In a new interview with Carlota of the X107.5 radio station in Las Vegas, Nevada, PAPA ROACH frontman Jacoby Shaddix was asked how he has changed in the 25 years since the music video for the band's breakthrough song "Last Resort" was first released. He responded (as transcribed by BLABBERMOUTH.NET): "It's the young me, man. I'm so a million miles from that person. There are threads and a common bond between where I'm at now and where I was. I always cared about people — I had this compassionate heart — but I was just young and reckless. And I had to have a certain amount of — I don't know — maybe narcissism in a way to be able to do this thing, to be able to go, 'We're the best. Check us out.' To be ballsy enough to walk into a room with [LIMP BIZKIT's] Fred Durst and unplug the speaker and be, like, 'Yo, what's up? P-ROACH in the house. And they're, like, 'Who the hell are these guys?' You know what I mean? Just trying to sell people demos straight to their face. I had to have this certain amount of 'we're the best' kind of vibe going on. 'Cause that's what it took to sell yourself, I think, back in the day. And I think I've got a certain amount of that when we step on the stage. It maybe comes off a little cocky, but there's a time and a place, right? The stage is where I let it shine. I think I probably tried to let it shine in some places that I didn't need to let it shine."

Jacoby also reflected on getting what he previously called a "verbal assassination" from Sharon Osbourne after he started a riot onstage at Ozzfest in 2001. "I needed it," he said. "I was kind of, like, I had the world in the palm of my hands and I was just acting like a numbskull, starting riots everywhere I went. And she's, like, 'Hey, listen, you idiot. If you wanna have a respected name in this business, you've gotta stop being a toolbag.' She used some more colorful words, I think, in the moment, but I needed to be rattled at that point because it's, like I could have totally gotten in a lot of trouble — a lot worse trouble than I had gotten in at the time. And I learned my lessons, and they were valuable lessons."

A few years ago, Shaddix told Metal Hammer that Sharon "cursed me out" after the Ozzfest incident. "Rightfully she was pissed as fuck because the fans destroyed the venue," he said. "It was a fucking disaster. SLIPKNOT and Ozzy still had to play and the place was in a shambles. I tried to leave in the trunk of a car, but they found out and I had to turn myself into the cops. Then I had to go sit with Sharon in the office and she just cursed me and I was just, like, 'I am so sorry. I will never do this again.' I think if I'd just dealt with the cops and paid the money off, I'd have been, like, 'Fuck it, whatever.' I would have carried on just numbskulling. But I had this verbal assassination from Mrs. Osbourne. Don't fuck with Sharon."

This past February, Shaddix celebrated the thirteenth anniversary of his quitting drinking.

Over the past decade, Shaddix has spoken openly about how he found himself taking to the rock and roll lifestyle a little too easily, which almost cost him his family.

In a 2019 interview with Kerrang! magazine, Shaddix revealed that the struggle with alcohol had been in his family for generations, continually destroying lives and relationships.

Last month, PAPA ROACH released a brand-new version of its latest single, "Even If It Kills Me", via the band's own label, New Noize Records/ADA. The group and Joshua Landry again produced "Even If It Kills Me (Reimagined)". The original single reached No. 1 at U.S. Rock Radio, marking PAPA ROACH's 13th appearance at the top of the charts.

"Even If It Kills Me (Reimagined)" is a fresh take on its heavier counterpart, showcasing the hit song in a new light, with a melodic arrangement and signature vocals delivered by Shaddix.

PAPA ROACH recently completed the European leg of the "Rise Of The Roach" tour. The trek saw PAPA ROACH bring its biggest-ever production and journey deep through their vast music catalogue, including a celebration of the 25th anniversary of the band's iconic breakthrough album "Infest". Special guests for the global tour were WAGE WAR in Europe and will include RISE AGAINST and UNDEROATH in the U.S.

PAPA ROACH are two-time Grammy-nominated, platinum-selling leaders in alternative hard rock music. PAPA ROACH are not unfamiliar with calling attention to mental health and have been doing so since the seminal release of their first hit single "Last Resort". Since then, the band has gone on to create 10 studio albums, their most recent, 2022's "Ego Trip", on their own label New Noize Records.

Photo credit: Bryson Roatch

In a new interview with Australia's Iain McCallum, former FEAR FACTORY frontman Burton C. Bell was asked if his relationship with the band's founding guitarist Dino Cazares is "completely broken" at this point. Burton responded (as transcribed by BLABBERMOUTH.NET): "Uh, Dino and I have parted ways… I've had a few years to reflect and meditate and be introspective about it. I had to do a lot of healing, and I've moved forward and I feel good about it."

Bell, who issued two solo singles in 2024 — "Anti-Droid" and "Technical Exorcism" — and a cover of RAMMSTEIN's "Du Hast" in 2023, was also asked if any of his FEAR FACTORY experiences will serve as an inspiration for some of his lyrics going forward. He responded: "Um, no. I've done what I needed to do. I've gotten it out. I've purged that, and that's what that 'Technical Exorcism' is all about. I got that out of me. And so I am moving forward. And [my next solo single] 'Savages' is a socially aware lyrical song. And if it's gonna be personal, it's gonna be about something else."

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

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

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

The 56-year-old Bell had been largely inactive on the musical front since officially announcing his departure from FEAR FACTORY in September 2020. At the time he said that he could not "align" himself with someone whom he did not trust or respect, an apparent reference to Cazares.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In October 2020, Dino issued a statement in which he said that the door for Burton to come back to FEAR FACTORY wouldn't "stay open forever." The guitarist also revealed that Burton "lost his legal rights" to the FEAR FACTORY name "after a long court battle" with drummer Raymond Herrera and bassist Christian Olde Wolbers. "I had the opportunity to do something right, and I felt that obtaining the name in full was the right thing to do for the both of us, so after nearly four years we can continue as FEAR FACTORY, to make more records and to tour," he said. "That is why it is sad to hear that he decided to quit and, in my opinion, for whatever issues he has it seems like it could've been worked out."

Three years ago, Cazares discussed Bell's departure from FEAR FACTORY during an appearance on "The Garza Podcast", hosted by SUICIDE SILENCE guitarist Chris Garza. Pressed about what happened to cause Burton to leave, Dino said: "Good question. I don't know. I think he just lost interest in… I can only assume, because we went through some really heavy lawsuits for four years, and it financially crippled us — personally as well — and I just believe that he lost interest. I think that possibly all the stuff that we went through in FEAR FACTORY was just, like… He's one of those guys, 'Fuck it. I'm out. I quit. Fuck it.' He doesn't come across as a fighter — as somebody who's gonna be, like, 'Fuck it. We went through it. Let's go through it and let's just continue.' I mean, I left the door open for him for a while to come back into the band, but he pretty much said fuck me, Raymond and Christian — everybody. Fuck everybody.

"I'm not gonna push it," Dino added. "I'm not gonna push him or nothing like that. Fans ask me all the time: 'Hey, call him up. Just call him up.' Well, if you saw the stuff he said when he left, he's not exactly a phone call away… He left pretty bitter, and that's pretty much where… It looks like he's having a good time being free. So I'm not gonna force anybody to come back or [any] stuff like that.

"Some people want change in their life, but sometimes fans just can't accept that. Fans are, like, 'He was the singer for 30 years. Come back.' That was his decision. No one pushed him out; no one forced him to leave — none of that stuff. That was his decision."

Legendary German guitarist Michael Schenker kicked off his spring 2025 European tour Wednesday night (April 9) at De Boerderij in Zoetermeer, The Netherlands.

Schenker is touring in support of his recently released "My Years With UFO" album celebrating the 50th anniversary of Michael's years with UFO.

Joining Michael on the trek on vocals is former SKID ROW frontman Erik Grönwall, who is the featured singer on the "Mother Mary" song on "My Years With UFO", which also includes a guest appearance by GUNS N' ROSES' Slash on guitar.

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

01. Natural Thing (UFO song)
02. Only You Can Rock Me (UFO song)
03. Hot 'N' Ready (UFO song)
04. Doctor Doctor (UFO song)
05. Out In The Street (UFO song)
06. Mother Mary (UFO song)
07. I'm A Loser (UFO cover)
08. This Kid's (UFO song)
09. Let It Roll (UFO song)
10. Lights Out (UFO song)
11. Instrumental
12. Love To Love (UFO song)
13. Can You Roll Her (UFO song)
14. Shoot Shoot (UFO song)
15. Rock Bottom (UFO song)

Encore:

16. Reasons Love (UFO song)
17. Too Hot To Handle (UFO song)

Erik touched upon his touring plans with Schenker in a September 20, 2024 YouTube livestream. He said: "Yeah, I'm heading out with Michael Schenker next year, a European tour. I did that song with him on the 'My Years With UFO' release. And it's gonna be a lot of fun. And I've been looking forward to get back on that stage once again."

In March 2024, Grönwall — who was diagnosed with acute lymphoblastic leukemia in March 2021 — announced his departure from SKID ROW. He said at the time that he decided that the travel and rigors of the road were not conducive to his overall health and recovery, and he wanted to focus on a lifestyle that is more amenable for his well-being, healing and family.

In a recent interview with Noise11's Paul Cashmere, Schenker revealed that he was already working on a new MICHAEL SCHENKER GROUP album called "Don't Sell Your Soul" which will feature Grönwall "singing most of the songs," along with vocal contributions from Robin McAuley and Michael Voss.

Produced by Schenker and Voss, "My Years With UFO" marked the 50th anniversary of Schenker's era with UFO, spanning from 1972 to 1978. The "German Wunderkind" was asked to join UFO at just 17 years old. Touring the globe as a teenager, Schenker became a driving force behind some of UFO's most loved tracks, such as "Doctor Doctor", "Rock Bottom" and "Only You Can Rock Me".

