SABATON guitarist Thobbe Englund says that "everything is in harmony now", less than two years after he rejoined the band.

In early February 2024, the Swedish metallers announced that they had welcomed back Englund. This news came a month after Tommy Johansson revealed his departure from the group.

Thobbe originally joined SABATON in April 2012 and amicably parted ways with the band in July 2016 to focus on his personal life and expand his creativity. Eight years later, he came back and accompanied his bandmates on the road once again.

Englund recorded two studio albums with SABATON, namely "Heroes" (2014) and "The Last Stand" (2016),and assisted with the songwriting of some very popular songs including "Shiroyama" and "Fields Of Verdun", among others.

In a new interview with Sakis Fragos of Rock Hard Greece, Thobbe stated about his return to SABATON (as transcribed by BLABBERMOUTH.NET):  "It was perfect timing, as so many things are, weirdly enough, in my life. In '16 we toured all the time — '12, '13, '14, '15, and '16. Very tough. We were out there on the road all the time. And I remember once we were on a tour in the U.S. together with NIGHTWISH, and I was lying awake at night in the tour bus, and I was like asking myself, 'Why am I not a hundred percent happy, even though I reached this childhood dream, being an international rock-star musician, whatnot, traveling the world, playing my guitar and living the dream with my best friends?' And I realized there's a kid missing in my life. And combining the intense touring we went through all those years with that realization, I kind of knew that there's another time coming. So Tommy replaced me. He was the perfect replace[ment]. In August '16, he made his first show at Sabaton Open Air. And then he stayed with the band up until — was it January 2024? And the guys asked me, 'Would you like to put on the camo pants again?' And I was, like, 'Yeah.'"

Thobbe continued: "My kid, his favorite band now is SABATON. And he is old enough now to realize that Dad is coming back home after a couple of weeks, months. And we have these conversations, video conversations, when we're on tour and all that. So it's working perfectly. So everything is in harmony now."

Englund added: "I heard this once, there was somebody saying that — I think it's an old saying — if you find a job that you love, then you don't have to work another day in your life, because you do what you love. And combining that with family life is now perfectly… As I said, everything is in harmony. It's wonderful."

This past April, Thobbe told Brazil's Porque! Metal about how he ended up rejoining SABATON:  "I stayed in very close contact with the guys during all these years, since I left back in '16. We even wrote some songs together, and we always made sure to stay in touch, barbecuing, having beers, visiting each other's family and stuff like that. So when I got the question [about coming back to the band], it was, like, 'Oh, so Tommy's leaving. 'Whoa. Yeah, yeah, of course.' Because it was the perfect timing for me, because when I quit in '16, I was a bit worn out and I wanted to slow down a bit, and focus a little bit on my own music and stuff like that, but also have a kid, buy a house and all that. Now when the guys asked me if I would like to rejoin, it was a no-brainer for me. It was, like, yes, the circle is absolutely complete. So it was the best that could ever happen. And my son is six years old now and his favorite band is SABATON. So there you go."

According to Englund, his first rehearsal back with SABATON went better than expected. "I remember one song in particular, 'The Art Of War', I just put my guitar on, and [it was] spotless — from the beginning to the end," he recalled. "And I was, like, 'Yeah, I'm back.' Yeah, it was great."

Regarding how his return to SABATON came about, Thobbe told Brutal Planet Magazine in a March 2024 interview: "It was quite funny, actually, because me and my wife and, of course, my son, we celebrated New Year's Eve [on December 31, 2023] together with [SABATON bassist and manager] Pär [Sundström] and his wife. They came here [to my house] like three minutes before midnight, so we were, like, 'Will they make it? Yeah. All right. Happy New Year.' Then we had had a couple of beers, and a couple of beers became a couple of more beers, and we kept on going like until five, six in the morning. Luckily, we had a babysitter. And it was in the air. I said this somewhere that we were listening to this song by SCORPIONS, 'The Best Is Yet To Come'. And the chorus goes something like… Well, I don't remember exactly, but I remember the line. We were kind of drunk, and it went something like this: 'How can I live without you?' And we were like looking into each other's eyes, and we knew."

He continued: "I didn't have to think about it that much, because my son is [six] now. His favorite band is SABATON. When I left the band, it looked completely different for me privately. It was, like, we wanted to have a kid. And then, you know how it is with kids when they're toddlers and all that. You wanna be home, you wanna be there. And during all these years, for me being home, being together with [my son] and the family, the band has grown immensely for eight years, which means that we won't be away that much anymore like we used to. One year — I think it was in '14 or '15 — we were away 270 days that year. I went to the wrong building when I came home from a tour, and [my wife] was standing on the balcony on the other one, 'Hey, this is where we live.' 'Ah, okay.' So, I mean, now it's a completely different thing, and everybody in the band has their own family. So, yeah, it's, like, let's do this until we're 85 years old now. It's just an open road."

Reflecting on when he was officially asked to rejoin SABATON, Thobbe said: "[New Year's Eve] was the moment when I realized that something inside of me has told me that if the question comes, yes, of course. I belong to SABATON. That's my family, that's my best friends. So it was just, everything kind of dawned on me. 'Of course, yes. If the question comes, I'll say yes.' And I think it was a week later, we had a birthday party for [my son], and me and Joakim [Brodén, SABATON singer] had been writing a song that's gonna be on this new album. And he just texted me a couple of days before. And he was, like, 'Are you gonna be at home Sunday? Because, yeah, I'm just coming by.' I was, 'Yeah, yeah, of course. Just come by. I'll put on some coffee,' and like that. I thought it was that we were going to go through some details in that song and just to [decide], do we change this or that? Because he usually always kind of writes or tells me what's gonna happen when he comes, if it's just, 'Let's drink coffee and talk bullshit' or if it's something [else]. And I was, like, 'Hmm, why didn't he say what his plans are? That's a little odd, for being him.' But I didn't think more about that. And then he came, and we sat there drinking coffee, and we talked about something. And then he was, like, 'By the way, how do you feel about putting those camo pants back on?' And I was, like, 'All right. So here is the question. It actually came, like one week later.'"

Englund admitted that he was "a little bit shocked" at being asked to return to SABATON. "I didn't think take anything for granted," he explained. "I mean, maybe they had somebody else, because I stepped away almost eight years ago. So I never took anything for granted that they would even ask me. I was, like, if they ask me, I'm gonna be super happy and I will say yes.' So but then the question came, and for me it was, like… We had a long talk about how things are today compared to back in '16, and all that. Where SABATON is today — a lot of stuff has happened during the eight years I've been away. So, yeah, I was, like… I told him, 'Let me think about it and I'll call you.' I just talked to my wife for 10 minutes, 15 minutes, and I called him [and I told him], 'Hey, man. I'm in.' And that was it. And it was really emotional. And then Chris [Rörland, SABATON guitarist] and Hannes [Van Dahl, SABATON drummer] called. We were [giddy] like school girls."

When Thobbe's return to SABATON was first announced, Pär said in a statement: "This is a full-circle moment for SABATON and we are beyond excited to have Thobbe rejoin the band. He's a talented guitarist, songwriter and a kind guy who we have a lot of fun with. We didn't even need to hold auditions with other guitar players. All that was needed was to spend New Year's Eve together to know that the time was right for Thobbe's return."

Echoing Pär's sentiments, Joakim stated: "This decision was a no-brainer for us as a band and for Thobbe. He knows the drill and is the perfect fit. This is a great outcome, and we think everyone is going to be psyched about the news! The time is right. Welcome back, brother!"

Meanwhile, Van Dahl added: "Who? Thobbe f***ng Englund, that's who! The man is back! I'm happy to once again share the stage with one of my best friends! Welcome back, brother!"

And finally, Rörland said: "I'm beyond excited and happy for the return of the king! We've had so many good times together, both on stage and off stage. It's gonna be great to share the stage again. Welcome back and welcome home my brother! Love ya!"

Last month, SABATON announced a massive 31-date North American tour set for early 2026. The announcement followed the band's extensive 2025 international run and coincided with rising anticipation for "Legends", SABATON's upcoming album, due October 17 via Better Noise Music.

Kicking off February 9 in Fort Lauderdale, Florida, the tour will hit venues across the U.S. and Canada, including major stops in Los Angeles, Chicago, and Boston before wrapping April 20 in Vancouver, British Columbia. Support on the trek will come from POP EVIL and WINGS OF STEEL.

SABATON recently released its latest single, "Crossing The Rubicon", featuring singer Jonny Hawkins and guitarist Mark Vollelunga of NOTHING MORE. This special collaborative version of the track hit the radio airwaves on September 12, while the original version will be available as part of SABATON's upcoming "Legends" album.

"Legends" will be available across various physical formats and retailer exclusives including CD, two-CD digibook, two-CD earbook (both including the exclusive Storyteller Edition),11 unique vinyl editions (including a special vinyl color and exclusive artwork each),additional exclusive vinyl colors, and a limited box set (including another exclusive vinyl color, the two-CD earbook, and a colored cassette as an exclusive format).

METALLICA performed last night (Wednesday, October 15) at San Francisco, California's Chase Center as part of Salesforce's annual Dreamfest fundraising event for UCSF Benioff Children's Hospital.

Tickets for the concert, which also included the pop sensation Benson Boone, started at $1,500 at www.theconcertforkids.org.

According to the San Francisco Chronicle, Dreamfest began inside San Francisco's Chase Center with a VIP cocktail reception.

METALLICA took the stage as a buffet, interactive experiences and more were set up throughout the venue.

"We're here to have some fun, so join us," METALLICA frontman James Hetfield said following opening track, "Creeping Death".

"Welcome to the Dreamfest party. Where did you all come from?" Hetfield asked,. "Whether you came from far away or down the street, we're happy you're here."

The band's setlist was as follows, according to Setlist.fm:

01. Creeping Death
02. For Whom The Bell Tolls
03. Fuel
04. The Memory Remains
05. The Unforgiven
06. Sad But True
07. Wherever I May Roam
08. Nothing Else Matters
09. Seek & Destroy
10. One
11. Master Of Puppets
12. Enter Sandman

Fan-filmed video can be seen below.

When the concert was first announced in August, METALLICA said in a statement: "We're honored to announce that we've once again been asked to play at Dreamfest, the concert benefiting UCSF Benioff Children's Hospitals in San Francisco. Held in conjunction with Dreamforce, Salesforce's annual technology conference, the show will take place at Chase Center on October 15, 2025.

"We look forward to welcoming visitors from around the world to the Bay Area for the conference and the show!"

When METALLICA played the ninth annual Dreamfest fundraising event in 2018 at Civic Center Plaza, some of the neighbors in San Francisco were angered because of the noise, which traveled a considerable distance across the city. People reported hearing the concert from as far away as Dogpatch, Cole Valley and the Mission.

The annual benefit concert has previously hosted the likes of FLEETWOOD MAC, RED HOT CHILI PEPPERS, FOO FIGHTERS, U2 and GREEN DAY, among others.

The Dreamfest benefit concerts have raised $120 million for UCSF Benioff Children's Hospitals since launching in 2010.
We’re excited to return to the Dreamfest stage on October 15, 2025, at San Francisco’s Chase Center to benefit @ucsfchildrens!

