the musician's hip, thigh, and abdomen. The report also noted that Frehley had suffered a stroke.

A separate toxicology report on Frehley's blood at the time of his death has not been released.

Frehley's longtime manager John Ostrosky confirmed to the New York Post that the late KISS icon was laid to rest at Woodlawn Cemetery in Bronx, New York.

The legendary musician was buried on October 22 following a private memorial on October 21 at Sinatra Memorial Home in Yonkers, New York.

In a new interview with Matt Wardlaw of Ultimate Classic Rock, W.A.S.P. leader Blackie Lawless spoke about the status of his long-in-the-works autobiography, which has the working title of "Tales From The Square Mile". He said (as transcribed by BLABBERMOUTH.NET): "My head has really been into this book that I've been working on. And it's really consumed most of my time. And it's been way more work than I ever thought it was gonna be. It's easily as much work as making a record, but probably more, because I've been working on this now for five years."

Blackie continued: "Since we came home [from tour] last November, I have really, really buckled down and started working on this. I'm probably halfway done now, but the amount of research that it took to get a lot of these stories correct is really time consuming. And I find that there will be times where it'll take me six, seven hours to write two paragraphs because of the amount of research that's going on. Because when I first started this, like probably everybody else, I would've thought it would've been my singular story. And that seemed reasonable at the time. But the more I got into it, the more I realized it was not just my story."

Regarding why he decided to name the book "Tales From The Square Mile", Blackie said: "What it's about is that square mile that I was living in in Hollywood at the time, and the influences that the town itself would have on not just me, but the music industry overall, and we are all tied to it, whether we know it or not. Because the way the movie studio systems were set up in the '20s, '30s and '40s had a direct influence on what the record companies would be later. So all this research, like I said, that went into to uncovering a lot of what I've been doing has just taken an enormous amount of time. But the little nuggets that I've discovered that I think people will find interesting for me were fascinating when I would uncover them. And there's a lot of goofy coincidences that have happened in it too, the things that have been uncovered. So, like I said, I think it's gonna be an interesting read when people see it. It's not your gonna be your typical rock and roll book by any stretch."

Asked what has been the most enlightening thing for him as he has taken stock of everything that was going on during his earlier years, Blackie said: "Oh, man. Well, when you write a book, especially something like this, you realize you saved yourself about 40 years of being on a psychiatrist's couch because the rabbit holes that you have to go down… It's really revealing, because we have surface memory of events that have happened in our lives, but it's not until we go to really start digging deeper at any specific event that might have happened in your life. You think you remember it, and you do on the surface, but it's not until you start really going back to wherever that event may have happened in your head and you start looking and visualizing everything that was going on at the time. And man, I'm here to tell you, there's a lot of stones that you uncover that some are good and some are not so good. But I've come to the understanding that this is not a book I could have written 20 years ago, because I wasn't in the headspace to write it. So it's been — as the old GRATEFUL DEAD song says, 'What a long, strange trip it's been.' It's been that."

As for which area covered in the book was a particular "challenge" for him to write about, Lawless said: "Childhood. Because that too is where you start going down these rabbit holes and things that you think… It reminds me of the old Peter Gabriel song, 'Digging in the dirt to find the places where we got hurt.' My dad was in the construction business, and we traveled a lot when I was a kid. I ended up going to 13 different schools by the time I graduated. So I was constantly the new kid. And it's hard to make friends. And the friends you do make, as soon as you make them, you're gone again. And that ended up having quite a bit more of an impact on me growing up than even I gave it credit for. And as men, or as boys, we were constantly being tested by the older kids and stuff like that. So there was a lot of brutality that went on with it. But I would say in a word, childhood."

Back in October 2022, Lawless told Rockin' Metal Revival about the process of writing his autobiography: "When I sat down to start writing the book, it just poured out of me. And that was an interesting process, too, because, never having done that before, you always think of the… the first thing that comes to anybody's head is the things that stand out. But what I found that more than anything is it was a process of self-discovery, because if you look at any given event that may happen in your life that's significant — we all have those; those signposts that point us in one direction or another — it's one thing to write about it, but to get to the root of it, what you have to do is go back and do some real self-examination and say, 'Okay, what led me to this? And then what led me to that?' And so forth."

He continued: "It reminds me. I've heard stories of psychiatrists, when they tell people, if they've gone through something that's intense in their life or they've lost a loved one or something like that, write them a letter," he continued. "And I found that doing this is very much like that. Because I've never done the thing that the psychiatrists have said — fortunately, I've never been put in that position — but it reminded me of hearing what they were saying, because it ends up being a letter to yourself. And you discover some interesting stuff — the good, the bad, the ugly and all that. And it's quite a revealing process, because the person you are now is not the person you were when you were doing some of those idiotic things, or when something intense happened in your life that wasn't idiotic. But again, what led you from point A to point B to become that person, and you look back on it now and you go, 'Wow, look how I've changed.'"