Although Michael Schenker's era with UFO spanned only six years, his influence as a young songwriter and exceptional guitarist had already left a lasting mark on rock. During these meteoric years, the UFO albums "Phenomenon", "Force It", "No Heavy Petting", "Lights Out", "Obsession" and the seminal live album "Strangers In The Night" were recorded, each contributing significantly to the genre. "Strangers In The Night" particularly stands out as one of the most influential live rock albums of all time and is still regarded as a cornerstone in any rock enthusiast's collection.

In this celebratory album, Michael Schenker presents 11 of UFO's greatest hits from this magical era with an impressive lineup of guest stars. Joining Schenker on this journey are Derek Sherinian on keyboards, Brian Tichy on drums, and Barry Sparks on bass.

The stellar roster of guest artists includes Axl Rose (GUNS N' ROSES),Slash (GUNS N' ROSES),Kai Hansen (HELLOWEEN),Roger Glover (DEEP PURPLE),Joey Tempest (EUROPE),Biff Byford (SAXON),Jeff Scott Soto (YNGWIE MALMSTEEN, JOURNEY),John Norum (EUROPE),Dee Snider (TWISTED SISTER),Joel Hoekstra (WHITESNAKE),Joe Lynn Turner (RAINBOW),Carmine Appice (VANILLA FUDGE, CACTUS),Adrian Vandenberg (WHITESNAKE),Michael Voss, Stephen Pearcy (RATT) and Erik Grönwall (SKID ROW).

In a new interview with Full Metal Jackie's nationally syndicated radio show, founding SEPULTURA guitarist/vocalist Max Cavalera was asked how he feels about seeing the group that he started and that played such a role in his early musical life come to its conclusion. The 55-year-old Max, who has spent the last few years playing SEPULTURA-centric shows with his brother, former SEPULTURA drummer Igor "Iggor" Cavalera, responded (as transcribed by BLABBERMOUTH.NET): "To me, I feel — and I'm not saying that just for myself — I think a lot of fans feel that me and Igor kind of carry the spirit of SEPULTURA with us on everything that we do. And I don't know — they still call it SEPULTURA, but everybody knows that it's not the same and it's never gonna be the same. And I don't have nothing to do with what they're doing, with the disbanding of the band. Me and Igor, we have our own path, we are on our own thing, we are revisiting those old material on our own time. And the way we did them was the way we always did — it was from our heart. For us, it's really special to preserve that. I think it's kind of like that young heart, the teenage heart that lives inside of you. I kind of like keep that really sacred. And no matter what happens in in the business or the politics of music, I try not to let that affect my young mind and soul that I carry with me all the time. So I feel like that when talk about SEPULTURA. It was a special band of a special time and we celebrate that — I get a chance to celebrate that with Igor, regardless of what the other guys are doing."

Last November, SEPULTURA guitarist Andreas Kisser was asked for his opinion on Max and Igor's decision to revisit their earliest SEPULTURA releases, "Morbid Visions" and "Bestial Devastation", and re-record them and put them out, along with a re-recorded version of Andreas's first album with SEPULTURA, "Schizophrenia". Andreas told the IMPACT Metal Channel: "I don't think anything. I mean, it's a weird choice that they had. I think artistic value is zero. Maybe they're going for some money or something, but there's no reason to do something like that. I much rather prefer THE TROOPS OF DOOM, the new band from Jairo [former SEPULTURA guitarist Jairo 'Tormentor' Guedz], which are doing a really amazing tribute to that era, very honest, doing new stuff, writing new music… But if they're having a good time, so let it be. I don't care, man. I just think it's totally unnecessary. It's really very disrespectful from themselves, for their own selves in the past."

Andreas added: "It's weird to see a guy [Max] who always says, 'Oh, I did this,' 'I did all that,' 'I'm so creative,' and 'I did everything by myself,' and doing this shit, like re-recording riffs that we did 30, 40 years ago. It doesn't click, the rhetoric with the example. But whatever. I just don't think that — the artistic value is zero."

Earlier last year, Max told V13 about the decision to re-record "Morbid Visions", "Bestial Devastation" and "Schizophrenia": "I think [Igor and I] were [doing special tours celebrating] the other [SEPULTURA] records, like we did 'Roots', and then we did 'Beneath The Remains' and the reaction was so explosive and the fans were reacting so good, with the way we were playing that stuff live that, I mentioned to Igor that it would be cool to have this sound on this old records that sound like shit, especially if we can get them to sound the way we sound now because we sound great right now with the way we are playing.

"A lot of people are… there's a big taboo about re-recording," Max continued. "There are a lot of people who are [freaked out] about touching old stuff. I had to kind of block all that and think, 'Fuck it. Let's do it, man, but let's do it the way we wanna do it, the way we wanna hear it as fans.' I think that's the difference in the approach that we took. So 'Morbid Visions', 'Bestial Devastation', it's still very dirty and aggressive, maybe even more aggressive than the original. We play a little bit faster and it's more angrier. I don't know how, but it's angrier than the original. I think that's key for these records. We don't want it a digital, brand new modern sound. We just want it to sound live, like a good live-sounding [recording] and we did that. I think that's why it sounded so cool. Of course, when we did those, we knew what we were going to do with 'Schizophrenia', because it's another record that we feel it's never really lived up to the potential. The songs are great, but they were never really recorded the right way. So now we're very happy. We did the three, we got the trilogy and we got to tour for it."

SEPULTURA fell apart in 1996 with the exit of Max after the rest of the Brazilian four-piece split with the vocalist/guitarist's wife Gloria as their manager. Igor stuck around with the group for another ten years before leaving SEPULTURA and re-teaming with Max in CAVALERA CONSPIRACY.

For the new versions of "Morbid Visions", "Bestial Devastation" and "Schizophrenia", the Cavalera brothers enlisted Travis Stone (PIG DESTROYER) on lead guitars. The full lineup would consist of more Cavalera alumni, as Igor Amadeus Cavalera (GO AHEAD AND DIE, HEALING MAGIC) once more brought his talents on bass to the fold.

CAVALERA's version of "Schizophrenia" was recorded from April 15, 2023 to June 5, 2023 at Focusrite Room in Mesa Arizona. Mixing and mastering was handled by Arthur Rizk (SOULFLY, GO AHEAD AND DIE, TURNSTILE). The original "Schizophrenia" cover artwork was restored in hand-painted watercolors by Eliran Kantor.

Although SEPULTURA has maintained a diehard fanbase in all parts of the world throughout the band's nearly four-decade history, Max-era albums "Roots" and "Chaos A.D." were by far SEPULTURA's most commercially successful, having both been certified gold in the U.S. for sales in excess of five hundred thousand copies.

In December 2023, SEPULTURA announced that it would celebrate its 40th anniversary this year by embarking on a "farewell tour" which will cover the entire globe.

SEPULTURA's current lineup comprises Kisser, vocalist Derrick Green, bassist Paulo Xisto Pinto Jr. and drummer Greyson Nekrutman, who officially replaced SEPULTURA's longtime drummer Eloy Casagrande in February 2024.

Following two festival performances — Bangers Open Air in São Paulo, Brazil and Sonic Temple festival in Columbus, Ohio respectively — heavy metal icons ARMORED SAINT will enter the studio next month to begin recording their long-awaited ninth studio album, tentatively slated for a spring 2026 release through Metal Blade Records.

In September, the band will join W.A.S.P. for a trio of U.K. shows before returning to the States to support legendary guitarist Michael Schenker on his "My Years With UFO" U.S. tour. ARMORED SAINT will celebrate the 40th anniversary of its second album, "Delirious Nomad", with a five-song micro set of songs from the record throughout the tour.

To further commemorate the cornerstone record, the band is making available a special "Delirious Nomad" wrapped guitar from Dean Guitars. Each guitar is signed by the band. Presales will be announced in the coming weeks.

In the meantime, check out additional "Delirious Nomad" merch items at this location.

ARMORED SAINT vocalist John Bush comments: "What up, Saints? We want to give you all a heads up with what's happening with us this year. First, we've been writing songs for the upcoming new record, and we are just about done! We are going into 606 Studios next month to record drums for five songs. The plan still stands for an early spring 2026 release.

"We have two rad festivals dates in May: Bangers Open Air and Sonic Temple festival. Then we'll be joining our friends, W.A.S.P., for three shows in Britain in September which includes Newcastle where we've never played and London at the Eventim Apollo — formerly the legendary Hammersmith Odeon. We are psyched!

"Then we'll do nine more shows in the U.S. in October with one of the best rock guitar players to ever walk the earth: Michael Schenker. We will be doing something special on these particular dates. In conjunction with the 40th anniversary of 'Delirious Nomad', we will be playing micro sets from that record. We'll play other classic SAINT tunes as well, of course!

"Finally, we will do three headlining shows at the end of this tour in El Paso, Texas, where we haven't played since 1984, Las Vegas, Nevada, and at the infamous Glass House for the first time ever in Pomona, California. Lots on the plate. Thanks for all the love as always."

Last November, ARMORED SAINT bassist Joey Vera spoke to Metal Kaoz about the progress of the songwriting sessions for the follow-up to the band's eighth full-length album, "Punching The Sky", which came out in October 2020 via Metal Blade Records. He said: "Well, we're about midway through writing new music. We have about seven songs or something like that. So we're getting close to being finished. And with any luck, we're trying to get in the studio sometime in the spring to start recording. So, I don't really know what that means as far as a release date, but that's what that's what our goal is at this point. So, we've been working hard making demos at home. In fact, I'm working on a song as we speak, so I had to hit pause and do these interviews, and then I'll go back to it when I'm done. But, yeah, it's going really cool, really well. I love the stuff that's coming out."