Now through September 3, Fifth Members can enter to win tickets to this unforgettable event! Only at #DF25.

Enter the Contest ➡️… pic.twitter.com/2j0fFygED5

— Metallica (@Metallica) August 21, 2025

The official lyric for RANCID's cover of MOTÖRHEAD's "Sex & Death" can be seen below. The song is taken from titled "Killed By Deaf - A Punk Tribute To Motörhead", due on October 31 via BMG.

RANCID's Lars Frederiksen (guitar/vocals) comments on "Sex & Death": "It's like it's the perfect MOTÖRHEAD song for me. You know as well as I do how much of a big RAMONES fan Lem [MOTÖRHEAD leader Lemmy] was. And it sounds to me like his take, MOTÖRHEAD doing the RAMONES. But there's that little itty bitty guitar solo there. And it was the most RANCID-style song that MOTÖRHEAD did that I thought it's close enough to like a song we would write."

In a separate video below, Lars talks about RANCID's "Sex & Death"cover, along with discussing MOTÖRHEAD's influence on heavy music and why MOTÖRHEAD was both a punk and a metal band.

Heavy metal and punk rock — it's fair to say that these two noisy tribes now have a great deal in common, often melding together, almost indistinguishable, to produce bastard offspring of their own. But it wasn't always this way. Indeed, there was a time when fists were more likely to be thrown than bumped, and beers more likely to be hurled than shared — except when it came to MOTÖRHEAD. That was the one band all could agree on. The one band that was truly ours!

But while MOTÖRHEAD's impact on metal has long been acknowledged, their influence on punk, particularly the post-SEX PISTOLS second wave shouldn't be underestimated. Cause and effect: It's that simple. And such is the case with hundreds, thousands, of other bands, all made faster, dirtier, louder, better, by MOTÖRHEAD. None more so than in punk rock. And that's because MOTÖRHEAD were, in essence, a punk rock band.

Lemmy once said: "The punks loved us. The only reason we weren't in that lot was because we had long hair, so obviously we must be heavy metal. That was the thinking. But a lot of kids heard us without seeing a picture, so they thought we were a punk band."

Across the fourteen tracks on the cunningly titled "Killed By Deaf - A Punk Tribute To Motörhead", you'll hear a loving tribute to MOTÖRHEAD from some of punk rock's biggest and most respected bands. Luminaries like RANCID, PENNYWISE, LAGWAGON, GBH, THE BRONX and FEAR all contribute raucous versions of their favorite MOTÖRHEAD tracks… and also up-and-coming upstarts like SLAUGHTERHOUSE contribute, because, let's face it MOTÖRHEAD always loved and championed the underdogs.

Lemmy and MOTÖRHEAD aren't honored with their own space in the Punk Rock Museum for nothing. Long before they covered the SEX PISTOLS' "God Save The Queen" on "We Are Motörhead" and long before writing "R.A.M.O.N.E.S." for the "1916" album in tribute to New York's finest, MOTÖRHEAD were sharing stages with the likes of THE DAMNED, as they would continue to do many times over the years. Hell, Lemmy even joined THE DAMNED (when they were THE DOOMED),albeit briefly, and playing some now infamous shows, and playing bass on a couple of studio tracks. It's only fitting then, that the only non- MOTÖRHEAD song on this album is from when he teamed up with them again in 2002 for a previously unheard and blistering version of THE DAMNED's classic "Neat Neat Neat".

"Killed By Deaf - A Punk Tribute To Motörhead" will be available on vinyl, CD and digitally. Pre-orders are available now at this location.

"Killed By Deaf - A Punk Tribute To Motörhead" track listing:

01. PENNYWISE - Ace of Spades
02. RANCID - Sex & Death
03. THE BRONX - Over The Top
04. LAGWAGON - Rock ‘N' Roll
05. FEAR - The Chase Is Better Than The Catch
06. GBH - Bomber
07. MURPHY'S LAW - Stay Clean
08. SLAUGHTERHOUSE - Love Me Like A Reptile
09. THE CASUALTIES - The Hammer
10. ANTI-NOWHERE LEAGUE - Born To Raise Hell
11. LOVE CANAL - Voices In The Sky
12. SOLDIERS OF DESTRUCTION - Overkill
13. WISDOM IN CHAINS - Iron Fist
14. MOTÖRHEAD & THE DAMNED - Neat Neat Neat

Photo courtesy of RANCID / Speakeasy PR

Legendary rockers TESLA kicked off their latest Las Vegas residency Friday night (October 17) at the House Of Blues Las Vegas inside Mandalay Bay Resort And Casino.

During this exclusive five-day run of shows, TESLA is touching all sides of its unique discography, including the heavier edge of electric songs like "Modern Day Cowboy", "Hang Tough" and "Edison's Medicine", as well as the band's acoustic-driven songs such as "Signs" and "Love Song" (two Top 10 Billboard-charting hits).

The Tom deBlonk channel on YouTube has uploaded video of Friday night's entire concert. Check it out below.

Featured songs:

00:48 Modern Day Cowboy
06:15 Hang Tough
10:58 Edison's Medicine
17:09 All About Love
21:59 I Love You (CLIMAX BLUES BAND cover)
26:54 Give A Little Bit (SUPERTRAMP cover)
31:30 Forever More
36:44 Heaven's Trail (No Way Out)
42:20 Frank Hannon Solo intro
44:05 Miles Away
50:25 Changes
55:41 Paradise ("Five Man Acoustical Jam" version)
1:01:35.89 Call It What You Want
1:06:37.42 What You Give
1:14:16.40 Love Song
1:21:59.45 Little Suzi (PH.D cover)
1:27:57.15 Signs (FIVE MAN ELECTRIC JAM cover)

"Tesla: The Las Vegas Residency" will run for four more shows, taking place on October 18, 22, 24 and 25, 2025 at 8:30 p.m.

TESLA previously held a residency at the House Of Blues in April 2024.

When "Tesla: The Las Vegas Residency" was first announced, TESLA bassist Brian Wheat said in a statement: "We're very excited to be coming back to Las Vegas. We'll be playing some new songs and keep it real!!!"

TESLA's latest six-song EP, "All About Love", was released last November. The EP includes four versions of "All About Love" (acoustic, electric, hybrid, live); a live version of "Walk Away", a concert favorite from "Reel To Real, Vol. 1"; and another new song, "From The Heart", an instrumental track by guitarist Frank Hannon.

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

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

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

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

German hard rock legends SCORPIONS have uploaded a new "track-by-track" video in which singer Klaus Meine opens up about what the band's power ballad "Wind Of Change" has meant over the years — from its first notes to its enduring legacy.

Klaus said (as transcribed by BLABBERMOUTH.NET): "Well, it was the end of the '80s when we played for the very first time in Leningrad [now Saint Petersburg] in the USSR, and it was amazing after all the success we enjoyed throughout the '80s, especially in the United States. But it was always part of our dream to go east. And since we never played in the former DDR [Deutsche Demokratische Republik, German Democratic Republic, commonly known as East Germany], we never had a chance to play there, we never had a chance to go behind the wall. So this was in the spring — I think it was April '88 when we played 10 shows in Leningrad. And it was amazing, because we said, 'Our parents came with tanks. Here's a new generation. We come with guitars. We bring love, we bring music. We don't shoot each other. We wanna sing together.' And it was a very inspiring moment. And only one year later we finally played Moscow at the Moscow Music Peace Festival, and it was obvious. There was a man in the Kremlin, Mikhail Gorbachev. There was a big change in the air, and when we played at the Moscow Music Peace Festival, we stormed out like crazy playing 'Blackout' and all those songs. The Russian audience, the fans were singing along. The security, which were mostly soldiers from the Red Army, they were throwing their caps in the air. They were going totally crazy and they enjoyed the music like the fans. They were supposed to be there being security, but they turned around, they wanted to see the show, they didn't wanna miss a thing. And it was so inspiring. It was like the whole world was changing in front of our eyes. And when I came back home, I think I reflected [on] this moment in time and I reflected [on] the changes I saw between '88 in Leningrad and one year later when we played in Moscow. And it was really like it was a new moment, a new time, a new future, a more peaceful future was in the air. And this was all what the song was all about. And it became something like a peace anthem. And after all these years, after 30 years and even more, this song has a billion clicks on YouTube. And it seems like, especially in those very difficult times we are now, the song is very relevant, especially with the young audience, with the young kids who sing this song in every show with so much emotions coming out. And people are crying. And it really shows that after all in very difficult times, this song is still a very strong peace message, and we hope the window for a peaceful world will be open soon again, and the wind hopefully will change one more time."

Meine and his bandmates wrote "Wind Of Change" after performing at the aforementioned Moscow Music Peace Festival in 1989 in Moscow, where they shared the stage with other hard rock acts like BON JOVI and MÖTLEY CRÜE. The song was inspired by the sight of thousands of Russians cheering them on in 1988 — when they became the first hard rock band to play in Russia — and in 1989 in Moscow, even though they were a German band.

In March 2022, at the opening concert of SCORPIONS' "Sin City Nights" residency at Zappos Theater at Planet Hollywood Resort & Casino In Las Vegas, Nevada, Meine told the crowd before launching into "Wind Of Change": "This song is calling for peace, and tonight, I think, we shall sing it even louder. We dedicate this to the brave people in the Ukraine."

In an interview with Scorpions Brazil, Klaus explained the thought process behind changing the song's lyrics to acknowledge Russia's ongoing invasion of Ukraine.

"I thought it's not the time to romanticize Russia with lyrics like 'I follow the Moskva down to Gorky Park'," he said. "When I wrote that song, 'Wind Of Change' was something like a peace promise, going together into a peaceful future. And so many years later now, this peace promise was broken up last year. So I had the feeling I wanted to show our solidarity with Ukraine. That's why I changed a few lines."

Back in 2015, SCORPIONS guitarist Rudolf Schenker stated about the inspiration for the original version of "Wind Of Change" "We wanted to show the people in Russia that here is a new generation of Germans growing up. They're not coming with tanks and guns and making war — they're coming with guitars and rock 'n' roll and bringing love!"

"There were so many emotional moments in Moscow," Meine added. "I guess it could have been BON JOVI or MÖTLEY CRÜE, any of these guys who had gone home inspired by what they saw, but for them it was like, 'Hey! We rocked the Soviet Union, dudes!' For us, maybe it was different. We saw so many changes from Leningrad in '88 to Moscow in '89. That was the inspiration for 'Wind Of Change'."

SCORPIONS' latest album, "Rock Believer", was released in February 2022. The album was recorded primarily at Peppermint Park Studios in Hannover, Germany and was mixed at the legendary Hansa Studios in Berlin, Germany with engineer Michael Ilbert, who has earned multiple Grammy nominations for his mix work with producer Max Martin on albums by Taylor Swift and Katy Perry.

SCORPIONS originally intended to record the new album in Los Angeles with producer Greg Fidelman, whose previous credits include SLIPKNOT and METALLICA. However, because of the pandemic, some of the initial work was done with Greg remotely, after which SCORPIONS opted to helm the recordings themselves with the help of their engineer Hans-Martin Buff.