"Writing, whether it's lyrics or anything like that, you try to write them as multi-dimensional as you can because the listener, when they listen to it today, you want them in five years to be able to look at those same lyrics and see something totally different, because who they are in five years is not who they are right now," Lawless added. "So that's really what you're trying to do."

Lawless previously talked about his autobiography in May 2022 in an interview with Meltdown of Detroit's WRIF radio station. At the time, he said: "It's taken a whole lot longer than I thought it would, but it's been one of the most fun things I've ever done in my life. It's a tremendous amount of work because there's so many things, over the course of a lifetime, that you forget about, especially when you do what we do for a living. Anybody that does what we do, it's not like the average person out there where you go to work and you do your thing and you get into a routine. And there's nothing wrong with that; it's different.

"I've often said that I've already… because of the schedule and the way that any band has to do things — you're here today; you're somewhere else tomorrow — it's like you've already lived four or five of somebody else's lifetimes," he explained. "And because of the amount of intensity that goes into the same amount of space that everybody has. Twenty-four hours for somebody that does this is not the same as twenty-four hours for somebody that's in a routine. And it can get a little on the insane side.

"The first thing I did was interview everybody that I could think of and said, 'What are your memories of this?'" Blackie revealed. "So I got those. But then where I got the majority of it from was really going back in my own head. And the deeper I got into it, the more things I had totally forgotten about. Because, like I said, there's so many things that will happen in a given day that the only thing you remember is the most intense thing. But maybe the two or three other things that were just under it were just as intense, but you don't remember it. You remember being on the flight the time the guys got angry with a stewardess and stuffed her in the overhead bin, but you don't remember the two or three things that happened under that. That's a true story, by the way."

Asked what he has learned about himself from digging into his life while writing his book, Blackie said: "In the preface of the book, I write that this has been a process of discovery — both good and bad. I would say, after it's all said and done, that it's been far, far more good than bad, because what it's done for me, it's been like writing a script to a movie. And again, like I said, there's a lot of stuff you forget about. But also at the same time, what it does is it helps you connect the dots of your own life, of maybe things that you didn't really think about were connected, and you go back and you look at it and you go, 'This is as plain as the nose on my face. Why couldn't I have seen this before?' And there's been a number of incidences like that — just things that are personal that might not be something that you could share with anybody else, because it wouldn't make sense to them. But then again there may be things that are. So I'm hoping that when people read this, they'll see a lot of themselves in it."

W.A.S.P. recently announced the "1984 To Headless" 2026 U.S. and Canada tour with KK'S PRIEST as very special guest. The tour will kick off on September 10 in California and run through October 31. W.A.S.P. will play the hits from the band's first four albums: the band's iconic debut LP in 1984, followed the next year with "The Last Command", "Inside The Electric Circus" in 1987 and "The Headless Children" in 1989.

W.A.S.P. is again offering fans VIP tickets that give fans a chance to meet Blackie, get a personal photo with Blackie, autographs, a W.A.S.P. traveling museum with new items added since the last U.S. tour, and take part in a very personal Q&A with Blackie. VIP tickets can be purchased at waspnation.myshopify.com.

W.A.S.P. will take the "1984 To Headless" tour to Europe and the rest of the world in 2027.

In a new interview with Rock Talks, former MISFITS singer Michale Graves was asked if there are any plans for him to reschedule his U.K. concerts which were recently canceled due to his alleged far-right links. He responded (as transcribed by BLABBERMOUTH.NET): "No, there's no plans to do that. It's too much of a hostile environment, which is one of the reasons that I have pivoted the way that I am. I've signed with this label and I'm doing these things that I'm doing — not because I don't love that world, but I no longer exist in the punk world, in the rock world, in that heavy world. I'm hated. I can't exist there.

"I'm gonna do something. I'll get back there to Europe. I'm not saying that I'm not gonna go back there and play, but I'm gonna do it a different way," he continued. "I can't have my physical — anybody's — physical safety in jeopardy. I can't have these businesses and the people that are working in them and running them subjected to what the people have been subjected to, these businesses. It has just been awful. And I don't want any part of it. I'm trying to build things and bring people together, and there's nothing but destruction and chaos and violence and awful, awful things that I won't be a part of."