Regarding a musical and lyrical direction of the new ARMORED SAINT material, Joey said: "Every record we've made has been a little bit different than the one prior to it, and this one will be the same case where it will be a little different than 'Punching'. But our number one thing is just writing really great songs. We're not so concerned about trying to outdo the last record or do as good as it is or do the same thing. I always think that it's cool to just see where you are at that moment. And these songs that we've written, just like the last three or four records we've made, they all represent a particular time and place for us. So this these batch of songs, they're a reflection of where we are at a time and place right now. We're in post-COVID, we're coming back out of it, back into the world, and different things are influencing me personally than they were in 2014 when I was writing for [2015's] 'Win Hands Down'. So all those things are at play again. I'm trying to take a few chances as well on this, which we always try to do a little bit. So, yeah, it's going really well."

When the interviewer noted that ARMORED SAINT seems to have a "more relaxed" schedule this time around in terms of when the band plans to enter the studio, Joey clarified: "It's more relaxed, but we're trying to unrelax that, because it's been a long time since 'Punching' came out — it's been four years already; we're going on five years now, and by the time this record is out and done, it could be closer to six — so it's too long, I think, between records. So we're trying to speed things up a bit. 'Let's just work. Let's get down to the work, do the work and let's make this record.' We're not trying to rush it. Rush it — I mean, it's been four years. What's taking us so long? But there's reasons for that, and we don't need to get into [that], but, yeah, the time is now for us to just start getting a record done. So we do have a soft schedule of getting in the spring. It's not hard — we don't have an actual booking yet — but we do, at this point, have a soft [schedule in mind]. But I imagine by the time January 1st comes around, we're gonna wanna book a date. So pretty soon we're gonna have a more strict schedule."

Joey also confirmed that ARMORED SAINT will spend much of next year focusing on making the band's next album and less time on the road. "As far as touring is [concerned], yeah, we're kind of taking a break from touring in 2025, so that we can concentrate on making this record happen, get done, actually get done," he said. "So we are not seeking anything. The only things that we have agreed to do, and they are two shows that we booked a month or two ago, is we're playing at the Bangers fest down in Brazil on May the 2nd, I think, 2nd or 3rd, and then we're playing the following weekend at another festival here in America. It's in Columbus, Ohio, and it's called Sonic Temple. It's a very big festival. So we're doing these two festivals, but other than those two shows, we're not taking any more touring dates and we're just trying to get the record done."

Last June, ARMORED SAINT released a rendition of "One Chain (Don't Make No Prison)". The classic track was originally written by Dennis Lambert and Brian Potter and was first released by PEOPLE in 1970. Additional covers include THE FOUR TOPS (1974),SANTANA (1978) and THE DOOBIE BROTHERS (1989).

"One Chain (Don't Make No Prison)" was produced by Vera, mixed by Jay Ruston and mastered by Maor Applebaum.

ARMORED SAINT released the "Symbol Of Salvation Live" CD/DVD in 2021 via Metal Blade Records. The release came in celebration of the seminal album's 30th anniversary. "Symbol Of Salvation Live" was a combination live album and video of the band playing the album in its entirety at New York City's famed Gramercy Theatre during its 2018 tour.

In July 2023, ARMORED SAINT was inducted into the Metal Hall Of Fame at the legendary Whisky A Go Go in West Hollywood, California.

In May 2023, ARMORED SAINT's long-awaited documentary, Armored Saint: Band Of Brothers", had its world premiere in the band's hometown at the Harmony Gold Theatre in Hollywood, California.

Photo by Stephanie Cabral

SIXX:A.M., the acclaimed hard rock trio featuring MÖTLEY CRÜE bassist Nikki Sixx, guitarist Darren James "D.J." Ashba, and vocalist/producer James Michael, will release "Prayers For The Damned & Blessed Deluxe Edition" on June 6, 2025, via Endurance Music Group. The new album will be available as a special limited-edition smoke-colored three-LP set as well as on all streaming platforms.

Nearly a decade after the release of SIXX:A.M.'s 2016 albums "Prayers For The Damned" and "Prayers For The Blessed", this deluxe edition set features both albums together with brand-new renditions of "Maybe It's Time" (Piano Version),"Prayers For The Damned" (Piano Version),and an alternative mix of "We Will Not Go Quietly".

Originally formed in 2007, SIXX:A.M. — whose name is a combination of all of the members' last names (Sixx, Ashba, Michael) — emerged as a passion project for Sixx, initially coming together to record a companion soundtrack for his The New York Times best-selling memoir "The Heroin Diaries". Over the years, the trio toured the globe and released six studio albums, a live album, multiple hit singles, including "Life Is Beautiful", "Stars", "Lies Of The Beautiful People", and — from "Prayers For The Blessed" — "Maybe It's Time". SIXX:A.M. announced their hiatus in 2021, marking the end of an era for the band.

With over 500 million streams across digital platforms, SIXX:A.M.'s music continues to resonate with fans worldwide. As the first time both original albums have been available on vinyl in years, this is a must-have for collectors of rock history and fans alike.

During an appearance on an October 2022 episode of the "In The Trenches With Ryan Roxie" podcast, Michael spoke about whether there are any plans for SIXX:A.M. to record more new music or play live shows in support of the "Hits" compilation album, which came out in 2021. He said: "It's a good question. And yeah, there's a lot of interest in that…

"We kind of went into hiatus, we kind of went away without really letting people know why. And the reality was that we were all really burned out. We were three friends that started this band as just a bunch of guys in a room making up songs together, and it just turned into something so much more significant over the years. And we were so lucky and so blessed to have the more-than-a-decade-long career that we've had so far.

"The best way that I can answer the questions about what is the future of SIXX:A.M. and what's going on with them is we have no plans right now to do anything moving forward. But I do talk quite regularly with both Nikki and D.J.," he continued. "And we all love what SIXX:A.M. was and became so much that… Would I love to make another SIXX:A.M. record? Absolutely. There's nothing I'd love more than getting back in the room with Nikki and D.J. and the whole gang and just experiencing that.

"I would say all three of us would say the door is not shut [to future SIXX:A.M. activity]. It's just with SIXX:A.M., we never were supposed to be a band in the first place. When we started, we were just, like I said, three guys getting together and making up songs. And then we recorded those songs. I wasn't supposed to be the singer; we were just eventually gonna find a singer to actually record — take my voice off and put somebody else's voice on. But just through circumstances, it just ended up taking off. And I'm just grateful for that experience. It's just been amazing."

James also talked about his working relationship with Nikki and D.J., saying: "To answer the question what it's like to work with Nikki and D.J., it's that chemistry that you hope you find when you are in this music industry. You hope that you get lucky enough to meet a guy or a couple of guys that you just jell with and that you can work with on every level — professional and personal. And that's what it's been like.

"I think that there were tough times; there were very, very times being in SIXX:A.M. because we're three very, very opinionated people. But 99 percent of the time, those strong opinions are also what became the strong support group for one another. When I, as the producer of the albums, would just reach a point where I didn't know what the next right move was, I always had my two very, very skilled partners to lean on and to just say, 'Hey, I need your input on this. Where should we go?' And it was just always that kind of a give-and-take relationship.

"SIXX:A.M. was always very much a democracy; we all brought ideas in and we all collaborated," James confirmed. "We love that process so much. We laughed our way through a decade of making music. That's the part I look forward to the most, is just getting the three of us in a room together, because it's just non-stop laughter. And usually what we come up with ends up being something I'm very, very proud of."

"Hits" was released in October 2021 via Better Noise Music. The album was a retrospective celebration of SIXX:A.M.'s biggest hits and fan-favorite songs that also included five previously unheard tracks and mixes, marking the band's first official album with new material since 2016.

Inspired by the release of Sixx's "The First 21: How I Became Nikki Sixx", SIXX:A.M. members Michael, Ashba and Sixx made "Hits" available as a companion piece to the book.

To date, SIXX:A.M. has three U.S. Billboard top 20 albums and a string of hit singles, with its full catalog consisting of five studio albums — "The Heroin Diaries Soundtrack" (2007),"This Is Gonna Hurt" (2011),"Modern Vintage" (2014),"Prayers For The Damned" and "Prayers For The Blessed" (2016) — and three EPs, "X-Mas In Hell" (2008); "Live Is Beautiful" (2008) and "7" (2011).

In a January 2022 interview with Antihero Magazine, Ashba, who has spent much of the recent years promoting his ASHBA solo project, spoke about whether there are any plans for SIXX:A.M. to record more music or tour. He said: "SIXX:A.M. has always been a labor of love. It's weird with SIXX:A.M., we all three are currently still full-blown members and we are very proud of everything we've created. James has mentioned recently that he's kind of retiring, kind of stepping away from music, which is sad to hear, but the guy has done so many great, great things in his career and the songs he has been a part of. He has a lot to be proud of.

"Now, that being said, the three of us at any given time could call each other and go, 'Hey, let's do one more tour. Let's write a new song,'" he continued. "That's just how we are. We don't ever plan anything. So, I would say, never say never, but I have no intention of doing anything further with it. I think we've put a nice bookend to SIXX:A.M. with the greatest hits and if something else were to happen so be it, but I think we're all pretty satisfied with what we've done with that."

In December 2021, James also told Australia's Rock Lives Here that there are no plans for SIXX:A.M. to do anything else at the moment. He said: "It's funny — every time SIXX:A.M. made an album, we said to ourselves, 'This is the last album we're gonna make.' We said that on 'The Heroin Diaries' soundtrack. We said, 'This is a one-off. We'll never do this again.' Then we did 'This Is Gonna Hurt', and it was, like, 'Yeah, this is gonna be our last album, for sure.' And then we did 'Modern Vintage', [and it was], like, 'This is gonna be our last one.' So we've been saying that since the beginning.