During an appearance on this past Tuesday's (October 14) episode of Loudwire Nights, GHOST mastermind Tobias Forge was asked by host Chuck Armstrong if he is "getting tired" of explaining why the band's current world tour is mandating a no-phones policy. Fans entering venues for GHOST's "Skeletour" shows have to place their mobile phone into what is called a Yondr pouch. The bag is then magnetically sealed, with fans having to approach venue staff situated outside of the main auditorium if they wish for it to be unlocked. Forge said (as transcribed by BLABBERMOUTH.NET): "I think that not a whole lot of people have understood what the meaning is and how it makes them feel and how it makes us all feel better. And [there are] a few exceptions here and there, people who just somehow have a problem with it, but overall I think that… Yeah, I think that the show is great, but I think that the show is definitely enhanced by this fact, because people see a show for the first time in 10 years, whereas they've sort of not, for the last five, 10 years. So it's a little bit of a trick. But no, I can talk myself slack-jawed about why I think this is a great thing. And I believe that more bands will start doing this."

Regarding why more artists haven't followed suit by declaring phones off-limits at their shows, Forge said: "I think that just right now, it's just an economic disincentive, if that makes sense. But the negative here, when bands contemplate using this, is just the cost, because it's a cost. And as of right now, it's an infrastructure that you have to carry as an artist. And I think that hopefully more artists will start using this so there will be this incentive for local halls, promoters, all these buildings… They have, obviously, five hundred to a thousand chairs that they can put out on the rink ice, and they have a little stage, if a band comes, and they should have this function. And I'm sure if that was something that you can just cross a box in order to get locally, a whole lot more artists would do it."

Forge also talked about the fact that the final two shows on this year's "Skeletour" were filmed for future release. After's GHOST's September 23 concert in Mexico City was canceled due to Tobias having food poisoning, the band's two performances at the 20,000-capacity Palacio De Los Deportes on September 24 and September 25 were shot on 16mm film "for the rest of the world to see at some point". Forge said: "We did film it with old-fashioned reel, film roll, which, in turn, obviously you have to process them and you have to put together an edit, which is time consuming. Right now we're currently in a sort of a little break, and even though I'm doing other things as well, we're gonna start looking at the edit. But once you start to piece together the actual order of clips, basically, there's this whole slew of production that needs to be done in order for it just to look normal. So, what I learned with the process of making [GHOST's 2024 concert film] 'Rite Here Rite Now' was that it takes a lot longer than you think."

Forge continued: "We ended up fluffing the filming slightly because originally we had three nights in Mexico and one fell through, which essentially meant that we lost 33% of the material that we hoped to get, which, obviously, it was a great shame that the show didn't happen, but for us, since the film project, it was very, very annoying that we lost a third of the shoot. So once we put together an edit towards the end of the year, something like that, we're gonna try to watch the whole thing as objectively as we can and then try to figure out, like, do we need something else in it? Because, to me, it's very important that we don't end up making 'Rite Here Rite Now 2'. It's another film and it's not the same thing. It's not an extension of that. It's a different thing. So I need to be wary of how do we make this feel different yet capturing, obviously, the show and the tour and what people saw or didn't see. But anyway, we're doing stuff in 2026 as well. So, I'm assuming, and I'm gonna be realistic saying that [it will] probably [be released in] '27."

This past August, GHOST completed the U.S. leg of the "Skeletour" in support of the group's sixth studio album, "Skeletá", which came out in April. Marking a bold evolution in GHOST's live performances, the tour was the band's most theatrical and cinematic production yet. Designed by creative director Tobias Rylander and Forge, the tour embraced a grander and more ambitious scale than ever before.

The set design was a striking blend of gothic symbolism and brutalist architecture, melding the ornate drama of cathedrals with the stark lines of modernist concrete forms. Inspired by brutalist cathedrals across Europe, the stage transformed into a sanctum of dark majesty: part sacred temple and part rock coliseum.

At the core of the design was the "Grucifix" — GHOST's reimagined crucifix inspired by their iconic logo. Suspended above the band, this colossal structure functioned as both a visual centerpiece and a dynamic lighting rig, casting an ethereal glow over the stage.

Rylander's design included sculptural scenic facades on the lighting pods, echoing the textures and verticality of cathedral interiors, further reinforcing the ecclesiastical themes central to GHOST's identity.

The lighting leans into a retro-rock aesthetic, with visual nods to classical QUEEN and VAN HALEN. The tour also represented a milestone for the band as it's the first time a full-scale video production led by Rylander and video director Amir Chamdin. With video content by Green Wall Designs, the creative direction transcended the physical stage, evolving into a fully immersive multimedia experience.

In keeping with the show's theatricality, the stage itself had been engineered to perform as much as the artist. Multiple elevated performance platforms, mechanical lifts, and concealed entrances are strategically placed to accommodate dramatic reveals and character transitions. A living, breathing cathedral of performance, "Skeletour" redefined the GHOST live experience, where sacred architecture collides with the raw energy of rock and roll.

Renowned for his work across live music world tours, fashion, theatre and art installations, Rylander has collaborated with artists such as Beyoncé, THE 1975, Childish Gambino, Chappell Roan, The XX and FKA Twigs. "Skeletour" marks his first creative partnership with the Grammy Award-winning band, bringing a new dimension to GHOST's already-iconic stage presence.

The European leg of GHOST's 2025 world tour kicked off on April 15 in Manchester, United Kingdom and concluded on May 24 in Oslo, Norway. The North American leg of GHOST's 2025 tour launched on July 9 in Baltimore, Maryland and wrapped up on August 16 in Houston, Texas.

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.

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.

This past May, "Skeletá" landed at position No. 1 on the Billboard 200 chart with 86,000 equivalent album units earned in the United States in the LP's first week of release. According to Billboard, 89% of that figure (77,000) consisted of traditional album sales, with vinyl purchases accounting for over 44,000 copies. Notably, "Skeletá" was the first hard rock album to reach the No. 1 spot on the Billboard 200 since AC/DC's "Power Up" in 2020.

The music video for the LP's first single, "Satanized", introduced the new character who is fronting GHOST for its 2025 touring cycle: Papa V Perpetua.

Forge performed as a "new" Papa Emeritus on each of the band's first three LPs, with each version of Papa replacing the one that came before it. Papa Emeritus III was retired in favor of Cardinal Copia before the release of 2018's "Prequelle". In March 2020, at final show of GHOST's "Prequelle" tour in Mexico City, Mexico, the band officially introduced Papa Emeritus IV, the character who fronted the act for its "Impera" (2022) album phase.

Original SALIVA singer Josey Scott has shared official lyric videos for his two new singles, "Who?" and "Famous", both of which appear to be lyrical jabs at the man who replaced him in the band, Bobby Amaru. The songs arrived in early October, less than two months after the current lineup of SALIVA — fronted by Amaru — released a new single, "Hit 'Em Where It Hurts", featuring lyrics which were apparently aimed at Scott.

Nashville producer ScatteredBrains, who worked on both "Who?" and "Famous", took to his Instagram to share about the former track: "Long time coming, about 15 yrs to be exact. The first single 'Who?' from @therealjoseyscott has arrived !!! I am beyond proud of this song and Josey for finding the strength to push back and push forward during a time where he's being bullied out of his own god damn legacy, his creation, his band SALIVA.

"Please listen, like, share and spread the message that there is only one real SALIVA and that is with Josey at the driver seat. If the fans are ready, Josey's ready to give yall that real shit like he never left !!! I know yall tired of watching a cover band play his music, we are too."

When "Hit 'Em Where It Hurts" was first made available in early September, Amaru said in a statement: "'Hit 'Em Where It Hurts' is an anthem about proving people wrong, not with words, but with action."

Apparently referencing Scott, Amaru added: "I sincerely wish him the best, but this song is really for the fans who've stood by us, and for anyone who's ever had to fight for what they believe in. To me, it's about resilience, loyalty, and never backing down. That's exactly what SALIVA should stand for."

Earlier this month, Josey, who left the band in 2011 and was replaced the following year by Bobby, once again blasted his successor, accusing Amaru of "talking out of both sides of his neck" and saying that Bobby has treated Josey like a "former disgruntled employee". He told Rock Feed in part: "The only problem I've had with Bobby is Bobby seems to say one thing in the press and act one way in the press. He acts victimized, like I've done something to him. And that seems to be his M.O., is he does these things behind the scenes, and then when he gets in front of the cameras or gets in front of an interviewer, he acts like it's you that's doing these things. And honest to God, I'm not doing any of any of these things that he's saying that I'm doing." Scott went on to lament the fact that Amaru is "treating me like I'm some kind of former disgruntled employee that I don't have the right to have any kind of voice about this or anything."

Elaborating on the deterioration of his relationship with Amaru over the course of the last three years, Josey said: "See, when I first came back while Wayne [Swinny, original SALIVA guitarist] was alive, Bobby seemed supportive of me. He seemed like he was gonna support me having my own band and me doing my own thing. And then as soon as Wayne dies, he sends me — he still says in the press that he's supportive of me and there's gonna be two SALIVAs or whatever, but at the same time sends me a cease-and-desist [letter] saying I can't even call myself the former lead singer of SALIVA. I couldn't even have the word 'SALIVA' on my poster. It's just ludicrous. It's absolutely ludicrous. And like I said, he talks out of both sides of his neck, is what bothers me so badly. He says one thing and does another. If you'll notice, when he came on Rock Feed with you, he was talking about how I was this sad person with quitter's remorse, and then puts out a diss track about me. And I'm just, like, 'Okay. All right. I see where this is going now.' So I've got two singles coming out now that'll [be me] responding. The first single is called 'Who?', and the other song is called 'Famous'. And I'm dropping them both at once."

Scott went on to say that he was surprised to hear that SALIVA had released a "diss track" about him. "I'm just, like, 'This is something rappers do, dude. This ain't something rocker guys do,'" Josey, whose real name is Joseph Sappington, said. "So I had to [respond] in kind — twice."

This past August, Scott made it clear that he had no intention of rejoining the band he co-founded nearly 30 years ago. Josey explained to Youngstown Studio that he didn't foresee ever teaming up with the current version of SALIVA, noting that he had "butted heads" with Bobby and insisting that he didn't "want to give the fans the Temu version of SALIVA," a reference to the Chinese e-commerce site, "with some kind of a bastardized version that Bobby puts together." Josey went on to say that he wanted to get the SALIVA name back and use it with members of his new band, explaining that he named SALIVA completely on his own and that the SALIVA name's "rightful place" was with him, not with the Amaru-fronted version of the group. "That was what I came to the table with," he said of the SALIVA moniker. "I put that band together one member at a time. That's my name."

Amaru, who has been a member of SALIVA for 13 years, later addressed Scott's comments about the current lineup of the band in an interview with Rock Feed. Bobby said: "I watched that interview that [Josey] did [with Youngstown Studio]. I usually don't pay attention to the  Blabbermouth headlines or any of his interviews and stuff. But so many people were sending it to me that I watched it front to back.