Michale added: "I love people. And I've devoted my life and my talent and my energies in the service and duty of other people, spreading God's kingdom, certainly helping to bring God's kingdom to this world. Well, how do you do that? By doing exactly what I'm doing. Talk to anybody that's come to a meet-and-greet or a Michale Graves show. I love talking to people. I love ministering to them, whether that's just playing them a song or talking to them. Some people wanna pray, some people just wanna ask me questions. But in that three minutes of time sometimes that I spend with people, it's life changing, and they hold those moments forever."

After the interviewer noted that Graves gets a lot of online criticism from metal and punk rock fans for his reported affiliation with the right-wing group Proud Boys and publicly declaring that he is a Christian, Michale said: "My reply to them is encapsulated in the way that I live my life and the things that I do in the real world. Most of these people, they just kind of live online, in that matrix. But I go out into the real world. And when I go out into the real world, I do real things and I reach people and I touch people.

"My integrity has been questioned, but I live my life with integrity," Graves continued. "The reason that I have so much confidence is because I'm unreproachable, and that means that I haven't done anything that I need to hide. And so I'm very open, I'm very truthful. And what's happening is this evidence that they've gathered against me, it's interpretive in nature. There's no fact to it. There's no foundation to it. It's not based in truth. So in many ways it doesn't matter what I say because it's never gonna change those people's minds because they've already made up their mind, they've already prosecuted me. They already judged me, when they hear Michale Graves. It's not Michale Graves, the human being who I am. They don't understand. They don't know the way that I've lived. They know what's in the news. They know what they've heard. They know what these organizations are telling them. They know what maybe other artists have said or are just conditioned to respond a certain way. And so, again, it becomes hateful and it becomes destructive in a way that it has affected my life in profound ways. And that's the point. Those people, it's a punitive thing. So they believe that I've done something so horrendous that I'm in that insurrection ecosystem — Proud Boys, January 6th, Alex Jones, Christians, Infowars, Trump, all these things. And when they hear, they just freak out. 'Ah, you're a Nazi. You're a racist.' And everybody just kind of short circuits. And so no amount of words, no amount of statements, nothing is gonna change these people's mind. I don't wanna debate with them and I don't wanna fight them. I would rather them just come and listen to some music and rock out."

Last month, Graves announced the signing with Epochal Artists Records, a label under the TLG family and distributed by Virgin Music Group.

Michale will embark on the "God Bless America Tour 2026" this spring, bringing a unique and deeply personal live experience to audiences across the country.

"These shows on my 'God Bless America Tour' will be an intimate, story-driven live experience that blends acoustic music, testimony, and storytelling," said Graves.

Michale is an internationally recognized artist who has been creating music and telling stories for over two decades. Before his 20th birthday, he was recruited to be the lead singer and primary songwriter of the legendary punk band the MISFITS. Graves faced an uphill battle of immense criticism while trying to fill the shoes of original MISFITS vocalist Glenn Danzig, but he injected the group with freshness, youth and energy which rewrote the history of the band in a way that even his sharpest critics found undeniable, reaching a whole new generation of music fans in the process.

After recording two albums with the MISFITS, "American Psycho" via Geffen and "Famous Monsters" through Roadrunner, as well as touring the world to meet millions of fans, Graves quit the band to blaze his own path. Michale steadily built a reputation as the working-man's punk rocker. He reintroduced himself to the scene with non-stop touring around the country before taking his new act worldwide.

When Graves testified on behalf of five Proud Boys members in March 2023 that he was asked to perform for them on the afternoon of January 6, 2021, he acknowledged that members of the Proud Boys may have been guilty of trespassing on Capitol grounds that day, but he said he did not believe they had any intention of targeting Congress.

The singer, who gained notoriety for his conservative views, has claimed that his "candor" got him "canceled", resulting in him being removed from Twitter, Facebook, Instagram and YouTube.

Graves has denied advocating "racism, violence or the exclusion of anyone based on race, religion, gender or identity".

He went on to resurrect his show called "Radio Deadly With Michale Graves", which he brought to the Censored.TV platform.

Photo courtesy of O'Donnell Media Group

In a new interview with the And Now The Band podcast, HELLOWEEN singer Michael Kiske weighed in on a debate about people using an A.I. (artificial intelligence) music generator as a tool to create melodies, harmonies and rhymes based on artificial intelligence (A.I.) algorithms and machine learning (M.L.) models. He said (as transcribed by BLABBERMOUTH.NET):  "[A.I.-created music] will never be original, because it only uses the material that is there and generates something out of it. It's probably gonna become very perfect, but it's never gonna have the spirit. And I think that's the big test we're going through — the big divine test. Do you want fake perfection or human originality that has spirit and soul? And you know when you talk to people on what side they're on. Some people are just completely ignorant; they don't give a fuck, as long as it is easy to get a song. Even if they like the song and you tell them the band doesn't exist, it doesn't bother them, and others just don't wanna have anything to do with it."