"When we put together this 'Hits' album, of course, we had in mind that if this was the last thing that SIXX:A.M. does, we want it to be right and we want it to thoughtful and we want it to be meaningful," he explained. "And so we really set out with that intention; we wanted to kind of put a nice bow on this decade of music that we've created.

"So, as of right now, we don't have any plans for anything — no touring, no new music or anything. And that's why we're so excited to be sharing this 'Hits' album with everyone because it may be the last thing we do. I don't know. We'll see. That's one thing I've learned with SIXX:A.M. — I never say never."

In a new interview with Cassius Morris, DOKKEN frontman Don Dokken elaborated on his recent announcement that the band's latest album, 2023's "Heaven Comes Down", would likely be DOKKEN's final studio effort. He said (as transcribed by BLABBERMOUTH.NET): "I feel after 50 years and 13 records, I figure I've written enough music. I'm okay with it… [But] never say never. Maybe [former DOKKEN guitarist] George Lynch and I will get together and write an EP… George and I did talk about it briefly, and I said I don't think I have the energy in me spiritually to knock out a whole record. That's a lot of work. But I said we might wanna do four or five [songs]. We did a new song eight years ago. It was called '[It's] Just Another Day'. That was [recorded by] all original [DOKKEN] members. We went to Japan [and played a few shows with that lineup], and that was an experiment to see how we got along and all that. And that was a cool video."

The 71-year-old Don, who has been open about how the complications from his November 2019 neck and spinal surgery affected the making of "Heaven Comes Down", continued: "[George and I] had talked about doing a record. But if you listen to the last five George Lynch projects, they're totally different than the direction I'm going. 'Heaven Comes Down' has nothing to do with what George is doing. He's gone this way; I've gone that way. So I don't know if spiritually we could get together and write a song that works, that we're all on the same page about. I'm just not. So it is what it is. But I said what I would wanna do is, let's say I say, 'Hey, George, why don't you write me like four guitar riffs and let me see if one speaks to me in my heart and my spirit?' Just like the song 'Just Another Day'… and we wrote that one song, all original members, Mick [Brown, former DOKKEN drummer] and everybody. Obviously, we can never — Mick's retired and he's pretty stonewalled about, he's not gonna play again. He played since he was 10 years old — he's seventies-ish — and I understand that because he's worn out.

"I've always said the drummers have the hardest job — your elbows, your hands, arthritis, your kneecaps, your ankles, your feet, your back," Dokken added. "I mean, the drummer has the hardest gig. I can just stand there, stare up the ceiling and go, 'Hey, everybody, how's it going?' Or even when as a guitar player, you can just stand there and play. But Mick is the machine. Mick was the DOKKEN machine. I used to tell him, 'Play softer. Don't hit your drums so hard.' And he says, 'I don't know how not to play hard' to keep his time. He goes, 'I just hit.' So, it caught up with him and he retired.

"So we'll see what happens," Don said. "George and I have touched on it, but it would all depend on him writing, like, three songs — just music — and sending it to me. And I'd go in my recording studio and [take out] the pen and paper and go, 'Hmm, oh, this is kind of cool.' And chop it up and try to make it fit myself and crank out a couple of songs. And if people like it, they like it. If they don't, they don't."

Asked if he has a timeline in mind for when he might stop playing live shows, Don said: "Probably within the year. I mean, what's Paul McCartney — in his eighties? And Mick Jagger's in his eighties, and Keith Richards is still standing up. And even Elton John now, they bring him down and they lower him down to his piano chair, for whatever reason, 'cause we're all getting up there in age. So I think the time will come that I'll announce that it's over.

"The truth is, I guess I'm a selfish person," Dokken explained. "I wanna enjoy my life. I don't want to just keep singing and writing until I drop. I wanna be in my home far away from everybody. I live on top of this mountain [in New Mexico]. No neighbors. [I've] got the dogs. It's the perfect life. And I've had a great career. I started playing at 10 years old.

"If you have to tour and you have to play because you need to pay your gas bill, I understand that," Don added. "Thank God I'm not in that position. And whenever anybody says, are you thinking of calling it a day? I just go like this [and show them the gold and platinum records on my wall]. I've got a few of 'em up there… So I think I've made my point. I think I made my point musically. And, of course, I would've wanted to keep going, but if I can't compose, I'm screwed," he said, referencing the fact that his right arm became nearly paralyzed in the aforementioned neck and spinal surgery. "I am effed."

The follow-up to 2012's "Broken Bones", "Heaven Comes Down" was produced by Bill Palmer and Don Dokken and was mixed by Kevin Shirley (AEROSMITH, IRON MAIDEN).

In August 2023, DOKKEN released the music video for the album's first single, "Fugitive". The clip was directed by Chris Eyre ("Dark Winds", "Smoke Signals") and was filmed at the popular immersive arts venture Meow Wolf in Santa Fe, New Mexico.

DOKKEN released an album called "The Lost Songs: 1978-1981" in August 2020 via Silver Lining Music. Featuring sleeve art by renowned U.S. artist Tokyo Hiro (MOTÖRHEAD, MOTLEY CRÜE),the effort contains material written and recorded by a hungry young Don Dokken as he embarked upon a journey which started in Southern California and Northern Germany.

DOKKEN's classic lineup of Dokken, Lynch, bassist Jeff Pilson and Brown completed a short Japanese tour in October 2016, marking the first time in 21 years the four performed together.

A DOKKEN concert DVD focusing on the band's reunion tour, "Return To The East Live (2016)", was made available in 2018.

At some of the recent DOKKEN shows, Lynch has been rejoining the band on stage to perform three of the classic DOKKEN songs: "Kiss Of Death", "When Heaven Comes Down" and "Tooth And Nail".

In a new interview with the Thunder Underground podcast, SHADOWS FALL singer Brian Fair spoke about the band's latest single, "In The Grey", which was made available last December via SHADOWS FALL's new record label home, MNRK Heavy. The track marked the band's first new piece of music in more than 12 years.

"We're just so happy to finally release new music," he said (as transcribed by BLABBERMOUTH.NET). "We're working on a full album's worth of material, but I feel like it's gonna drop kind of in chunks and then hopefully the rest of it all at once kind of thing. We just couldn't sit on it. We were just so excited with how that tune came out. And it's kind of a different world now too, where you can release singles leading up to more songs and keeping people interested. So, yeah, man, we were stoked with how it came out and just wanted to get it out in front of people. And I'm super psyched to just be writing again with the guys, 'cause we didn't know if that was gonna be kind of part of the deal when we started playing shows again. And the writing has really become the main focus for the last year and a half or so, which has been awesome again to kind of get back in that mode. So it's killer."

Regarding SHADOWS FALL's songwriting approach for the new music, Brian said: "When we first started kind of writing music, we wanted to make sure it was gonna be SHADOWS FALL music. We hadn't worked on new material in such a long time, and once we started writing, things just clicked right outta the gates. And 'In The Grey' was one of those songs that kind of came together pretty quickly too. And we wanted to kind of have the first song pretty energetic, just come out swinging thrash metal style. It's got a big, melodic chorus, but the rest of it is pretty much just pedal-to-the-metal thrash. So, that was also — why mess around? Just come out with the first one swinging. So we were super stoked. So, yeah, everything about it was just kind of an exciting new chapter."

As for how SHADOWS FALL approached the recording process after being away from the recording studio for so long, Brian said: "This recording process with [producer] Zeuss [Chris Harris] this time around, we've done it pretty stripped down as far as we're not reamping guitar tracks a ton… Before we would experiment with reamping a million different things and combining tones and all this. This one we kind of wanted to make something that didn't sound maybe as surgical and clinical as some metalcore or modern metal's kind of gotten. We wanted to bring a little bit of thrash energy to it and a little more of a raw — not necessarily sonically raw, but just a little more live-ish approach to it."

On the topic of SHADOWS FALL's new deal with MNRK Heavy, Fair said: "We talked to a few labels, but very few, 'cause we kind of had an idea of what we wanted to do and kind of the type of deal we were looking for. So, we hit it right off the bat with them. They have a great roster with everyone from Zakk Wylde and Ace Frehley, but then also DARKEST HOUR and ESCUELA GRIND and then HIGH ON FIRE and CROWBAR — just so many killer bands. So, it really made sense. And they're kind of also approaching it more as we're signing for a group of songs where we can sort of release things slowly and then put it all together. 'Cause just the way we work as a band right now, since it's not everyone's full-time life, we wanna do it — not necessarily take our time, but we wanna make sure we maximize our time when we can get it, 'cause it's so hard to get everyone together. So, they were really willing to kind of work with us on that level of realizing where the band is at this point in our life. So that was a big part of it. And they've been killer so far."

Elaborating on the differences in the way music is being released nowadays compared to how it was a couple of decades ago, Brian said:  "Yeah, it's more just the break from the album-cycle sort of thing. When we first were around, you basically put out a record every year and a half or so, and then you toured nonstop. And that was kind of how it worked. And now there's so many different outlets, there's so many different ways to get your music to people. It's not as traditional record label relationship kind of setup, which is cool. And you have to kind of have a modern approach. And for a band like us — we kind of come from an old-school approach, so it's good to have a label that has that forward thinking and kind of knows how to navigate the kind of new way of the music biz."

Asked about the progress of the songwriting and recording sessions for the next SHADOWS FALL album, Fair said: "We have a couple [of songs] that are totally done that may need some mix [tweaks], but are tracked. And then we have the instrumental tracks for a lot. And we're starting to work on vocal demos. Right now we're kind of trading things back and forth. And we've got the skeletons to another group of new songs that we haven't tracked instrumentally. So, all said and done, we're gonna kind of keep just writing and recording kind of as things come along, but we have a good foundation of, I'd say, six or seven songs that are pretty much there and tracked instrumentally. And the vocal ideas are at least in a skeleton form; it's a matter of getting in and getting time to record 'em. But then, like I said, there's a whole other group of songs right behind it that we've gotta start working on too."