"It doesn't bother me, the things that he says about me — I'm not really bothered by it,"  Bobby insisted. "I just feel like I see a sad man who just has quitter's remorse. And that's what it feels like to me.

"I like to take negative stuff and turn it into positivity and create music and stuff, and some people just like to be negative and bash online or whatever, or take jabs. And for me, I love music, [and] always have. And I love  SALIVA, love the brand."

Referencing  Swinny, who died in March 2023 after suffering a brain hemorrhage while on tour,  Bobby added: " Wayne had a vision. We all had a vision when I got in the band, was to take a broken project and revive it, and that's what I've been doing. And, unfortunately, Wayne's life was cut short. We love and we miss him every day. And I'm only honoring him. I didn't even know that I wanted to do this anymore when he passed away — I didn't feel like I wanted to — and some things started happening and  Josey took it upon himself to just go and call himself [and his solo band]  JOSEY SCOTT'S SALIVA. And I just felt like that was wrong. I felt like it was classless, and  Wayne would be rolling in his grave over that. And people that knew  Wayne and know the situation, they would agree with that. And I think, for me, it's, like I decided to continue on and I just wanna put out killer music. And I feel like the band has been accelerating, and he hates that. It bothers him."

Bobby continued: "I don't know. I mean, I wish the guy well. I just hope the guy could find positivity and put it to the music, just keep doing what he's doing. He has fans, but  SALIVA is gonna keep doing what  SALIVA's doing and what  SALIVA's been doing. 14 years — November will be 14 years for me. And I'm grateful. I am. And we have a lot of cool things on the horizon, a bunch of unannounced festivals for '26. And, hey, man, we're gonna keep putting out music."

During an appearance on the October 17 episode of "Nashville's Morning News" with Dan Mandis, JOURNEY keyboardist Jonathan Cain was asked to clarify recent reports that he was planning to leave the band. The 75-year-old musician said (as transcribed by BLABBERMOUTH.NET): "Well, that was kind of misinformation. What was really said in the article I did for Charisma [Media CEO and founder Stephen Strang as part of the 'Strang Report' podcast] was that I was gonna do these next two tours [with JOURNEY] and just kind of wrap it up. 'Cause I felt like I didn't wanna die on the road in my sleep at 80 years old, like John Lodge did, of THE MOODY BLUES. I was very, very disturbed when I saw that [John had recently died]. But it just feels like a good time to enjoy my grandkids and my family. I've given a lot. I've given enough."

He added: "I would never, ever duck out on my fans without saying goodbye, because I'm grateful for them and I always, always planned on doing one last hurrah. So this is gonna be it for me."

Asked by Mandis if that means that his next run of shows with JOURNEY will be his last, Cain said: "Well, it'll be two years... So two different tours will be [my last run with JOURNEY], yeah. I don't know what Neal [Schon, JOURNEY's founding guitarist] is planning. I think Neal said he wants to go on and go on. And that's not me."

The initial confusion about the exact details of Cain's departure stemmed from a social media post by Schon, who wrote on October 9: "Jonathan Cain announced his farewell to JOURNEY tonight. I'm nowhere near done! JOURNEY has so much more life ahead! I'm sure we will have a great tour!"

Schon later shared another post clarifying that Cain would be touring with the band "all through" 2026 and 2027 "celebrating the music we've created."

Cain's spokesperson also released a statement, saying: "Jonathan Cain remains an active member of JOURNEY, and any reports suggesting otherwise are inaccurate. He is fully dedicated to touring with the band over the next couple of years and has only expressed plans to retire at a later time."

Cain previously hinted at his exit from JOURNEY earlier in the month during an appearance on the aforementioned "Strang Report" podcast, where he was promoting his tribute song to right-wing American activist and influencer Charlie Kirk. After indicating that he will release a solo EP before the end of the year, he said: "Then, of course, we go on the JOURNEY tour in 2026. On our farewell JOURNEY tour. So I'll be saying goodbye to that. And I'll probably move into ministry and worship; I feel a calling there."

JOURNEY has yet to announce any tour dates for 2026 and 2027.

Cain is a devout born-again Christian whose minister wife Paula White-Cain became the first female clergy member to pray at a presidential inauguration following U.S. president Donald Trump's latest victory and now serves as the first female primary spiritual adviser to a U.S. president.

Jonathan embraced faith-based music with 2016's "What God Wants To Hear" and released a Christmas LP, "Unsung Noel", the following year.

In 1976, Cain released his first solo record, "Windy City Breakdown". Three years later, he joined the band THE BABYS, and in 1980 became a member of JOURNEY, rounding out the songwriting genius behind the defining album "Escape".

Schon and Cain have publicly feuded over several issues, including Neal allegedly causing over $1 million in personal expenses to be charged to the band's shared American Express card and Schon demanding that Cain stop playing events for Trump.

Earlier this month, Schon said that "everything" was "cool" between him and Cain, adding that he has "had some great conversations with Jonathan lately and some great meetings with him for the first time in many years."

Back in December 2022, Schon blasted Cain as a "hypocrite" after the JOURNEY keyboardist performed the band's 1981 hit song "Don't Stop Believin'" at Donald Trump's Mar-a-Lago property. Cain played the track with a backup chorus of U.S. Rep. Marjorie Taylor Greene, Donald Trump Jr.'s then-fiancée Kimberly Guilfoyle and former Arizona gubernatorial candidate Kari Lake.

In the past, Schon has also publicly voiced his opposition to having JOURNEY's music associated with political or religious causes. Back in 2017, he derided Cain on social media after the keyboardist, singer Arnel Pineda and then-bassist Ross Valory were photographed with Trump in the White House.

In a 2017 video interview conducted in the studios of the radio station ONE FM 91.3, Cain could be heard saying: "We're not political; we don't get into politics. We try to stay in our lane, and I just think that's the best answer we can give you."

Former SKID ROW singer Sebastian Bach performed a cover of the KISS classic "Shock Me" with his solo band during his October 17 performance at Mohegan Sun Arena in Uncasville, Connecticut.

Prior to launching into the track, Bach told the audience: "[Have] we got any fucking KISS fans in the audience tonight? You know how lucky we are right now to be alive with our friends, playing rock and fucking roll music, having a drink, having some fucking fun, enjoying life. We are lucky. And I don't know about you, but I wouldn't be doing this without fucking Ace Frehley, lead guitar. And I'm sure you know this, but Ace Frehley was a resident of Connecticut. All right?! That's the fucking best you can do? This is your hometown boy right here. So in honor of Space Ace, Space Ace from Connecticut — Ace Frehley, lead guitar. 'Shock Me'."

Bach and Frehley worked together on the track "Know Where You Go" for drummer Anton Fig's solo album "Figments", which came out in 2002. At the time, Bach said that recording with Ace and Anton was "a dream come true and an honor."

In October 2019, Frehley joined Bach on stage at Kruise Fest 2019 at Hilton Blue Lagoon in Miami, Florida to perform a couple of KISS classics, "Parasite" and "Deuce", as well as the Frehley track "Snow Blind".

Back in 2014, Bach spoke about Frehley while commenting on KISS's induction into the Rock And Roll Hall Of Fame and the announcement that the original four members of KISS would not perform at the ceremony. "As a fan, I understand why people would want to see that," Sebastian said. "But as a [middle-aged] man that has worked with Gene Simmons and Ace Frehley, I understand why Gene Simmons doesn't work with Ace Frehley."

Bach added cryptically: "Ace has sides to him that maybe the fans don't see. That's all I can say."

Ace died on Thursday (October 16) at the age of 74. The news of his passing came just hours after TMZ reported that Ace was hospitalized on life support after he suffered a brain bleed when he took a fall in his studio a couple of weeks earlier.

Frehley, whose real name was Paul Daniel Frehley, passed away peacefully surrounded by family in Morristown, New Jersey.

TMZ reported earlier on Thursday that Frehley was on life support. He had to cancel his tour dates and his condition had not improved after suffering from a brain bleed from the fall.

Frehley's family confirmed his death, writing in a statement: "We are completely devastated and heartbroken. In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth.

"We cherish all of his finest memories, his laughter, and celebrate his strengths and kindness that he bestowed upon others. The magnitude of his passing is of epic proportions, and beyond comprehension. Reflecting on all of his incredible life achievements, Ace's memory will continue to live on forever!"

Ace co-founded KISS with guitarist/vocalist Paul Stanley, bassist/vocalist Gene Simmons and drummer Peter Criss in New York City in 1973. Frehley appeared on KISS's first nine albums, and returned for the band's 1998 reunion album, "Psycho Circus", only to leave again. He was inducted into the Rock And Roll Hall Of Fame with the rest of KISS's original lineup in 2014.

Frehley first left KISS in 1982. He rejoined in 1996 and parted ways with the band once again in 2002 after the conclusion of KISS's first "farewell tour." Since his departure, guitarist Tommy Thayer had assumed the role of the Spaceman.

CONNECTICUT!! We are taking this to the NEXT LEVEL!! We have now achieved Headline ARENA status & we can't believe this...

Posted by Sebastian Bach on Friday, September 19, 2025

SLAYER guitarist Kerry King and his solo band played a headlining concert this past Thursday night (October 16) at Big Cat in Osaka, Japan.

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

01. Where I Reign
02. Rage
03. Trophies Of The Tyrant
04. Residue
05. Two Fists
06. Idle Hands
07. Repentless (SLAYER song)
08. Toxic
09. Tension
10. Everything I Hate About You
11. Disciple (SLAYER song)
12. Purgatory (IRON MAIDEN cover)
13. Chemical Warfare (SLAYER song)
14. Crucifixation
15. At Dawn They Sleep (SLAYER song)
16. Wicked World (BLACK SABBATH cover)
17. Shrapnel
18. Raining Blood (SLAYER song)
19. Black Magic (SLAYER song)
20. From Hell I Rise

Fan-filmed video of the entire gig can be seen below.

Joining Kerry in his new band are singer Mark Osegueda (DEATH ANGEL),guitarist Phil Demmel (MACHINE HEAD, VIO-LENCE),bassist Kyle Sanders (HELLYEAH) and drummer Paul Bostaph (SLAYER).

This past April, Kerry spoke to Igor Miranda of Rolling Stone Brasil about his plans for a follow-up album to his solo debut, "From Hell I Rise", which came out in May 2024 via Reigning Phoenix Music. He said: "I made up two songs since I've been home from this U.S. run [in late February]. So we keep working on stuff. We haven't played together yet, but we have stuff to work on when we get together.

"What the plan is, is whenever [the] cycle [for 'From Hell I Rise'] is done, and right now that looks to me like October, Paul and I have always talked about going straight from playing live, taking maybe a week off and go right in the studio to keep your tour chops, so you're firing on all cylinders — you don't gotta practice to get good; you're already good — and get in there and record it. So, ideally, in my perfect world, it would be done this year and then just hand it to the record company and say, 'Put it in line, whenever you want it to come out.'"

Asked if he would like to "maybe explore some different influences, like going a little more into punk rock" on the next album, Kerry said: "I don't know. I think punk was pretty well covered on ['From Hell I Rise'], from 'Everything I Hate About You' to 'Two Fists', two very different punk styles. So it wouldn't surprise me if that shows up 'cause it's part of my history. And I think, overall, my thought would be just make an extension from what 'From Hell I Rise' is, just keep doing [things the same way], see what the next 10 or 12 [songs] sound like."