He continued: "To me, music in general, or art in general, is a human expression. You express something that matters to you emotionally, and that gives the spirit, and the computer doesn't have that. It can just fake it — it can suck it in and fake it…

"We have the bands that we like, especially when you come from rock music or whatever, you know the bands that you like and you know that they're real and they do their stuff. And I think this attitude towards music is never gonna go away for a specific type of person."

Michael added: "To me, A.I. music is a bit like the artificial pop productions of the '80s, where it was never about an idea or expressing something through a song; it was just trying to design a hit single to make cash. So, to me, that's the same kind of thing, just [with] more perfection, and you will have the same sort of separation in people. I mean, A.I. is useful for some things. A.I. is great when you make science-fiction movies, for instance, where you fake a world anyway… But everywhere where A.I. replaces your creativity, that's where it's the devil. And think about it: it has an effect."

Kiske went on to warn of A.I.'s unpredictable consequences that could reshape society in a negative way.

"I know how exciting technology is. I'm excited about technology. When I had my first A.I. app, for about, like, three weeks, I was fooling around with it and it was fun. And then I completely lost interest. And then I never looked at it anymore," he explained. "I understand it, but if people, in general, anyone giving up on being productive and creative, the more you pass that over to machines and computer, you're gonna lose it. You will degenerate, mentally and in your soul. Because when we are productive, that means unleashing energy… It's addictive. It's very tempting. Technology is exciting, but you gotta be in control. It's important that you don't let it control you and your life. It's not easy for many to notice that."

"I'm so glad that I grew up in times where there was no Internet, there was no mobile phones," he added. "Because I know I would've been sucked in. It's the same with computer games. When I was young, we had these very early Atari games. It was very simple. They were already addictive, but nothing compared to what it is now. So I don't envy [the kids today], because it needs so much control and will strength to not get sucked into it and actually get damaged by it."

HELLOWEEN's latest album, "Giants & Monsters", came out last August via Reigning Phoenix Music (RPM). The follow-up to HELLOWEEN's self-titled 2021 record was mixed at the legendary Wisseloord Studios (IRON MAIDEN, JUDAS PRIEST, DEF LEPPARD) in Hilversum, Netherlands.

"Giants & Monsters" pushed the boundaries of HELLOWEEN's sound, thanks to the instincts of producers Charlie Bauerfeind and Dennis Ward, as well as the band's relentless pursuit of excellence. Per example, drummer Dani Löble recorded all tracks using three different drum kits to capture the perfect vibe for each song, a testament to their attention to detail and love of experimentation.

HELLOWEEN will embark on the North American leg of its "40 Years Anniversary Tour" in early April. Support on the trek will come from Finnish melodic metallers BEAST IN BLACK.

HELLOWEEN's 2017 reunion with Kiske and guitarist/vocalist Kai Hansen, and the "Pumpkins United" world tour, followed by the 2021 self-titled album and more recently with "Giants & Monsters", is unquestionably one of the best metal stories in recent memory. The reintegration of Kiske and Hansen into the existing lineup of Andi Deris (vocals),Michael Weikath (guitar),Sascha Gerstner (guitar),Markus Grosskopf (bass) and Dani Löble (drums) has been a masterstroke of genius, marking one of the few times a long-standing, highly influential band has been able to blend all of its eras into a single, cohesive lineup with nary a trace of in-fighting.

In a new interview with Brazilian music journalist Igor Miranda, ARCH ENEMY drummer Daniel Erlandsson was asked about the fan reaction to the band's latest addition, singer Lauren Hart (ex-ONCE HUMAN),who recently replaced Alissa White-Gluz. He said (as transcribed by BLABBERMOUTH.NET): "I think the response has been overwhelming. I could not expect that it would go that well, actually. It seems like the fans, they see something in Lauren that they really like, and it kind of connects a little bit to [former ARCH ENEMY singer] Angela [Gossow]. Her style is kind of similar to that of an Angela. The response has been overwhelmingly good. And now we're playing the first few shows [with Lauren] as well, and you can tell that the vibe inside of the room or the atmosphere inside of the room is electric. And it's really cool. It's almost like we're starting a new era of the band now, which is kind of funny because we've been playing for — what is it? — 30 years or something."