When "In The Grey" was first released, Brian said in a statement: "We are incredibly excited to share our first new music in over a decade with our single 'In The Grey' and are proud to announce our partnership with MNRK Music Group.

"When SHADOWS FALL first got back in the practice space to prepare for our reunion shows, we did not know if it would lead to new music, but the excitement of jamming together and all of the riffs that Jon [Donais, SHADOWS FALL guitarist] had floating around in his head led us in the direction almost immediately. The idea began flowing, the energy started building and new songs began taking form out of the chaos."

He continued: "'In The Grey' is a full-throttle thrasher that contains all of the elements that are the bedrock of the SHADOWS FALL sound, but also adds new elements and approaches that developed in the recent past while we all explorer other musical avenues. Lyrically, I was trying to put into words and describe the physical manifestation of the weight and crushing power that can come with depression, that feeling that the weight of gravity is crashing down on you or being trapped in the dark waters of our own mind, trying to rise to the surface and take a breath. It can be an overwhelming and lonely place but there is always a light at the end of that tunnel and we always need to keep striving for a brighter day and escaping the grey."

Fair finished: "We want to sincerely thank everyone for the decades of support that you have given SHADOWS FALL and we cannot be happier to be back and rocking once again. Crank up 'In The Grey', raise those horns to the sky, and bang your head as hard as you can. Stay tuned for more music and news soon..."

Last August, Fair was asked by Sh!t Talk Reviews if it is "safe to say" that SHADOWS FALL "is back" and is "not going to go anywhere anytime soon." Brian responded: "It's not going anywhere, but I don't think we'll ever be the full-time touring band we were. It's a lot of family stuff and people have just got different things going on. Jon, being in ANTHRAX, that's gonna be kind of his main gig most of the time. Jason [Bittner, drums], yeah, he left OVERKILL, but he's also got CATEGORY 7 with John Bush and Phil Demmel and all those guys, and that new record's killer. So they'll be busy with that. But we're definitely gonna keep playing shows. We're gonna keep doing festivals. We probably will hopefully do some short tours here and there, especially when new music comes out, but we're gonna kind of pick and choose our battles, which is, again, also a nice place to be in.

"When the band was our full-time job, you couldn't stay at home for too long or there wasn't gonna be a home to come home to," Fair explained. "You've gotta go out and grind. So it's nice to not have that pressure, but also to do it because it's fun again. Each show that we've done have all been blockbusters in our minds because there's just enough time between each one that you get that excited again. It ramps up and then it's just like an explosion.

"Me personally, I was so burnt out by the time we stopped touring in 2015. We'd been on a 15-year run where I hadn't been home for more than a few weeks through that whole thing. And physically, my neck was shot, my back was shot. I was burnt mentally as well, so it was time to come home for a while. But then, now I'm, like, 'Okay, cool. Let's go have some fun.'"

"The only way to survive in a band like us… We're not gonna sell 10 million records and have all that stuff," Brian added. "So you've gotta go out there and stay on the road to keep your name in front of people, keep everything exciting. You've gotta sell t-shirts — that's how you make your money, [by staying] out there on the road. And, yeah, if a label is gonna spend a bunch of money to drop a record and do videos, they're, like, 'You've gotta go promote it now. You've gotta get out there and hit it.'

"What's driving us to record now is that we love the songs we're writing. It's not 'cause there's a deadline. And the shows we're playing is because we're just, like, 'That sounds like a party, man. Let's do it.'"

Elaborating on how he and his SHADOWS FALL bandmates chose their new record-label partner, Brian said: "It's totally changed things where they've kind of realized their best role is as a promotional partner and a manufacturer, if you're doing vinyl or whatever. CDs, they still make 'em, I guess, but not in the numbers they used to. And a lot of them downsized, because they had to. So it's more about partnering with the band and label relationship and finding a way to make it make sense for everyone.

"The old model doesn't work," the 49-year-old singer, who now lives in St. Louis, Missouri with his wife and their two kids, added. "It's broken. You can't just throw money at things and think it's gonna hit. People have too many choices. You can put out music yourself, so there's definitely an oversaturation, unfortunately, as well because of that. So there's just so much content, you've gotta find new and innovative ways to share it and keep it special. And I think the labels that are surviving and thriving are the ones who are flexible, willing to evolve, willing to work with the artists' vision as opposed to just, 'Cool, man. Let's stick to the old method.'"

Fair and his SHADOWS FALL bandmates have played a number of reunion concerts so far, including at Blue Ridge Rock Festival in Alton, Virginia, at the Furnace Fest in Birmingham, Alabama, and at the Milwaukee Metal Fest in Milwaukee, Wisconsin.

The long-running Massachusetts-based metallers, who were at the forefront of the New Wave Of American Metal scene that dominated the '00s, celebrated the 20th anniversary of their "The War Within" album by playing the LP in its entirety in March 2024 at the Starland Ballroom in Sayreville, New Jersey, the site of the band's many classic shows. It also marked the first time the band has performed in the Garden State in a decade.

In December 2023, Fair told RichardMetalFan about SHADOWS FALL's decision to reunite: "We'd wanted to play shows again for a while and we just wanted the time to be right. And once the pandemic kind of hit, we sort of realized, like, 'Why are we waiting around? It's the time.' So we were lucky that we were able to kind of get everyone's schedules together. And it was incredible. As soon as we started jamming together again, it just felt fun, it felt right. So the shows were a blast. We really rehearsed like crazy for it. And we're probably better prepared for that than anything we'd ever been for before that. And we also realized, like, man, we should have been practicing more when we were together. We used to hate practicing. We always were, like, 'Ah, we tour enough. We don't need to.' And then after we practiced a bunch, we were, like, 'All right. Maybe we really should have.' [Laughs] But then also when we started practicing, we figured if we have ideas, why not write new music as well? If we're gonna get together, let's see what we've got. So that started leading to some new stuff. So [I'm] looking forward to seeing where it heads."

SHADOWS FALL released a statement in August 2014 in which the bandmembers explained that financial difficulties made it virtually impossible for the group to continue as a full-time concern.

In August 2015, SHADOWS FALL played a few reunion shows on the U.S. East Coast, one year after completing what was being billed at the time as the band's "final" European tour.

"Fire From The Sky" was released in May 2012 via Razor & Tie. The CD sold around 10,000 copies in the United States in its first week of release to debut at position No. 38 on The Billboard 200 chart.

Photo credit: Jeremy Saffer

SOULFLY has parted ways with the band's longtime bassist Mike Leon.

Leon, formerly of HAVOK, joined SOULFLY in September 2015 as the replacement for STATIC-X bassist Tony Campos, who left SOULFLY in May of that year.

Earlier today (Wednesday, April 9),SOULFLY released the following message via social media: "After many strong years together, SOULFLY is parting ways with bassist Mike Leon. The tribe are still performing at the upcoming Mexico City's Nu Metal Revolution on May 3rd with the Sorcerer, Igor Amadeus, of CAVALERA band, GO AHEAD AND DIE and HEALING MAGIC filling in.

"We're going in different directions now and we thank Mike for all the time spent with us rocking hard on stage!"

Leon added in a separate statement: "After an incredible 10 + year journey with SOULFLY/CAVALERA, the time has come to move on and pursue new opportunities.

"I'm deeply grateful for the experiences, the music, and the relationships built along the way — it's been an honor to grow alongside such dedicated fans.

"I've been proud to contribute to the music community through my work as Director of Artist Relations with ENKI Cases, supporting artists with industry leading gear protection, and will continue to do so.

"As I look ahead, I'm excited to focus on exploring and creating new musical opportunities!

"Thank you to everyone who's been part of the journey so far — here's to the next chapter!"

SOULFLY is continuing to tour in support of its latest album, "Totem", which came out in August 2022 via Nuclear Blast. The follow-up to 2018's "Ritual" was recorded at Platinum Underground in Mesa, Arizona by John Aquilino and Arthur Rizk with assistance from John Powers. Produced by Max Cavalera alongside Arthur Rizk (KREATOR, MUNICIPAL WASTE, CODE ORANGE),the LP boasts guest appearances from John Powers (ETERNAL CHAMPION),Chris Ulsh (POWER TRIP),and John Tardy (OBITUARY). Rizk was also responsible for playing lead guitar on the record. The artwork for the album was created by James Bousema.

In August 2021, SOULFLY parted ways with longtime guitarist Marc Rizzo due to personal differences. FEAR FACTORY's Dino Cazares played guitar for SOULFLY on the band's 2021 and 2022 run of shows.

Guitarist Mike DeLeon has been touring with SOULFLY for two years. Prior to hooking up with SOULFLY, DeLeon had been a member of PANTERA singer Philip Anselmo's solo band PHILIP H. ANSELMO & THE ILLEGALS, which he joined in 2015 as the replacement for Marzi Montazeri. More recently, Mike filled in for Zakk Wylde at the first rehearsal for the fall 2022 PANTERA shows.

In a November 2024 interview with Dave Rumbler of Metal-Roos, Max confirmed that he is working on the follow-up to "Totem" album for a tentative late 2025 release. Regarding the musical direction of the new SOULFLY material, he said: "[It will be] very tribal, back to basics. I'm gonna let SOULFLY be SOULFLY again. I kind of stopped SOULFLY from being SOULFLY for a couple of years, and I kind of regret that a little bit. But now that I have CAVALERA and GO AHEAD AND DIE and KILLER BE KILLED, I get to really let SOULFLY be SOULFLY. Let's go back to what it was in the beginning. It's that tribal groove power that people love. So I'm creating a record with that."