King also talked about his working relationship with "From Hell I Rise" producer Josh Wilbur, who had previously worked with KORN, LAMB OF GOD, AVENGED SEVENFOLD and BAD RELIGION, among others. He said: "A lot of musicians say he's like the extra person in the band; he was like member number six. And he really was. His skill at the Pro Tools rig — he's so fast. He would get on his computer, and I'm just sitting there with my guitar, trying to figure out how to play something better. And he's just doing [something on] his computer, and he's, like, bam, bam, bam, bam, bam, bam. 'How's this?' I'm, like, 'I don't even know where you are.' He's so fast and so good, I don't know what he did. He would have to show me, and I'm, like, 'Yeah, it sounds great.' But I could not follow what he was doing. His mind is going a million miles an hour, and he definitely became familiar with the songs before we recorded 'em. He came in with suggestions before the last week of rehearsals, and [I] shot most of them down, but we kept one or two. It's, like, I'm open to ideas — usually I've thought of 'em, but he had a couple that I didn't. I'm, like, 'I like that. I can't believe I didn't think of that.' So, yeah, he was very hands-on, very cool guy. I loved working with him and he loved working with us. So we're hoping the windows line up to where we're both free [to make the second album together]."

King kicked off his first-ever headlining tour on January 15, 2025 at the Regency Ballroom in San Francisco, California. The trek, which featured MUNICIPAL WASTE as special guest and ALIEN WEAPONRY supporting, wrapped at House of Blues in Las Vegas on February 22.

All material for "From Hell I Rise" was written by the 61-year-old SLAYER guitarist. The LP was recorded in 2023 at Henson Recording Studios in Los Angeles.

King authored all the lyrics, mainly for logistical reasons. "I finished everything before Mark knew he had the gig," he explained. "But that's not to say he will or won't write on record two." Circumstances dictated that King sing on all "From Hell I Rise" demos. "I did scratch vocals on everything," King said, adding, "I'm not a singer. I'm a guitar player. I've got conviction when I sing, but I have no range, and I need some distortion to help me out a little bit. There was always, 'I got this if whatever we're looking for doesn't work.' Luckily, we didn't have to go that route."

Last year, Kerry said that he knew people would compare "From Hell I Rise" to SLAYER. "I'm not afraid of that because I think it stands up to anything we've done in our history, musically, performance-wise," he said. But he was quick to add: "There will be people complaining, 'Why does it sound like SLAYER?' And 'why doesn't it sound more like SLAYER? That's just what people do."

In early May 2024, the KERRY KING band performed its first live show at Reggies in Chicago. In the days following, the band went from playing an intimate venue to performing at the huge U.S. festivals Welcome To Rockville (Florida) and Sonic Temple (Ohio).

KERRY KING launched a European tour on June 3, 2024 — King's 60th birthday – in Tilburg, The Netherlands. The trek combined headline shows in the U.K., The Netherlands, Germany, Italy and Spain but also festival appearances such as Rock Am Ring, Hellfest, Tuska, Download, Sweden Rock Festival and many more.

The SLAYER guitarist's solo band played its first concert as the support act for LAMB OF GOD and MASTODON on July 19, 2024 at the Texas Trust CU Theatre in Grand Prairie, Texas. The six-week "Ashes Of Leviathan" tour wrapped on August 31, 2024 in Omaha, Nebraska.

German power metal legends HELLOWEEN kicked off their "40 Years Anniversary Tour" Friday night (October 17) at Rockhal in Esch-sur-Alzette, Luxembourg.

The band's setlist was as follows, according to Setlist.fm:

01. March Of Time (first time performed live since 2018)
02. The King For A 1000 Years (first time performed live since 2008)
03. Future World
04. This Is Tokyo (live debut)
05. We Burn (first time performed live since 2016)
06. Twilight Of The Gods (first time performed live since 1987)
07. Ride The Sky
08. Into The Sun (live debut)
09. Drum Solo
10. Hey Lord! (first time performed live since 2004)
11. Universe (Gravity For Hearts) (live debut)
12. Hell Was Made In Heaven (first time performed live since 2014)
13. I Want Out
14. Singin' In The Rain / Pink Bubbles Go Ape / In The Middle Of A Heartbeat (acoustic)
15. A Tale That Wasn't Right (acoustic snippet, then full song)
16. Power
17. Heavy Metal (Is The Law) (with Kai Hansen)
18. Halloween (first time performed live since 2018)
19. Eagle Fly Free
20. A Little Is A Little Too Much (live debut)
21. Dr. Stein
22. Keeper Of The Seven Keys (snippet)

Fan-filmed video can be seen below.

HELLOWEEN is touring in support of its latest album, "Giants & Monsters", which came out in August via Reigning Phoenix Music (RPM). The LP follows HELLOWEEN's self-titled No. 1 2021 record and is said to be the most versatile and dynamic release of the band's career. Mixed at the legendary Wisseloord Studios (IRON MAIDEN, JUDAS PRIEST, DEF LEPPARD) in Hilversum, Netherlands, "Giants & Monsters" reaffirms HELLOWEEN's position at the pinnacle of the metal world.

"Giants & Monsters" pushes 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.

The band's chemistry continues to drive their success. "What keeps motivating us is the fact that we're extremely different. It generates creative energy," says guitarist Michael Weikath. Guitarist/vocalist Kai Hansen adds: "We try not to take ourselves and everything around us too seriously." Singer Andi Deris sums it up: "In the end, we're just seven guys who want to make music and enjoy the incomparable force that arises when we're together. HELLOWEEN is way more powerful than the sum of its parts."

In a recent interview with Hakos Pervanidis of the Metal Hammer Greece TV program TV War, Deris and Hansen were asked if they would agree that "Giants & Monsters" sounds "more focused and direct" than 2021's self-titled effort. Hansen said: "Yeah, I would agree. I mean, we have diversity, but we've grown together as HELLOWEEN and the individual members, so you could hear the differences between the songs and the songwriters still, but there's a straight red line. And we're more connected now."

Deris chimed in: "So far I'm happy to say that there were lots of little things being put into your song by the other guys, which was much easier this time. Honestly, we had so much more time, actually, so everybody had tons of time to listen to each and everybody's tracks and come up with own ideas. Kai, for example, he added I would say a whole new song into my song. 'Giants On The Run', the whole middle part is a new song which Kai put in, and it's just perfect; it fits. That's something I love and I always wanted to have, but, honestly, back in the day, like [on] the [previous] album, everybody was minding his own business. You have to write super songs for the new upcoming album and the expectations are so high because Michael [Kiske, HELLOWEEN singer] and Kai are back. And so there was no mindset to actually put your shit into the other songs and vice versa. And this time it just played out easily because the pressure was gone. I think when you just had such a successful album, it takes away so much pressure because you know you were on the right track. So play with it. Don't stress it. Just play with it. And that was a lot of fun."

Regarding the "Giants & Monsters" album title, Deris said: "The first title says it all. It's 'Giants On The Run', and it talks about us as mankind. We are actually giants. We are gods inside. But then you could come up with a conspiracy theory. Are we on purpose, purposely put down that the god side, that giant thing that we all have inside, is not allowed to express itself or to come out? But at the end of the day, everybody, each and every individual I know, they are much bigger inside with their dreams, with their possibilities they would like to have, than they're actually allowed to have or allowed to be in our society. And there you could come up with that conspiracy theory. Are we held down on purpose? I personally think when I listen to my inside, I know everybody from the band and all my friends I know, they're so much bigger inside. They're great, great people. And they have great ideas, but in our world, you're not allowed to express it."

Kai added: "It takes all efforts. You have to fight the monsters. That's the point. And I think the title leaves a lot room a for interpretation. You could say the giants is your great ideas that you might have, your aims, your goals. But then here come the monsters, the demons you have to fight and everyday struggle. Then you could go to the Anunnaki, the return of the gods from outer space, giant people and so on. There's a lot of room for fantasy, I think."

Andi continued: "But I just went back also to the Bible. I said, 'Okay, look, it's even written in the Bible.' There were giants walking on earth, and who says that the giants are not still here in ourselves? I mean, we are still the giants, and as Kai said, you constantly have to fight the demons, the monsters in your life. And I thought that's a super metaphor. And I think everybody knows what I'm talking about because sometimes when you're with yourself thinking about yourself, your own life, you realize you would be much more if only you are allowed to be."

Asked if HELLOWEEN purposely approached songwriting this time around in a way where the vocals and the first chorus come in very early in each song, Andi said: "Yes and no. I mean, honestly, if it would destroy the song, I'd rather not, me personally. I think everybody in the band would agree, because if the song yells for it and shouts for it — keep it short; otherwise it's getting boring — then I keep it short.

Hansen added: "It's good to have that on the commercial tracks, all the — how do you say it? — the hit singles. It's very hard. Personally, I don't mind if it takes longer to go into the chorus if it makes sense for a song. So there is no general thought or rule when you approach songwriting to say, 'Oh, no, the chorus has to come after one minute or so.'"

Deris continued: "If we talk about looking what the commercial side would be, and back in the days, I remember you've been forced by the record company to put it short into maximum three-minute songs because otherwise it couldn't be a single. Fuck it. I mean, honestly, no. If I have to keep it short, then probably, because I'm a stubborn asshole, I would do the opposite. But nobody tells me what to do, so I just personally write the way I feel. But then again, it's very important, when we have guys in the band who say, 'This is a great song, and I could hear it even better when we not keep it that short.' For example, 'Giants On The Run'. [Kai's] part is at least three minutes and stretches the song to eight minutes something, which used to be something like round five minutes, and it's totally worth it. But if it's not worth it, why would you? That was another question: 'Do you always have to write these long songs?' And Kai said, 'No.' It's just what it is. When you're in the process of songwriting and it yells for another part and here's an idea, and yeah, I could do this lyrics, so I need another part, otherwise the story is not round, and maybe you end up with 10 or 12 minutes."

Hansen added: "And it's fun to do those long songs. To me, it's fun. It's a kind of challenge, but I don't do it on purpose to say, 'I need a long song.' It's just if the song gives it to you, then you do it."

Deris explained: "And if the story is two sheets of paper. You can't possibly put all the lyrics in a three-minute song; that's not possible. So then you've got different feelings depending on the lyrics itself. Suddenly there's a romantic section, for example. Ah, yeah, definitely you have to go down and do something romantic around it arrangement-wise. You probably cannot go all metally with that romantic thing. And so it cries, it, it yells, it shouts for another part."

On the topic of how they balance fans' expectations with being creative and trying new things with their music, Hansen said: "It's a challenge and it's always like a walk on the edge. Because if you consider that you want people to be pleased with what you're doing, but on the other hand, when you do your thing, you should not consider that. You should not write with that purpose in mind, because, first of all, you have to be a fan of what you're doing. To me, it's a very egoistic process. I write for myself, and I want to be a fan of what I'm doing. And then I'm glad if other people think so too."