Asked if he sees Lauren's addition to ARCH ENEMY as "a fresh start for the band" or "as a continuation of what has been done in recent years with Alissa", Daniel said: "I think that we're looking forward now into the future. And we are imagining what kind of songs we can have, and the next album and so on. I think we're looking forward, if anything, and everybody's very excited about it. And since the interest in this has been so good, I think we're looking forward to touring a lot, first of all and just showing that we are a strong live band still, and if not even better. So that's the priority right now."

As for what caused Alissa's departure from ARCH ENEMY, Daniel said: "The story that was official was that, like she said, she left to do her solo stuff. Now I think she has started her own band instead. We had a long, lasting relationship together, and I guess you could say that it came to an end naturally. It was good and it worked out really well — until it didn't anymore. That's all I can say about that. Some fans take that [the hard way] — it's kind of a difficult thing to accept. I know what it's like when your favorite singer quits, but there's no reason that you can't like both sides. You can still be a fan of ARCH ENEMY and Alissa, if that's the case. So I think it's all gonna work out for the best for everyone."

Asked if he expected Alissa's departure prior to it happening or if he was "taken by surprise" by her exit from ARCH ENEMY, Daniel said: "It's kind of difficult to say, because I think it was something that you could feel it was leading up to a point. Everything was leading up to a point, and once it finally happened, it was not a surprise."

On the topic of ARCH ENEMY's working relationship with Lauren, Daniel said: "Right now she's joining her favorite band. She told us that [ARCH ENEMY's 2001 LP] 'Wages Of Sin' was a very important album for her, and that's the album that made her want to become a vocalist. And we were lucky that she was not in a band… She still had a band called ONCE HUMAN, but as it turns out, they hadn't been very active for a number of years, and she was just ready to join when we got in touch with her.

"We as a band have been going for a long time, and we toured the world many times, but now when she's coming in, she's doing these shows with us, and you kind of get to see the whole experience through her eyes, if that makes sense," Daniel explained. "Everything is a little bit new and fresh, and it brings a certain freshness and positivity to the band as well."

As for whether are there any plans for more new ARCH ENEMY music or a new album with Lauren in the near future, following the release of the "To The Last Breath" single in February, Daniel said: "Oh, yeah, absolutely. Like I said, everything happened really fast when she joined. We were lucky to be able to squeeze out 'To The Last Breath', that song. And now we have these tours in front of us. But the priority is gonna be working on more music and release an album definitely at some point, hopefully even next year."

Erlandsson also addressed fan speculation that Angela was returning to ARCH ENEMY and Gossow's own social media post in which she admitted she had considered rejoining the band before deciding against it.

"I can totally relate to the fans, 'cause in that whole process online, a lot of fans believed that she was actually coming back," Daniel said. "And I can relate to that because I'm a fan of other bands as well, and you wanna see your heroes back in the bands. But the thing is that she got really tired of touring and she decided to do what she likes even more, and that's being a manager. And that's still the case. I don't think she would actually enjoy the touring life anymore. And as us bandmembers, we already know this, we know that she wouldn't be happy touring. So it's kind of strange to imagine that fans imagine that she's coming back when we know that it wouldn't work. But I agree — it would be super cool to see her back on the stage… It kind of blew up on social media when fans were suspecting that she might be coming back and she received an incredible amount of love from fans all over around the world. And that's why I think she actually seriously considered it."

ARCH ENEMY kicked off its seven-date Chinese tour on March 27 at Dongsan Live in Beijing. The concert marked the band's first live performance with Hart.

ARCH ENEMY recently announced an intimate European club show run dubbed "Back To The Root Of All Evil" in the summer of 2026.

Speculation about Angela's possible return was sparked by a teaser video shared by ARCH ENEMY and Gossow in which a mysterious figure could be seen holding up a torch, captioned with a cryptic "2026" Everything else has been wiped off each of their accounts.

After a second teaser video was shared, Angela, who has been managing ARCH ENEMY for more than a decade, took to her social media to write: "It's not ME! But thank you for all the love! I am really excited to be involved in this new chapter as the manager. This is gonna CRUSH!"

After 13 years as ARCH ENEMY's vocalist, German-born Gossow shocked the heavy metal world in 2014 with the sudden announcement of her retirement from the band. While she is no longer performing with them, she has remained closely involved with ARCH ENEMY as their business manager.

When Gossow officially announced her departure from ARCH ENEMY in 2014, she said that she was "passing the torch to the super talented Alissa White-Gluz, whom I've known as a dear friend and a superb vocalist for many years."

ARCH ENEMY recorded three albums with vocalist Johan Liiva — "Black Earth" (1996),"Stigmata" (1998) and "Burning Bridges" (1999) — before Liiva was replaced by Gossow.

Gossow appeared on all ARCH ENEMY albums from 2001's "Wages Of Sin" through 2011's "Khaos Legions".