Max, who turned 55 years old in August 2024, went on to say that he has no plans of slowing down in the coming years. "I was put on this planet to do this, and that's all I wanna do," he said. "It's all I know how to do and it's all I wanna do… Of course, we change as people as we get older, but I think there's some things in me, they are the same as they were when I was 15 years old — my passion for metal, how I feel about going on the stage and the goosebumps, the excitement is like a drug. You can't really get that anywhere else except on the stage. And those things don't change. And I love that.

"To me, I'm always looking forward to whatever tour we're doing, whatever album we're making," he continued. "There are challenges, but at the same time, they are great life opportunities. And I live life for the moment. I'm not one of those guys that — I don't live thinking 10 years from now. I live for right now for this, 'cause I don't know what's 10 years from now. I live the moment, and in the moment, this is what's going on right now. I grab it with both hands, man, and enjoy. And I try to teach that to my kids — enjoy the moment. It's a great thing. It's good to be alive. It's good to share this feeling with people around you. It's incredible. It's an incredible thing."

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Last year, the reunited expanded classic lineup of German power metallers HELLOWEEN signed with Reigning Phoenix Music (RPM) for the release of their next studio album. The band entered the studio in the summer of 2024 to begin work on the follow-up to 2021's acclaimed self-titled effort, with plans to issue the LP later in 2025.

On Wednesday (April 9),HELLOWEEN guitarist/vocalist Kai Hansen shared a video message on his Instagram in which he said: " Hello, ladies and gentlemen. HELLOWEEN, the album is mixed. It's done. It's done. And I am very happy with the result… I think we got a great album together… So wait for it." Hansen also played snippets of a few songs that will appear on the effort. Check them out in his post below.

Last December, HELLOWEEN singer Andi Deris told Spain's MariskalRockTV about the musical direction of the new HELLOWEEN material: "I love two or three songs from Kai. [They're] super crazy, and I love 'em to death. Weiki [guitarist Michael Weikath] has a great song as well. My songs are certainly always good. [Laughs] [That's a] joke, joke, joke. But I think we have lots of great songs, definitely. Super-nice hooks, lots of positive sing-alongs. So, yeah, I think this is something that we probably may need in the times to come. [Laughs] Very positive, I have to say. So I would say 80 percent of the album is super positive. Sometimes very fast and heavy, but positive. Good, good mood. And we have a ballad. Finally, we have a ballad."

Earlier in December, Deris was asked by The Metal Command how the material for HELLOWEEN's next album compares to that on "Helloween". He said: "I'd say it's much more easy listening, because there's less constructed stuff on it. It's more flowing with the wind, so to say. It's very, very positive, so I would rather say it's more happy, happy HELLOWEEN than the other album. I think it's a bit more… yeah, the flow is, for my taste, not as edgy as the last album, which was cool — I like edgy stuff — but we should have more or less some counterpart to edgy, more exhausting things. The last album, for me, was great to listen through — it was edgy, it was heavy, it was complicated here and there — but after listening to it, then I needed a pause. It was exhausting. After [listening to 'Helloween'], I needed some break, put it that way. I loved it, and I still love it, but it's demanding. I think the next album will be much more easy listening, I think much more enjoyable to sing along [to]; there are lots of parts in there. So I would rather describe it as a more happy, happy HELLOWEEN album. That would be the best description."

Andi continued: "It's hard to describe, because there are lots of speedy and heavy things on it. But when I listen through it, I feel good. I mean, that's a good sign. Not that I felt bad when I listened to the last album — that's not what I mean. It's fun. I listen to it, and it's fun. Definitely."

Regarding what he and his HELLOWEEN bandmates learned from the making of "Helloween" that they improved upon this time around, Andi said: "Yeah, I think the main keyword would be confidence. The last album, we had to get to know each other in that new setup, lineup, how to work with [each other], how to work here and blah, blah, blah, and this time we just realized, okay, actually everybody has such great ideas; just don't control each other. We don't need to actually stick in a studio for pre-production for two months because everybody did it for himself. Let's just listen to it and say, 'Wow, cool.' So this time we've been some lazy backs, actually, and just said, you know, pre-production we just do ourselves back at home, everybody in his own studio, and we just take the technique we are given. Internet is great, and you can have live sessions online, and that made life so much easier because everybody is just relieved that you [are] still at home. You still work hard, but you're at home. And as we all know, when you're at home, work doesn't hurt that much as being back in the studio again somewhere in the world, but not with your family. And nowadays you can actually have your family life, you have your eight, nine hours per day in the studio, you yourself decide when you make a break or when you go and have a meal with your lady or go down to the beach, in my case. That makes life so much easier and much more enjoyable than sitting in a fricking studio again and again and again, each and every day for two months, just for a pre-production, which you could easily do at home together. So this time, I have to say there's confidence that we earned for each other that helped a lot to make things even more easygoing. And I think that's exactly what you listen, when you go through the songs and you listen to them — you feel that easiness: 'Wow. Wow. Okay, cool.' I love it. So that's the way to go."

He then clarified: "I don't wanna say that I want to be back at home when I'm on tour. So I hate the idea of laser shows or something like that. As long as I can walk, I want to be on stage. But production-wise, I have to say I love the technique we have nowadays."

Regarding how HELLOWEEN has managed to pull off the seemingly impossible by keeping all seven members of the band happy — returning singer Michael Kiske and guitarist/vocalist Kai Hansen along with Deris, guitarists Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf and drummer Daniel Löble — Andi said: "I think the only thing you need to accept [is] that you are different people. I think that's the main problem we had back in the days because everybody actually expected the other to be and react and have the same opinion [as] yourself. And when you are realizing, okay, we are all different people, so you have to accept that everybody probably has a different point of view, at least a millimeter to the left or millimeter to right. And you have to sit down and actually find a compromise. If you accept that everybody is different, that's not a bad thing. You just have to accept that you yourself may fail here and there, and maybe the other one is right. And when you're getting older, you have decades of comparisons, and you realize, 'Okay, here I fucked up, there I fucked up, here I wasn't right, here I wasn't right.' You need that experience, and when you have that, you are a little bit more humble, because you know you did things wrong or you know you haven't been right back in the days here and there and blah, blah, blah. So, if you take that at a base, everything works out fine. And you just sit down with that knowledge and try to find a solution, which is good enough for all here in the room. And, yeah, that went down super the last few years, I mean, no problem at all. Even if somebody was pissed off, completely pissed off for whatever reason, again, that somebody did not react like he did back in the days, like with aggression or something like that, but in normal words and said, 'Hey, I have a little problem here. You said this and that and blah, blah, blah. And how did you mean that?' And then here comes the explanation and you go, like, 'Oh, okay, all good. Thanks.'"

Upon its release in June 2021, "Helloween" landed in the Top 10 in more than 10 countries, including Germany, Spain, Finland, Sweden, Switzerland and Austria. The cover artwork for the LP was painted by artist Eliran Kantor, who has previously worked with HATEBREED, SOULFLY, TESTAMENT, ICED EARTH and SODOM, among others.

Produced by Charlie Bauerfeind and Dennis Ward, the last HELLOWEEN LP was recorded in part at the H.O.M.E. Studios in Hamburg (where everything started in 1984). The same recording console used for such HELLOWEEN albums as "Master Of The Rings", "Time Of The Oath" and "Better Than Raw" was utilized to record the band's new material. The effort was mixed at the Valhalla Studios of Ronald Prent (IRON MAIDEN, DEF LEPPARD, RAMMSTEIN).

"Helloween" saw the legendary German power metallers going "back to the roots," with the band recording fully analog and Löble playing the drum kit previously used by HELLOWEEN's original drummer, the late Ingo Schwichtenberg, on the legendary "Keeper Of The Seven Keys" recordings.

HELLOWEEN released a new 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.

"Live At Budokan" was made available in a plethora of formats: 2CD-digipak and 3LP vinyl in trifold with the first print run of both coming as "deluxe edition" including embossed cover artwork, as well as Blu-ray, DVD and digital. Each version is meticulously crafted to suit the metal community's diverse tastes, ensuring every fan can relive the raw, unfiltered energy of HELLOWEEN in their preferred medium.

This release celebrated the grand finale of HELLOWEEN's epic world tour from 2022 to 2023. Spanning over 30 countries on three continents, the tour was nothing short of a triumph, drawing massive crowds and showcasing the band's undying appeal, the sold-out concert in Tokyo is the crowning glory of the cycle.

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Longtime KISS lead guitarist Tommy Thayer will join the band's founding members Gene Simmons and Paul Stanley for a performance without makeup at Virgin Hotels Las Vegas as part of the three-day "KISS Army Storms Vegas" event, which runs from November 14 to November 16. Also newly added to the lineup of artists who will appear at the event are Thayer's former band BLACK 'N BLUE, as well as former SKID ROW frontman Sebastian Bach and the tribute acts MR. SPEED and KISS NATION: THE KISS TRIBUTE SHOW.

"KISS Army Storms Vegas" celebrates the KISS fan club's 50th anniversary and will be the band's first live performance since Simmons, Stanley, Thayer and drummer Eric Singer wrapped up their "End Of The Road" farewell tour at Madison Square Garden in New York in December 2023.

There will also be question-and-answer sessions with Stanley and Simmons, as well as KISS's longtime manager Doc McGhee, where they will share stories, behind-the-scenes moments and answer fans' most burning questions. Also making special appearances will be Kiss Army founders Bill Starkey and Jay Evans. In addition, there will be a guest performance by former KISS guitarist Bruce Kulick.

"We will not do the makeup," Gene told Las Vegas Review-Journal about "KISS Army Storms Vegas". "We will hold true to the promise [of never playing another KISS show in makeup]. There's no stage show. There's no crew. We won't have 60 people levitating drum sets and all that stuff. This is more personal gathering of the tribes, where we meet them, greet them, maybe have a Q&A."