Deris added: "Yeah, that's my way too. I don't wanna say I don't give a fuck, but when you are writing, there should be nothing in the back of your mind. It's just you and your music. And as Kai said, if you goosebump goes up, it's great for yourself, first of all. And then when you finish the song, on the second thought or second guess would be, 'Would they like it out there?' But during the songwriting process, it's not important. You are important because you have to actually give your thoughts, your feelings into whatever you do in the very moment. And yes, sometimes it's not good enough that the people would say, 'Yeah, I love it.' But I always say that the possibility that I am completely happy with my song and my goosebump goes up, considering myself a super-normal guy, so when I say I love it, my goosebumps go up, because I consider myself a mediocre guy, I would say the normal person out there would feel the same [as] I do. That's what I always hope."

Hansen continued: "You develop a feeling. I mean, when you write a song, and you trust yourself, if you like it, then there will be a lot of others that would like it too."

Deris concurred, saying: "No guarantee, but that's the way to work."

"Helloween" was the first HELLOWEEN album to feature the band's expanded lineup, consisting of returning singer Michael Kiske and Hansen along with Deris, guitarists Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf and drummer Daniel Löble.

HELLOWEEN released a live album, "Live At Budokan", on December 13, 2024 via Reigning Phoenix Music (RPM). The colossal effort immortalized HELLOWEEN's September 16, 2023 performance at Tokyo's legendary Nippon Budokan.

HELLOWEEN is:

Michael Kiske - vocals
Andi Deris - vocals
Kai Hansen - guitars, vocals
Michael Weikath - guitars
Sascha Gerstner - guitars
Markus Grosskopf - bass
Daniel Löble - drums

In a new interview with Ethan Jackson of the Des Moines, Iowa radio station Lazer 103.3, Wolfgang Van Halen — son of legendary VAN HALEN guitarist Eddie Van Halen — spoke about iconic BLACK SABBATH singer Ozzy Osbourne who died in July at the age of 76. Asked what Ozzy's impact was on Wolfgang's career, Van Halen said (as transcribed by BLABBERMOUTH.NET): "He was more than the music. He was just this icon that just taught you not to give a shit. [Laughs] And I just think he very much had that effect on me. And I think it's just really cool to see… I mean, I wasn't alive back in the day to see that, 'Oh, the singer from BLACK SABBATH is leaving to do his own thing?' At the moment, that must have been, like, 'What the heck? That's crazy.' But the fact that he was not only able to reinvent, but just rise as well is just super unbelievable. It just shows you the quality of not only the person he was, but the artist and singer. And I feel very lucky to be able to do the Rock And Roll Hall Of Fame thing for him and be able to sit with him for at least, like 10, 15 minutes. So I'm happy I was able to at least see him then. But yeah, [he was] just a badass all the way around."

Wolfgang joined super-producer Andrew Watt and TOOL singer Maynard James Keenan at last year's Rock And Roll Hall Of Fame ceremony, which saw the induction of Ozzy as a solo artist. They performed one of Osbourne's most popular songs, "Crazy Train", backed by RED HOT CHILI PEPPERS' Chad Smith and METALLICA's Robert Trujillo. Asked how the whole Rock Hall experience was for him, Wolfgang told the Swedish rock radio station 106.7 FM Rockklassiker: "Oh, it was amazing. It was a dream. Being able to play with everybody, and being a massive TOOL fan, being able to play with Maynard was an insane thing I never thought I'd be able to do. I mean, if you told me five years ago I'd be playing 'Crazy Train' with Maynard, I'd be, like, 'Shut up. What are you talking about?' But, man, it was very, very cool. [I was] very, very happy to have been a part of it, and being able to, to see Ozzy after it and give him a hug and chat with him a bit really stuck with me."

Earlier in the month, Wolfgang explained to 106.7 FM Rockklassiker why he was forced to cancel his participation in the "Back To The Beginning" event, which marked Ozzy and BLACK SABBATH's final performance. The current MAMMOTH frontman said: "We had the flights purchased, the hotels ready to go. We also, obviously, have 'The End', [MAMMOTH's third] album, we were planning on that release, but we hadn't announced it yet. And then the rehearsal schedules moved. So, at that point, with how many people had bought hotels and, and everything, we literally couldn't make it, after that schedule changed. One, I had to rehearse for the CREED tour that I was about to go on [with MAMMOTH]. And then two, even if we wanted to go out there, there was no way to get a hotel or a flight that quickly after it changed. So, we couldn't do it, unfortunately."

He added: "I was really happy I was able to do the Rock And Roll Hall Of Fame thing for Ozzy, and I got to see him then. But yeah, I was very bummed about that. Sometimes things just sort of happen that way."

Asked if he remembers the first time he met Ozzy, Wolfgang said: "You know what? I remember the first time I met [Ozzy's wife and manager] Sharon. She came to the house one time. but I think it was either in passing or really quick, But it was this time around where we did a photo shoot, like, a week or two before the whole [Rock Hall] performance. That's when I got to sit with him and talk the first time. And he was very, very lovely. And then I got to hang out with him after the performance at the Rock And Roll Of Fame."

Wolfgang added: "[Ozzy was] very funny and very, very kind. I got to chat with him on just random stories that my dad had told me. 'Cause when [VAN HALEN and BLACK SABBATH] toured together back in the day, I just kind of asked him about, like, 'Did this happen? Did this happen?' And, yeah, a lot of those stories, which were very, very funny, I got him to giggle a bit, I got him to laugh about it, which was very, very funny. It was great.

Asked if he remembers a specific story involving Ozzy and Eddie, Wolfgang said: "I do, but I don't think I would be allowed to say it. [Laughs] But it's very funny, and I was very happy to know that my dad wasn't pulling my leg on some of those stories."

"The End" will be released on October 24 via BMG. The 10-track effort was recorded at the legendary 5150 studio, and was produced by Wolfgang's friend and collaborator Michael "Elvis" Baskette.

This past June, Wolfgang was asked by Meltdown of Detroit's WRIF radio station to name his favorite guitar player who played with Ozzy — a list that includes SABBATH legend Tony Iommi and Randy Rhoads. Wolfgang said: "I'm really bad at picking, 'cause that almost implies you don't like another one in comparison. And I feel like Randy was amazing, but you can't not give cred to Tony being the legend and groundbreaking genre creator he was — and is. [Laughs] So I love 'em all. That's not the answer you wanna hear."

Less than two months earlier, Wolfgang was asked by "Loudwire Nights" what SABBATH meant to him personally as a music fan. Wolfgang said: "There are some legends out there where it's just, like, they can't be replicated. They're just so original and they started a movement. You can't mess with that.

"My dad was very much a — he kind of focused on his stuff, but any time my dad gave cred to something else, that meant it was legit," Wolfgang continued. "And he always told me one of his favorite guitar riffs was 'Into The Void' by BLACK SABBATH. And there's nothing better, man. It's just the best."

Asked in a November 2024 interview with WRIF how he got involved in Osbourne's Rock Hall induction, Wolfgang said: "I got the request from Ozzy. So you don't say, 'Yeah, no.' You're, like, 'I'll do what I can, sir.' [Laughs] That's all I could do."

Wolfgang went on to say that he and the other musicians "had two rehearsals in Los Angeles before we came out [to Cleveland], and then a rehearsal the day before in Cleveland. So it was nice," he added. "So the band got to jell, got to jam with Rob and Chad. And it was nice to just kind of establish that baseline, so it wasn't just thrown together."

Wolfgang added that he "felt so out of place" because he was surrounded by "a crazy supergroup of people." But, he noted, "It was nice to have Zakk [Wylde, longtime Ozzy guitarist] there, so I could be, like, 'Hey, am I doing this right?' And he's, like, 'Yeah, you're doing fine.' It's, like, 'Okay, thank you.' [Laughs]"

Wolfgang also talked about playing the guitar solo originally written and recorded by Ozzy's late guitarist Randy Rhoads, who has influenced many musicians and is considered one of the greatest guitarists of all time. Asked where he places Rhoads on his scale of guitarists, Wolfgang said: "You know what? I really don't make lists like that anymore. I think it's an unfair thing to do when there's just so much good out there than the stack of things against each other. Sure [I have my favorites], ones that I've been more influenced by others, but, yeah, Randy was an incredible guitar player and it's a shame we never got to see where he was gonna go. To make that much of a mark that early, it's a real shame [that he died]."

According to Wolfgang, he was "certainly incredibly nervous" to perform at Ozzy's Rock Hall induction. "But everybody, they made it really easy and it was really comfortable," he said. "And personally, it was really cool to be able to hang out with Maynard. I've been a huge TOOL fan my whole life and he's one of my favorite singers."

Asked if he had ever met Maynard before, Wolfgang said: "No, I hadn't. And he's a really great dude. It was a good time."

Wolfgang said that the circumstances prevented him from acting like too much of a fanboy around Maynard. "It's business time, so I had to put away the fan shirt and just kind of be, like, 'Yes, sir. Hey, how's it going? Nice to meet you. I'm here to jam with you,'" he explained ."But yeah, after a while, you just kind of hang out, and it's a good time."

Osbourne was inducted into the Rock Hall by actor and TENACIOUS D frontman Jack Black, who called Ozzy "the greatest frontman in the history of rock 'n' roll. He went on to say that the cover of Ozzy's debut solo album, "Blizzard Of Ozz" "was the most metal thing I had ever seen, and I didn't even know what metal was. Then I went back to Ozzy's earlier albums, to BLACK SABBATH. And I was, like, unholy shit, this motherfucker invented heavy metal ... the darkest, heaviest shit the world had ever heard."

After Black's induction speech, Osbourne accepted the award while seated on a throne. He told the crowd: "Well, here we are. You know what? I can't believe I'm here myself. Let me get the thank yous out of the way, because I'm not going to bore you with a long, drawn-out fucking monologue. I'd like to thank whoever voted me into the Rock And Roll Hall Of Fame for my solo work. A great thank you. Thank you from the bottom of my heart. Thank you. Thank you. Thank you.

"My fans have been so loyal to me over the years, I cannot thank them enough. I've been fortunate over the years to play with some of the world's greatest guitar players, drummers, bass players, and a few of them are here tonight. But I've got to say one thing for a guy by the name of Randy Rhoads. If I'd hadn't have met Randy Rhoads, I don't think I'd be sitting here now. And moreso more than that, my wife Sharon. Saved my life. And my grandbabies and my babies. I love them all."

Osbourne earned a solo Rock And Roll Hall Of Fame induction for his nearly six-decade career in music. This honor made Ozzy one of a handful of artists with multiple inductions into the Rock And Roll Hall Of Fame.

Artists are eligible to be inducted into the Rock Hall after at least 25 years have passed since their first record was released.

Rhoads was posthumously inducted into the Rock And Roll Hall Of Fame during the 2021 ceremony. Rhoads, who played in Ozzy's band more than four decades ago, received the Musical Excellence Award at the October 2021 event.