ARCH ENEMY released four studio albums with White-Gluz on vocals: "War Eternal" (2014),"Will To Power" (2017),"Deceivers" (2022) and "Blood Dynasty" (2025).

ARCH ENEMY 2026 is:

Lauren Hart - Vocals
Michael Amott - Guitars
Joey Concepcion - Guitars
Sharlee D'Angelo - Bass
Daniel Erlandsson - Drums

Photo credit: Patric Ullaeus

In a new interview with Loyal To The Craft, LAMB OF GOD drummer Art Cruz discussed the band's latest album, "Into Oblivion", which came out on March 13 via Epic in the U.S. and Century Media in Europe. He said in part (as transcribed by BLABBERMOUTH.NET): "It's been a long time coming. It's the band's tenth studio album. What a monument to be a part of, for not only the legacy of LAMB OF GOD, but my third album [with the band]. And I think I got — no, I don't think; I know that I got all the cobwebs off. I know that this album, to me, is me. It's Art. It's my identity. And honestly, it took a lot of time, and that's part of jumping into a band like this and part of jumping into something. So I'm very excited to see what the fans think and what the music industry thinks of this new music because it's very special to us and me."

Art continued: "I'm gonna cherish this one a little bit more. Nothing about the other ones is uncherishable — they're special to me — but this one is… We turned it up, and by turning it up, I actually turned it down, which, we can get into that. That's just crazy. So I'm proud of it."

Speaking specifically about his contributions to "Into Oblivion", Art said:  "My entire approach on this record was so different because not only is this my first record sober — that's a big deal — the type of alcoholic I was, I was constantly just burying myself in it, and I was never really fully present. My priorities were all messed up. I think to explain it in a short term of that, the emotions are very loud and I'm feeling everything extra. Everything I touch is very — the smells are stronger, the studio is stronger, the lights are brighter. I love that. I'm happy that I'm present for this one because it changed my entire approach to my approach creatively, to what I did performance-wise, the condition that I put my body in and how I got my body into condition, and eating good, and like all those things that came into play to prepare myself. I actually was really hard on myself, and I had to learn how to get out of that too, 'cause I was being super paranoid about, like, 'Oh, this part's not good.' And if there's anything that I took from this whole experience is less is more; real recognizes real; air drumming — literally all three of those things, man."

Cruz continued: "So, from the start, my creative process started… I had this whole different view. Not only that, I wasn't thrown into it. My first LAMB OF GOD album, the self-titled, I was just getting off the last SLAYER tour and it's, like, we're gonna go home. 'You wanna be in the band, right?' 'Yes.' 'Okay, cool. We're gonna write a record. We got songs already.' I'm, like, 'What is happening?' Right into it. And I've talked about this before, but that record, we'd like to consider it a safe album. I didn't go too far away from what was already there. I was learning the method of how these dudes worked. That's part of evolving. And I didn't know what I really was doing. I didn't know how they worked. So I had to learn a lot on that one. And then my sophomore album, 'Omens', the 'Omens' album that we did was a very high production, the band's peak production — big-ass studio [in] Hollywood, month at a time, where you're gonna stay out there for a month and pre-production and writing sessions. And that was that one. And that was a great experience to be a part of that, 'cause they never experienced that. So to come into this one, it happened so naturally, man. And early on in the creative process, I wasn't sure what to expect, because it wasn't the same. It was not like the ones we did before. So I'm, like, 'This doesn't feel right. Something feels off.' So me, the way that I am as a person, like, 'Oh, what do I do?' I'm trying to figure out how to be involved in this and this. And sometimes you just have to settle down and pause and let it be what it's gonna be. It's totally out of my control."

Art added: "I don't play guitar. I gotta wait for the riff or wait for the song to be where it's at. And these guys are LAMB OF GOD for a reason. Shut up, drop the ego, listen. Learn to listen, listen to learn. That's what I've learned a lot over the years. And these guys have taught me that. They've taught me that. And with this mindset, going into the new album, I'm, like, 'I'm gonna try to go in as pure as they possibly can. I'm gonna get off YouTube. I'm gonna get off social media. I'm gonna stop looking at other drummers, perfect drummers, and listening to albums that are coming out right now. At the time when we were recording, [I was], like, 'What's so-and-so doing?' 'I'm gonna cut all that out. I'm gonna get my body and my mind right.' I worked out for six months on a huge regimen to get my body back in shape, get my mind right. Obviously staying sober helps that all the time. And I went in so pure, the songs weren't gonna change. It was like, 'Here, kid. Here are the songs.' I didn't know that then, but I know that now, that that was them putting faith in me and knowing what I can do. I don't know if I earned my stripes yet, but it's also like I felt it. They just said, 'Do what you do.' They weren't directing me. They're just, like, 'Just do what you're gonna do. The songs aren't changing.' And honestly, it's the best thing that ever happened to me. And the mindset was clear, pure, and whatever is on this album is what was supposed to be on this album. And it was uninfluenced. It was all what was already in me. And now I'm proud of it. It's my best record. For me, it's my favorite record of all time. Like, for real."