Regarding what else fans can expect from "KISS Army Storms Vegas", Simmons said: "There might be some KISS tribute bands, almost like a convention, if you will. So it's much more personal. And of course, we can't get by without playing, so we'll get up and do some tunes. What they are, how long, I don't know."

When KISS officially announced the "KISS Army Storms Vegas" event, the band said that Stanley and Simmons — along with "special guests" — would play at least one show "unmasked," meaning without their iconic makeup.

KISS had previously set a 12-show residency at Planet Hollywood Las Vegas in 2021 and 2022 but ultimately canceled all of the dates.

50 years ago in Terre Haute, Indiana, a small group of fans lit the spark that would become the loudest and proudest fan movement in rock history: the KISS Army. Now, five decades later — and 30 years since the first official KISS convention — KISS is cranking it up to 11 in Las Vegas for the ultimate celebration.

Head over to kissarmystormsvegas.com for more information.

Simmons told Rolling Stone in a November 2023 interview that the second Madison Square Garden "End Of The Road" concert would mark "the final KISS-in-makeup appearance."

Kulick was a member of KISS from 1984 until 1996.

According to Billboard, Kulick is one of only two musicians to have not worn makeup while a member of KISS, the other being Mark St. John.

Kulick had performed with the band again at their Kiss Kruise events in 2018 and 2021.

Simmons recently postponed nearly 20 dates on his forthcoming solo tour with the GENE SIMMONS BAND to 2026.

Image courtesy of Gibson TV

TOMMY THAYER, LEAD GUITARIST OF KISS, WILL JOIN GENE SIMMONS AND PAUL STANLEY FOR A ONE-OF-A-KIND KISS UNMASKED ELECTRIC...

Posted by KISS on Monday, April 7, 2025

In a new interview with the JJO Discover New Music Podcast, KILLSWITCH ENGAGE singer Jesse Leach spoke about the band's latest album, "This Consequence", which came out on February 21 via Metal Blade. "This Consequence" is KILLSWITCH ENGAGE's ninth LP overall, and sixth with Leach, who rejoined the band in 2012. Asked why now was the right time for KILLSWITCH ENGAGE to release a new record, Jesse said (as transcribed by BLABBERMOUTH.NET): "I think the timing is perfect. It just feels like the world is in a state now where I feel like extreme music, metal music, has a real place in it. There's a lot of people who are frustrated and anxious and this type of music is therapeutic. So, to me, it's great. The gap, too, was admittedly working hard on the record, but also the pandemic took it out of us. During that time, it wasn't a very creative time for any of us. So, it just happened to work out in such a way where it's dropping, to me, at a perfect time."

Reflecting on the way the pandemic negatively affected his creativity, Jesse said: "We had just finished putting out our other record, [2019's] 'Atonement', and being shut down three days into the tour… So when you put that much effort into a creative project and then nothing happens — I had no creativity 'cause I'd put everything into that record, and my mindset was, like, 'Now we're gonna go on tour.' So when the pandemic hit, at first it was, like, 'Oh, we get a nice break. This is crazy. We haven't had a break in a long time.' And then it turned into, like, 'Wow, are we ever gonna do this again?' But I think for me it was a very meditative, sort of self-reflective time where creativity, especially with music, just kind of took a side seat to me, sort of like going deep within myself and, like, 'Who am I without this band?' It was definitely a huge question in my mind. But coming out of it and a lot of the thoughts that I had that stayed with me, this album helped me process that. It helped me filter out a lot of my frustrations and my anger, and I think that's what metal music and hardcore music should be. It's therapy."

Regarding the challenges he encountered finding inspiration for the new KILLSWITCH ENGAGE songs, Jesse said: "Yeah, I felt like I shed layers of my soul, for sure. Going into it, I feel like I didn't really have the voice that I eventually discovered. It was kind of a false start. We ended up throwing away, like, six or seven of my demos. 'Cause I think I just had to tap into that frustration that I keep bringing up because I think I suppressed it a lot. And I'm sure a lot of us went through weird frames of mind during the pandemic. I think for me it was getting back in touch with the reason why I even started doing this in the first place, is 'cause I wanted to have a voice for the voiceless. I wanted to speak about the problems of the world. I wanted to put it all out there. And I think when I started this album, it just felt like I didn't know what to say. I was still kind of numb about it. But through that process, I was able to tap back into that spirit, that revolutionary wanting to shake up the status quo and have people think for themselves and deliver a message that hopefully will help people."

KILLSWITCH ENGAGE kicked off its first tour of North America since late 2022 on March 5 at The Pinnacle in Nashville, Tennessee. The trek, featuring support from KUBLAI KHAN TX, FIT FOR A KING and FROZEN SOUL, will run through April 12 in Portland, Maine.

In a separate interview with United Rock Nations, Jesse was asked what the biggest challenge was in making "This Consequence". He said: "I think for me wanting to be, and I use this word loosely, relevant, but relevant to me and my bandmembers. I wanted what I had to say to excite them, but I also needed it to be genuine. I needed it to be something that when I looked at those lyrics, I thought, 'Yes. That's exactly what I wanna say.'

"I went through — I don't know — seven, eight songs where I was kind of just throwing it out to see what would stick," he continued. "And those guys were, like, 'This doesn't feel like you're really giving us your best.' So having that sort of rejection from them initially was very hard. It sort of felt like I was becoming insecure. I was wondering if I had it in me. But that turned into a determination to rediscover myself as a writer, to go deeper, to tap into things that I never tapped in before, and to sort of look outside of myself. I mean, after everything we've been through, there's so much to draw from. There's so much to pull from. So I started pulling from things that I was seeing on mainstream media. I started pulling from stories that I heard from people that they've been through. I started pulling from extreme relationships of abuse and just kind of dialing them all into a story — obviously coming from me and the way that I saw and felt about those things, but it ended up becoming much more of a worldview as opposed to just me going, 'I, me, I.' It was more about us — 'This is about us.' Hence the title 'This Consequence'. It's about us — all of us. How do you respond to these situations? How do you modify your behavior? What lessons have you learned? And realizing that with everything that you do, there's going to be a reaction.

"So, the big picture to me is what I was focusing on and how to how to heal our PTSD from everything we've gone through and realizing that we're still all going through it," Leach added. "We may not realize it, but we are. And how do we allow the outside sources that are constantly manipulating us to control our minds and to continue to keep us divided? The challenge was how do I crack that code? How do I get that message through to people? And I did the best I could. And I think I did pretty damn well."

Asked if writing about all those topics was a form of therapy for him, Leach said: "Yeah, absolutely. Absolutely, it is. And I think it's necessary. You can't avoid it. And I think I avoided it a lot during the pandemic. I wanted nothing to do with it, 'cause it was such a volatile time. I think we're all sort of coming down off that, and it's not so intense where people are actually open to discussions of, or maybe you weren't 100 percent accurate or correct in your belief. Maybe you have room to be wrong here, and if so, what did you learn from that? And how do you move forward without having that assumption being part of your vocabulary? I think all of that is very important. And as a writer, how do I write it in such a way where you as a listener can draw your own conclusion? So I'm not giving you the answer. I'm asking you to think about this thing. And then what do you think about that? You as the listener can sort of put the answer on that question. And that's really what I tried to do — writing with a broad enough brushstroke where the song can be yours. I penned the lyrics, but I very much want you to sort of take the torch and run with it."

Leach talked about the "dark", "angry" and "aggressive" nature of "This Consequence" with Joshua Toomey of the "Talk Toomey" podcast. He said: "Yeah, I think angry, dark and aggressive, for better or for worse, is kind of what the world needs right now, I think, therapeutically speaking. I think a lot of us can relate to frustration, anger, betrayal, all those things, and that's kind of what I highlighted lyrically with this album; I was really focusing on that stuff. But I will say this: if you really read into the lyrics, there's a positivity through a righteous anger, anger that wants to sort of wake people up and have people choose their own path instead of just the blind leading the blind, which is what we see so much in society and our governments and organized religion and all these things that control us as people. It's very much about breaking out of the matrix, if you will, and carving your own path. And there's a righteous anger underneath all of it, and that's where the positivity lies. But I think with metal music, the great thing about it is you can talk about dark stuff and it is therapeutic. That's why a lot of us get into this kind of music."

Elsewhere in the chat, Leach touched upon his growth as a vocalist since the release of 2019's "Atonement" LP, saying: "Truth be told, ['This Consequence'] was very difficult for me to write and sort of find my inspiration again. And even vocally, learning new techniques, like the vocal fry, and trying to add that into my old technique and still sound like me, it was a long, hard process.

"Especially after my vocal surgery in 2018, I relearned how to speak differently — I speak differently than I did," he explained. "I'm more measured; I make sure my voice is placed in the right place. And through that, it went into my vocals, my singing, especially. I was really focusing on my singing first and foremost to stay in key and not go flat or sharp. Then it was, like, my screams were — I was so paranoid. I was really worried about… We do three shows in a row. That fourth show, I'm, like, 'It's getting difficult. I can feel the swelling happening.' So I was really studying vocal fry, 'cause you can do a lot of cool stuff with fry, but me with my voice, it has such a signature sound to it, I guess, according to Adam [Dutkiewicz, KILLSWITCH ENGAGE guitarist and producer], at least, that if I just went into that new technique completely, the lows were missing something, my yelling. It different. So I was going into these demos just doing fry, saving my voice, especially thinking that, once I get to the studio, it's going to be fatiguing; we're doing four- or five-hour sessions. But I kept falling flat and the voice just didn't sound right. For some of the high stuff, it works, but for the lower, mid stuff and for the death metal growls, that's all old school… It's the old-school way, the way we all started doing it in the late '80s and early '90s. So I've learned, thankfully, through a lot of trial and error, and this album had a lot to do with it, to blend the styles. So I can do my old-school stuff, and then I can sort of blend in some of the vocal fry to hit those crazy, maniacal-sounding highs without it destroying my voice."