On Thursday, October 9, California Film Institute's Mill Valley Film Festival featured "Metallica Saved My Life", a documentary that explores the life-changing impact of the San Francisco Bay Area heavy metal band on its fans, as its Centerpiece Screening on at Sequoia Cinema in Mill Valley, California. METALLICA drummer Lars Ulrich and "Metallica Saved My Life" director Jonas Åkerlund were on hand for a post-show conversation followed by a reception that evening.

Asked what advice he would give to young artists who are looking to follow in METALLICA's footsteps, Ulrich said (as transcribed by BLABBERMOUTH.NET): "Stick with it. Focus. Certainly the 10,000-hours thing is something I always — it comes up in my head. You've gotta put the time in. There are many different ways you can put the time in it. It could be in book form or at the receiving end of teaching or whatever. But you can also literally play guitars or drums or whatever you're doing and listen. There's no right or wrong path."

He continued: "I think it's pretty clear that with anything, you've gotta put the time in. Whether you're making films or running movie festival, film festivals or whatever, you've just gotta put the time in. And then maybe be honest with yourself about your motives. Now again, there's no right or wrong motives. Do you wanna play music because the passion burns inside you? Do you wanna play music to get famous? Do you want to play music to get wealthy? There's nothing wrong or right with any of it. But don't bullshit yourself what your motives are, if you know what I mean, because that will also lead you to wherever it is you wanna go with probably fewer forks in the road or fewer obstacles."

"Metallica Saved My Life" documents the incredible stories of family, identity, redemption, loss, and salvation that make METALLICA's fans perhaps the most recognized example of why music matters to the world, and of why METALLICA is the kind of band that can literally save lives, including their own.

Åkerlund, who previously directed METALLICA's music videos for 1998's "Turn The Page", 1999's "Whiskey In The Jar" and 2016's "ManUNkind", interviewed fans from 23 different countries for the documentary.

Ulrich told the San Francisco Chronicle the idea for the film was to celebrate "the diversity and the depth and the dedication and the passion of METALLICA fans," which he believes is a much more interesting approach than simply making a documentary about the band.

"We kept seeing the same faces in the front rows, and so getting an understanding of their backstories, that was the most eye-opening thing for me," Ulrich said.

In a statement announcing "Metallica Saved My Life" in April, the band said: "As a few of you may know, we've been working behind the scenes the last couple of years on a new film that will be released later this year starring you guys! 'Metallica Saved My Life' explores our world through the lives of fans who have supported each other through highs, lows, trials and triumphs for over four decades. And yeah, we're in it a little bit too."

Back in July 2023, METALLICA put out a casting call for "superfans" of the band to possibly appear in an upcoming documentary. The filmmakers were looking for "big personalities, unique characters and unexpected stories from METALLICA fans who consider METALLICA to be their favorite band, real 'Fifth Member' types. All stories and walks of life" were "welcome and encouraged to reach out."

The documentary was produced by METALLICA and Mercury Studios, powered by Universal Music Group.

METALLICA will next perform at Chase Center in San Francisco on October 15, as part of Dreamforce's Dreamfest, a concert benefiting UCSF Benioff Children's Hospitals, before continuing its "M72" world tour in Australia next month.

We’re excited to share that #MetallicaSavedMyLife will be making another festival appearance this year, and this time...

Posted by Metallica on Tuesday, September 9, 2025

In a new interview with The Mike James Rock Show, HATEBREED guitarist Wayne Lozinak offered an update on his health, more than two months after he underwent an operation to remove a benign brain tumor. Regarding how he was initially diagnosed with the tumor, Wayne said (as transcribed by BLABBERMOUTH.NET): " I had symptoms at [the U.K.'s] Download festival [in June]. I went to the doctor in France the next day. It was weird — my lip got numb, and I was, like, 'That's kind of weird.' But then I couldn't talk. It was almost like I was having a stroke. So then we had a day off in France the next day. I was fine the next day, but I was, like, 'Let me go see the doctor.' My girlfriend actually told me… I was, like, 'I'm fine.' She's, like, 'You'd better go or I'm gonna come out there.' I was, like, 'All right. All right. I'll go. I'll go.' And then I got the scan and they saw a big tumor. I had to stay overnight. Then they did the MRI and then they finally said it was benign. [There was] no cancer, which was good, but it was big. And they said it's probably been there for years, the doctor said. And they were, like, 'It's not an emergency, but get it done within the next three months.' So I went back to the U.S., made an appointment with a surgeon. I got it taken out, and now I'm here [back on tour with HATEBREED]."

Regarding his recovery, Wayne said: "I got the surgery August 4th… I couldn't even talk when they first took [the tumor] out. 'Cause it was in my speech center, so I actually had a mild stroke when they took it out. So I couldn't talk, I couldn't write. It was almost like I just forgot how to speak. So I needed speech therapist, all this stuff."

Asked if it was challenging relearning how to play guitar after his surgery, Wayne said: "I was in the hospital for five days, something like that. So I was just in bed. When I got home, it was slow. When I first got home, I picked it up. That was one of the first things I did. I was, like, 'All right, I know the chords.' And then as time went on, then I was fine."

He continued: "They said I should probably be doing normal things withing four to eight weeks. And then I was, like, 'Well, can I go on tour?' And they were asking me questions and doing tests. They were just, like, 'Don't headbang too crazy.' That my one thing. I'm, like, 'I'll try not to.' It's hard, but, yeah, that was about it. But I'm pretty good now, so I'm happy. The brain had to relearn after the disruption."

Wayne underwent a craniotomy — a surgical procedure that involves opening the skull to access the brain.

When Lozinak's brain tumor diagnosis was first announced on June 17, HATEBREED wrote in a statement: "On the night of June 14th, while at Download Festival, Wayne began experiencing mild symptoms that raised concerns of a possible stroke. Out of an abundance of caution, he sought medical attention the following day upon arriving in Lille, France. After undergoing a CT scan at the ER, doctors discovered a brain tumor, leading to his immediate admission for further testing.

"Following a thorough 24-hour evaluation, including an MRI, it was determined that the tumor is a benign meningioma — a slow-growing mass that has likely been present for years. We are immensely relieved that Wayne's diagnosis is the best possible outcome given the circumstances."

In the meantime, HATEBREED continued its European and American tours, with touring bassist Matt Bachand stepping in on guitar, and Carl Schwartz of FIRST BLOOD and TERROR joining the group on bass duties.

Lozinak has been a key part of HATEBREED's sound since rejoining the band in 2009.

In July, HATEBREED released the official lyric video for its first new single in nearly five years, "Make The Demons Obey". The track is the first taste of new HATEBREED material after the group's "Weight Of The False Self" album which came out in 2020.

This past April, HATEBREED announced it was resurrecting the beloved and annual "Summer Slaughter" tour for 2025, which kicked off on July 8 in St. Petersburg, Florida and ran through July 28 in Grand Rapids. Support for this year's run included FUGITIVE, GRIDIRON, INCITE, ESCUELA GRIND and SNUFFED ON SIGHT on select dates.

In a new interview with Spain's Rock FM, In particular, vocalist Johannes Eckerström of Swedish metallers AVATAR was asked if he agrees with the widespread perception that heavy metal has declined in popularity over the last few years. He said (as transcribed by BLABBERMOUTH.NET): "No. I would say the opposite overall, because of certain bands… Putting AVATAR out of the equation, when I see GOJIRA open the Olympic Games, when I see how big a band like LORNA SHORE can get with such extreme music, and there are endless examples around this, I feel it's doing as well as it ever has. And then sometimes it becomes a bit trendier. Sometimes a band captures the zeitgeist and we get a bit more attention. But in between, we have each other in the metal world and we never really go away. And the rebellious nature of it, all the qualities in metal, there will always be a certain kind of person that will need that and find great use in that, enjoyment in that. So in that sense, I don't see it ever going anywhere. As a matter of fact, a Swedish music journalist wrote a book, I think in the early 2000s about fan culture, and each chapter was about — there was some boy-band thing and whatever, but there was a chapter where the fans he talked to were JUDAS PRIEST fans. And the chapter starts with a quote, something like this, 'After the great nuclear apocalypse happens and everything is dead, there will be two living species still alive, and it's cockroaches and metalheads.'"

Johannes continued: "Sometimes it explodes. When I got into metal, like when I was — I don't know — 14, around that age, there was a huge revival wave in year 2000 around multiple things… That's when Rob Halford came back to [JUDAS] PRIEST around that time, and BLACK SABBATH were back, and all those things, and there was a nu metal wave, and all of Europe, at least, enjoyed all those Finnish bands and Swedish bands. So there was a lot of things happening all at once when I was around that age, and it got a bit extra attention, which is great. But at the core of it, we keep it alive no matter how much mainstream attention we get."

AVATAR will release its tenth studio album, "Don't Go In The Forest", on October 31 via Black Waltz Records.

Eckerström explained in a statement that the LP is "filled to the brim with stuff we've never done before. It's all songs and concepts we haven't been close to touch until now," he said. "The mind is wild and we have lost ourselves in the darkest woods, filled with memories, and fantasies. Forbidden thoughts that must be spoken."

AVATAR will embark on a U.S. tour this fall with support from ALIEN WEAPONRY and SPIRITWORLD. Additionally, there are forthcoming tours supporting IRON MAIDEN and METALLICA, along with the band's biggest show ever in Mexico City.

Photo credit: Johan Carlén

In a new interview with the Talkin' Bout Rock podcast, drummer Danny Schuler of the reunited classic lineup of BIOHAZARD spoke about "Divided We Fall", the band's first studio album in over a decade, which will arrive on October 17 via BLKIIBLK. Regarding why it took so long to get the LP out, Danny said (as transcribed by BLABBERMOUTH.NET): " Well, the album was a long time coming because the band wasn't really doing anything for a long time. The band got back together in 2023. We started doing some shows, we started touring, and everybody started talking about, 'Hey, why don't we do a record?', our managers and everybody. And that was it. It was just we started talking about it. We started getting together with the purpose of writing songs and seeing how that went. After a while, we kind of hit our stride and the songs just kind of came quick. And, yeah, boom — next thing you know, we're making a new BIOHAZARD album, 'Divided We Fall'. Here we are."

Danny also talked about the recording sessions for "Divided We Fall", which took place at Shorefire Recording Studios in Long Branch, New Jersey and The Hydeaway in Van Nuys, California, with engineering by Joseph DeMaio and additional recording from Matt Hyde. Guitar and production tech duties were handled by Phil Caivano.

"I live on the East Coast, so it was easier to kind of just do everything at Long Branch," Danny explained. "It's a great studio, Shorefire, and our friend Joe runs that place. We've worked there before. And the reason I love that place, aside from having all the great gear, is that it's like one big room and it gives a band like us — we like to record as live as possible — so it gives us the room to set up live in the room and record that way. So that's what we did."

Reflecting on the first reunion show from the reunited classic lineup of BIOHAZARD — Schuler, guitarist/vocalist Billy Graziadei, guitarist Bobby Hambel and bassist/vocalist Evan Seinfeld — which took place in May 2023 at the Milwaukee Metal Fest in Milwaukee, Wisconsin, Danny said: "Yeah, that was in 2023, so it was eight or nine years since we had played a show together, and it was even longer than that, that we had played a show with Evan. That was our first show back with Evan in a very long time — probably 12 years or something, or 13 years. And, yeah, it was just a trip. I was really looking forward to it, and when it happened, it's amazing how it kind of went right back into the way we used to do things. It was so natural and easy. The rehearsals for that show, it was so simple to just be with everybody and play all the songs; it was easy. And, yeah, getting back together and doing that one show, it was, like, 'Wow.' It just totally blew my mind. It was such a trip to do it again. And now we get to do it some more. It's great. I love it. I never take it for granted."