Cruz celebrated the third anniversary of his getting sober this past January.

Art filled in for original LAMB OF GOD drummer Chris Adler on several of the band's tours before being named Adler's official replacement in July 2019.

"Into Oblivion" arrived to widespread acclaim. In the lead-up to the release, LAMB OF GOD appeared on the covers of Metal Hammer and Kerrang!, with critics praising the album's intensity and relevance. The Associated Press featured the album in their weekly highlights, calling it "10 tracks of ferocity," while Brooklyn Vegan noted that "the band spends these 10 songs reminding the world that their reign as New Wave Of American Heavy Metal giants is far from over," and SPIN said the band is "channeling America's unraveling into a ferocious new album."

The album is available now across multiple formats, including various vinyl variants, a collectible "Into Oblivion" CD with a limited-edition companion zine featuring album art sketches, handwritten lyrics and never-before-seen studio photos.

Produced and mixed by longtime studio collaborator Josh Wilbur, "Into Oblivion" was recorded across multiple locations tied closely to the band's identity. Drums were tracked in Richmond, Virginia, with guitars and bass recorded at guitarist Mark Morton's home studio. Singer Randy Blythe recorded his vocals at the legendary Total Access studio in Redondo Beach, California, the birthplace of seminal punk records by BLACK FLAG, HÜSKER DÜ and DESCENDENTS.

With their 15th studio album "One" arriving May 1, Grammy Award-nominated metallers SEVENDUST return with a powerful new single, "Threshold".

Comprised of Lajon Witherspoon (vocals),Clint Lowery (guitar),John Connolly (guitar),Vince Hornsby (bass) and Morgan Rose (drums),the band once again delivers a driving, emotionally charged track primed to become a centerpiece of their live set. "Threshold" highlights SEVENDUST's signature blend of heavy grooves and melodic intensity, paired with motivational lyricism. Witherspoon channels raw emotion as he addresses those who push others to their breaking point: "You want another piece of me, don't ya? To break apart so you get what you wanted?"

Poised to stand among the standout moments of the band's three-decade career, "Threshold" is available now on all digital streaming platforms.

The accompanying music video marks the return of animator Ollie Jones and continues the storyline introduced in the band's video for "Fence". In the new chapter, a greedy music agent pressures a management team to exhume the decayed members of SEVENDUST and send them back on tour. Reanimated using the same mysterious substance that first brought them back, the band embarks on a run designed to line the agent's pockets. The video ends with the band under his full control and what happens next is anyone's guess.

Building on SEVENDUST's unmistakable sound while continuing to evolve, "One" proves why the Grammy Award–nominated metal icons remain a vital force nearly three decades into their career. From the driving opening riff of the title track "One" to the dreamy, atmospheric vocal outro of "Misdirection", the album takes listeners on an emotional journey that only SEVENDUST can deliver.

SEVENDUST once again worked with producer Michael "Elvis" Baskette at Studio Barbarosa in Gotha, Florida. Baskette had previously worked with ALTER BRIDGE and Slash, among others.

On November 4, 2025, Lowery shared an "end-of-studio picture" on Instagram and he thanked "the killer production team" consisting of Baskette and engineers Jef Moll and Josh Saldate "for taking things to the highest level demanding perfection or our closet effort. Four records in a row and all amazing experiences," he added. "Can't wait to hear [Baskette] mix this bad boy up."

The writing sessions for the new SEVENDUST album once again took place at the farmhouse of Lajon and his wife Ashley.

The track listing for "One" is:

01. One
02. Unbreakable
03. Is This The Real You
04. Threshold
05. We Won
06. Construct
07. Bright Side
08. The Drop
09. Blood Price
10. Misdirection

Renowned as one of the most powerful live bands in modern metal, SEVENDUST is preparing to hit the road in support of "One". Their U.S. headline tour kicks off April 16 in Carterville, Illinois, and runs through May 20, concluding in Knoxville, Tennessee. ATREYU, FIRE FROM THE GODS and AMERICAN ADRENALINE will join as support. The band will also open for ALTER BRIDGE at two special U.S. dates: April 26 in Atlanta, Georgia, and May 21 in Nashville, Tennessee. Additionally, SEVENDUST will appear at major festivals including Welcome To Rockville and Sonic Temple.

For all upcoming tour dates, ticket information, and VIP packages, visit: sevendust.com/pages/tour.

SEVENDUST served as one of the support acts for DISTURBED on the latter act's "The Sickness 25th Anniversary Tour" in early 2025.

Photo credit: Chuck Brueckmann

In a new interview with Bill Kopp of Metro Silicon Valley, Y&T frontman Dave Meniketti was asked about the possibility of a follow-up to the band's latest album, "Facemelter", which came out in 2010. He responded: "Album releases don't mean what they used to mean. In the '70s and '80s, you made a big release, and it was part of getting airplay and booking a tour." And while diehard fans would likely enjoy hearing some new music from Y&T, "Will that sell more tickets?" Dave asked rhetorically. "And will it make us any money? No, not really."

Despite this, Meniketti didn't completely rule out a new Y&T single or album in the future, saying: ""It's not as simple as saying, 'Hey, let's go to a rehearsal studio, get together and write some songs.' But it's absolutely a possibility."

In February 2023, Meniketti, who went public with his prostate cancer battle a year earlier, said that he was in complete remission after receiving radiation.

In July 2022, Y&T was forced to cancel its previously announced European tour in order to allow Meniketti more time to recover from the radiation treatments.

Meniketti discussed his diagnosis and treatment during an appearance on an April 2022 episode of SiriusXM's "Trunk Nation With Eddie Trunk". Dave said that while prostate cancer is the most common type of cancer in men, with one in eight men getting it, it is also one of the most treatable, with a survival rate of over 90 percent after 10 years. "This is one of those cancers, if you catch 'em early, you can be one hundred percent fixed — it's over; it's done; you're sorted," he said. "I mean, sure, it could come back at some point, but even if it does, they can treat it again. You usually outlive this cancer, if you get it early enough. So, luckily, I have gotten it early enough."

Meniketti is the only surviving member of the Y&T lineup — then known as YESTERDAY AND TODAY — that recorded the band's self-titled debut album.

Original Y&T rhythm guitarist Joey Alves died in March 2017 at the age of 63. Two founding Y&T musicians — drummer Leonard Haze, 61, and bassist Phil Kennemore, 57, who both had left the lineup — died from complications of lung cancer: Kennemore on January 7, 2011, and Haze on September 11, 2016.

Y&T's current lineup is rounded out by guitarist John Nymann, drummer Mike Vanderhule and bassist Aaron Leigh.

"Facemelter" came out in May 2010 via Frontiers.

An EP featuring acoustic arrangements of Y&T classics, "Acoustic Classix Vol. 1", was made available in 2018.

Sweden's leading recycling initiative Pantamera has announced Finnish hard rock legends LORDI as the official spokesband for its 2026 national recycling campaign. Launching on April 2, 2026, the campaign arrives alongside a brand-new LORDI single and video titled "Pantamera (PAN-TAH-MEH-RAH!)".

Famous for their monster personas, theatrical stagecraft, and Eurovision-winning legacy, LORDI now turn their attention to sustainability — bringing their signature shock rock energy to one of Sweden's most impactful environmental initiatives.

At the heart of the campaign is LORDI's unique interpretation of the classic song "Guantanamera", reimagined in their signature hard rock style. As with every Pantamera campaign, the chosen artist reshapes the familiar melody into their own sonic identity — this time transformed into a powerful, riff-driven anthem designed to resonate with rock audiences.

The band's creative vision draws a striking parallel between horror and sustainability. As LORDI leader Mr. Lordi explains: "The LORDI version of 'Pantamera' is exploring the similarities between recycling and horror genre in general. For example, Frankenstein's monster and zombies are recycled flesh and bones."

Beyond the stage, LORDI have long demonstrated a commitment to environmental and ethical causes. The band are supporters of PETA and have previously participated in a vegan fashion photoshoot for Vogue, promoting cruelty-free and sustainable materials. Their involvement in Pantamera reflects a natural extension of these values: respect for the planet and awareness of the challenges it faces.

Describing the band's relentless creative output and packed schedule, one phrase fits perfectly: monsters never rest. Between new music, major live appearances, and now a nationwide environmental campaign, LORDI continue to prove that their momentum is unstoppable.

Alongside the Pantamera campaign, LORDI are gearing up for two special moments on stage:

April 22: A unique orchestral collaboration at "Forged In Sound: Heavy Metal Orchestrated", presented by the Philharmonia Orchestra

May 26: A special appearance at the Eurovision Song Contest 2026 Final in Vienna

Photo credit: Sascha Beetz