Elaborating on BIOHAZARD's mindset when it comes to performing live, Danny said: "We definitely are the type of band that puts all our energy and effort and everything into the show. We're not phoning it in. Some bands maybe do that. For us it takes all our energy and everything to do the show, and we put everything we've got into it. So it is an experience; it's not just a show, it's an experience. And the audience is a big part of what we do, for sure."

BIOHAZARD has released four singles from "Divided We Fall" so far: "Forsaken", "F**k the System", "Eyes On Six" and "Death Of Me".

In a separate interview with In Effect Hardcore, Danny stated about "Divided We Fall": "I think 'Divided We Fall' is BIOHAZARD doing what we do best. I didn't want to make a new-school record to compete with all these new bands… They all have their sound and I love it, but what we do is unique to us, and I really think when we are firing on all cylinders we can hang with anybody… especially live. So I would say this new record is right up there with the best stuff we've ever done. Can't wait for everyone to hear it."

Regarding the role of producer Matt Hyde during the making of "Divided We Fall", Danny said: "Matt Hyde was a big part of this record, for sure. When he came in, we had a lot of songs written but we hadn't yet started to focus on which ones would be the best ones for the new record. One of the first things Matt did was listen to everything and we asked him to pick which songs he thought would work best. His list of songs was exactly my list, which surprised me. I had no idea he was so familiar with what we do. It was great working with Matt Hyde… he's a madman in the studio."

As previously reported, BIOHAZARD will team up with the American hip-hop group ONYX for a North American tour this fall.

STRYPER frontman Michael Sweet and his wife Lisa have launched Faith In Music Foundation, a new non-profit "dedicated to empowering musicians and fostering the next generation of music industry professionals."

Back in 2013, Michael and Lisa started noticing a feeling they couldn't ignore, a sense that God was nudging them to do something more. Not just for themselves, but for others, especially musicians who were struggling to keep creating in a tough and ever-changing industry. Those early conversations, often over coffee or in between tour stops, slowly grew into what would become Faith In Music Foundation. At its core, they wanted to help artists chase their goals and reach a level of quality and excellence that can feel out of reach today.

The music world has never been easy. Whether it's a young artist saving up for a decent guitar or a seasoned musician trying to keep a tour going, finding support, financial or otherwise, is always a challenge. Michael knows this world inside and out. Back in the early 1980s, he helped start the pioneering Christian rock band STRYPER. Somehow, after all these years, the band is still recording, touring, and connecting with fans around the world. He has seen the highs and lows firsthand — the excitement, the burnout and the grind. That experience shapes everything he does at Faith In Music Foundation.

Lisa brings a different, but equally important, perspective. With a strong background in nonprofit leadership and business operations, she thrives behind the scenes, handling everything from fundraising and HR to event planning and logistics. Her practical, steady approach has been key to helping STRYPER navigate the changing music industry.

Together, Michael and Lisa make a balanced team, blending creative passion with clear strategy. They have helped STRYPER keep moving forward not just through perseverance, but by running things like a business, securing sponsorships, managing resources wisely, and always keeping the bigger picture in mind.

Faith In Music Foundation is their way of giving back and paying it forward. It reflects the journey they have been on together and their hope that, with the right support, more artists can keep creating music that truly matters.

Michael comments: "If you've known me and Lisa for any amount of time, you know music has never just been a career for us. It's been a calling. It's taken us places we never imagined, introduced us to people who changed our lives, and taught us lessons we couldn't have learned anywhere else. But we've also seen the other side: the struggle, the financial hardship, the loneliness, and the doors that stay closed no matter how much talent you have.

"Years ago, I watched a gifted young band play their hearts out to a room of ten people, not because they lacked passion, but because they didn't have the support. They slept in a van that night to save on hotel costs. That moment stuck with me. It reminded me how many musicians are doing everything right but still feel like they're fighting a losing battle.

"That's why we started Faith In Music Foundation. To give back and to lift up artists who feel like they're doing this alone. We've walked this road, we've felt the strain, and we believe no one with a calling to create music should be stopped by financial barriers.

"Through Faith In Music, we're offering two types of artist grants:

* Touring Support Grants to help with travel, lodging, and logistics

* Recording Support Grants to assist with studio time, producers, and mixing/mastering

"Whether you're gearing up for your first tour or finishing an album that's been on hold, we want to help you bring it to life.

"Applications are officially open today and close November 15. Apply now at FaithInMusic.com.

"Please follow @faithinmusicfoundation and help us spread the word. The more we receive, the more we can give to support struggling musicians.

"Music has the power to heal, to connect, to change lives. It changed ours, and now we get to help others carry that same light forward."

At Faith In Music Foundation, Michael and Lisa believe that every artist deserves the opportunity to make their mark on the world. Faith In Music Foundation is a faith-based nonprofit foundation dedicated to empowering musicians by breaking down the financial barriers that prevent them from pursuing their dreams. Whether they're recording their first album, hitting the road for a tour, or growing their skills with established professionals, Michael and Lisa are here to provide crucial support. Their mission is to build a vibrant, inclusive community that connects aspiring musicians with opportunities, offers support to established artists who want to continue enriching the world with their music, and aids industry workers in building experience and furthering their careers. Through love, kindness, and a shared passion for music, Michael and Lisa strive to create a space where everyone can thrive.

Photo courtesy of Faith In Music Foundation

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LIMP BIZKIT bassist Sam Rivers has died at the age of 48.

On Saturday, October 18, the Fred Durst-fronted outfit shared a post on Instagram announcing that Rivers had passed away earlier in the day. No cause of death was revealed.

"Today we lost our brother. Our bandmate. Our heartbeat," the band wrote in the caption, alongside a photo of Rivers performing onstage.

"Sam Rivers wasn't just our bass player — he was pure magic. The pulse beneath every song, the calm in the chaos, the soul in the sound," the band continued. "From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced. His talent was effortless, his presence unforgettable, his heart enormous.

"We shared so many moments — wild ones, quiet ones, beautiful ones — and every one of them meant more because Sam was there," LIMP BIZKIT continued. "He was a once-in-a-lifetime kind of human. A true legend of legends. And his spirit will live forever in every groove, every stage, every memory."

"We love you, Sam. We'll carry you with us, always. Rest easy, brother. Your music never ends," the post concluded, signed by Durst, drummer John Otto, guitarist Wes Borland and turntablist DJ Lethal.

In a comment underneath the post, Lethal asked the LIMP BIZKIT fans to respect Rivers's family's privacy.

"Give Sam his flowers and play Sam Rivers basslines all day!" the DJ wrote. "We are in shock. Rest in power my brother! You will live on through your music and the lives you helped save with your music, charity work and friendships. We are heartbroken. Enjoy every millisecond of life. It's not guaranteed."

A founding member of LIMP BIZKIT, Rivers left the band in 2015 for health reasons that he later revealed were liver ailments due to alcohol abuse.

"I got liver disease from excessive drinking … I had to leave LIMP BIZKIT in 2015 because I felt so horrible, and a few months after that I realized I had to change everything because I had really bad liver disease," Rivers revealed in Jon Wiederhorn's book "Raising Hell (Backstage Tales From The Lives Of Metal Legends)". "I quit drinking and did everything the doctors told me. I got treatment for the alcohol and got a liver transplant, which was a perfect match."

Rivers recalled doctors warning him that he would die without quitting alcohol. "It got so bad I had to go to UCLA Hospital, and the doctor said, 'If you don't stop, you're going to die. And right now, you're looking like you need a new liver.'"

Sam rejoined LIMP BIZKIT in 2018 and remained in the group until his death.

Rivers founded LIMP BIZKIT with Durst and Otto in Jacksonville, Florida in 1994.

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As they gear up for a headline European tour that begins November 7 in Tampere, Finland, three-times-Grammy-nominated rock outfit NOTHING MORE has released its interpretation of "We're in This Together" by NINE INCH NAILS from the latter band's 1999 album "The Fragile". It's a song that has always held great meaning for the boundary-pushing alternative metal band — Jonny Hawkins (vocals),Mark Vollelunga (guitar),Daniel Oliver (bass) and Ben Anderson (drums) — and one they, in fact, started recording 11 years ago before being sidetracked by creating their own music.

Listen to the song, released by Better Noise Music, below.

"'We're in This Together' sounds like a love song colliding with a war cry," says Hawkins. "Alan Watts [the British-American writer and orator] once said that 'you are the universe experiencing itself' — and this song embodies that truth. It's us against the world, and this song is my inner monologue."

Vollelunga elaborates: "This song is from my favorite NINE INCH NAILS album, 'The Fragile', and by far one of my favorite NIN songs. It's such a beautiful cataclysm. Essentially, it's a love song, but as I dove deeper, my interpretation shifted to it being about my relationship to my personal demons and mental trauma. It's about making peace with those monsters and accepting who and what they are while realizing they will always be a part of me," he adds. "It took a long time to achieve that cathartic clarity in regard to the very real nature of that evil's presence. We actually started recording the song 11 years ago, and it's just been lying in wait until recently. I was upset we hadn't released it earlier, but I now believe its relevance and timing couldn't be more immaculate."

The standalone track "We're in This Together" follows NOTHING MORE's most recent single/video "Existential Dread", which marks the fifth release from their 2024 album, "Carnal". The LP has notably spawned four back-to-back No. 1 rock singles — "If It Doesn't Hurt", "Angel Song" (featuring David Draiman),"House On Sand" (featuring Eric Vanlerberghe),and "Freefall" (featuring Chris Daughtry) — on the Billboard Mainstream Rock Airplay and Mediabase Active Rock charts and amassed 193.5 million global streams. With this chart distinction, the band joins a special group of artists, including METALLICA, LINKIN PARK, FIVE FINGER DEATH PUNCH, PAPA ROACH and FALLING IN REVERSE who've achieved the same honor.

A deluxe edition of "Carnal" was released this past March and is also available on CD and vinyl. Five bonus tracks on "Carnal (Deluxe)" include a new version of the bracing "Freefall", featuring six-times-platinum-certified rock artist Chris Daughtry, and a live version of "Angel Song". The latter track was recorded at the band's set at Aftershock festival 2024 where NOTHING MORE was joined onstage by guest vocalist David Draiman.

NOTHING MORE's upcoming headline European tour gets underway November 7 in Tampere, Finland, with support from CATCH YOUR BREATH, SOLENCE and ANKOR. Early next year, starting January 14, 2026 in Silver Spring, Maryland, the band will launch another round of headlining shows throughout the U.S. and Canada, with support by CATCH YOUR BREATH, ARCHERS and DOOBIE. Tickets and VIP meet-and-greet packages are on sale now on their official web site.

Photo credit: Travis Shinn