Relapse Records welcomes the blistering grindcore force, Chepang, with their label debut, Jhyappa.

Hailing from Queens, New York, by way of Kathmandu, Nepal, Chepang has never been your by-the-numbers band. They dub their music “immigrindcore”: They use samples from Nepali pop songs. They sing in Nepali. They embrace their immigrant identities. Chepang meld these elements together into an album about self immolation as a means of self preservation. Jhyappa touches on these philosophies through a ferocious grindcore attack that sounds as violent as the means through which the band wish to achieve redemption.

Today, Chepang share the official music video for the album’s opening tracks “Parichaya 2.0″ / “Shakti (Force)”. Watch the full video (directed by CHUM Media) below.

Chepang comment: “Chepang is really stoked and thankful to Relapse Records and everyone involved for taking us in as a part of their family and roster. We are looking forward to the future and carrying on this “pursuit of understanding one’s authentic self” through this video and the record.”

Jhyappa is out May 23 on LP/CD/CS/Digital. Pre-order here.

Jhyappa was recorded & mixed by Kevin Bernsten (Full Of Hell, Integrity, ILSA) at Developing Nations & The Magpie Cage Recording Studios (Drums Only) and Mastered by James Plotkin (Electric Wizard, Thou, Gridlink).

The lyrics on Jhyappa are “hardcore Nepalese,” guitarist Kshitiz Moktan says. “This record is more personal,” he says, about “trying to relearn everything about yourself, releasing all your negative energy inside you.” Jhyappa’s cover art (by Masato Chaos) is based on self-immolation. But not “about any religion or any government; it’s against yourself. Everyone has their struggles, in their own head and in life, but the only one that can fix that is yourself,” Moktan explains. “One has to be closer to one’s self spiritually to defeat this and come out victorious.”

NYC is also referenced throughout the band’s output. “All of us have lived half of our lives here. We live here, we see everything, positive and negative, so we wanted to have some kind of New York”, Moktan says. On the streets and in the subways, the band always sees “many people of different colors and races with their own life and story to tell. These are dynamic cues in life and serve as a motivation and also pride to be a part of this big city where diversity is everything. A melting pot of cultures.” True to that mentality, Chepang has played the world over on the backs of their prior records; from playing Obscene Extreme in Czechia to tearing down the walls at Baltimore Soundstage as part of Maryland Deathfest, the band is poised to revisit the world-over once again with their unique grind.

Musically, the band decidedly wanted to call back to their first cult-collected 7” from 2016, Lathi Charge, and go full circle – old school Chepang. Although Jhyappa is similar to their first EP sonically and structurally, a new metallic edge has crept its way into the band’s playing and is now present throughout. Blast beats give way to crushing low end and no-frills, heavier-than-anything-else guitar passages. In true grindcore fashion, nine tracks stitch together a brutal package in under 20 minutes.



Jhyappa tracklist:

“Parichaya 2.0”
“Shakti (Force)”
“Gati Chada”
“Ek Hajar Jhut”
“Khel”
“Drivya Shakti”
“Spastata ko khoji ma”
“Nirnaya”
“Bidhai” (Outro)

“Parichaya 2.0″/”Shakti (Force)” video:

Billy Corgan, the frontman of the iconic rock band THE SMASHING PUMPKINS, has announced a new solo project titled BILLY CORGAN AND THE MACHINES OF GOD which will commemorate the anniversaries of the legendary albums with sets drawn from "Mellon Collie And The Infinite Sadness" and the double album "Machina/The Machines Of God" and "Machina II/The Friends & Enemies of Modern Music" as well as the 2024 release "Aghori Mhori Mei" with a national U.S. tour set to kick off this summer. The tour, titled "A Return To Zero", will launch on June 7 and feature the four piece group also embarking on previously confirmed festival shows.

The "A Return To Zero" tour will reintroduce a four-piece, two-set guitar lineup in which music from these seminal PUMPKINS albums were created. The shows will feature classic tracks and deep cuts from the highly acclaimed records. In addition to Corgan, THE MACHINES OF GOD will feature recently recruited SMASHING PUMPKINS guitarist Kiki Wong, drummer Jake Hayden and bassist Kid Tigrrr (Jenna Fournier).

Tickets for the upcoming tour will be available for artist presale beginning Tuesday, April 1 at 10:00 a.m. local time through Thursday, April 3 at 10:00 p.m. local time. Following the presale, the general onsale will begin Friday, April 4 at 10:00 a.m. local time.

Along with this touring announcement, THE SMASHING PUMPKINS have revealed the details of the long-awaited and reconstituted release of the 2000 concept albums "Machina/The Machines Of God" and its companion "Machina II/The Friends & Enemies Of Modern Music" which have been extensively remixed and remastered. Corgan's Madame Zuzu's tea shop in Highland Park, Illinois will exclusively offer this expansive 80-song box set; featuring a 48-track "Machina" plus an additional 32 bonus tracks of demos, outtakes, and live performances, marking the first time these two records will officially be united. Additionally, the rock band will release a 16-song reissue of the original "Machina/The Machines Of God" vinyl on August 22, and pre-orders will begin on June 27.

This year will also celebrate the 30th anniversary of THE SMASHING PUMPKINS' era-defining acclaimed album "Mellon Collie And The Infinite Sadness" which set the sound for a generation. To commemorate the album, Corgan has partnered with Chicago's Lyric Opera to world-premiere "A Night Of Mellon Collie And Infinite Sadness", a seven-series performance taking place November 21–30, 2025.

These noteworthy music announcements follow on the heels of an already exciting 2025 for Billy Corgan; earlier this year the rock legend also launched his applauded podcast series "The Magnificent Others".

Beyond these accomplishments, the Grammy Award-winning musician, versatile producer, songwriter, poet, also serves as the president of the National Wrestling Alliance, owns Madame Zuzu's, a beloved tea shop in Highland Park, Ilinois, and remains a devout philanthropist through varying initiatives focusing on animal advocacy and no-kill shelters.

Tour dates:

June 07 - Baltimore, MD @ Baltimore Soundstage
June 09 - Boston, MA @ Paradise Rock Club
June 11 - Muskoka, ON @ Kee to Bala
June 12 - Toronto, ON @ HISTORY
June 13 - Montreal QC @ Beanfield Theatre
June 15 - New York, NY @ Irving Plaza
June 16 - Philadelphia, PA @ Theatre of Living Arts
June 17 - Allentown, PA @ Archer Music Hall
June 19 - Detroit, MI @ St. Andrew’s Hall
June 20 - Joliet, IL @ Taste of Joliet*
June 21 - Grand Rapids, MI @ Intersection
June 23 - Pittsburgh, PA @ Roxian Theatre
June 25 - Cleveland, OH @ House of Blues Cleveland
June 26 - Cincinnati, OH @ Bogart’s
June 27 - Milwaukee, WI @ Summerfest*
June 29 - Minneapolis, MN @ Varsity Theater

* Festival performance

Photo credit: Joseph Cultice

In a new interview with Laura Steele Media, JETHRO TULL leader Ian Anderson spoke about the fact that fans have become increasingly unhinged, annoying and disrespectful while attending concerts in recent years. Asked about the "wide range" of behavior he has encountered at JETHRO TULL live shows, depending on which country he goes, to, Ian said (as transcribed by BLABBERMOUTH.NET): "Well, I think it's always bad to stereotype audiences according to nationality, and I can give you an example of how in the London theater these days, I know many actors who are really upset. They walk on stage in a serious play, and there are people getting out their phones and trying to video it or taking selfies in the middle of a serious theatrical drama. And [the actors] get really upset, as I can well understand.

"Anything goes in some people's minds, but you've gotta have respect for the performers and the sensibility of the environment and what it's about," he continued. "So, sitting, eating popcorn during a Shakespeare play is really not a good thing to do, let alone getting your phone out and doing whatever. So it does happen, even in London and on the theater stage for serious, traditional and important drama. At concerts, it depends who the artist is and where it is.

"I tend to play seated audiences and I played in the [Royal] Albert Hall [in London] lots of times — I've never had people whistling or shouting or being obnoxious in the Albert Hall — but it changes with changing times and changing attitudes towards particularly the use of cell phones and particularly the degree to which people will make a noise of their own, especially in the quiet moments. Brazil, where I was in Brazil last year, and I've forgotten just how noisy the Brazilians are and sometimes not in a nice way. They'll whistle and hoot, and even if you play a song and somebody doesn't — just one person in the audience thinks, 'Oh, I don't like that one,' so they boo. But people will do that, and it's really, really not a nice thing to do.

"So I think having respect for the artist [is important]," Ian added. "If you go to see the very final BLACK SABBATH concert this summer where my old pal Tony Iommi will be playing, I expect the audience will be really noisy and loud and shouting, but that's okay. It's BLACK SABBATH, it's heavy metal. That's okay. But if you're coming to a JETHRO TULL concert, I think you should probably leave the phone at home or at least in your pocket."

Anderson previously expressed his dissatisfaction with rude audiences this past February in an interview with Barry Robinson of Classic Album Review. While speaking about the lyrical inspiration for the song "Puppet And The Puppet Master" from JETHRO TULL's latest studio album, "Curious Ruminant", he said in part: "I wanna be free of feeling that I am in any way having to comply with other people's wishes and other people's demands. And the more demanding an audience are, by the way, the less I enjoy it, because there are occasions where sometimes you get a volatile audience due to the cultural tendencies in particular places. I could name Brazil, for example, where audiences think it's okay to whistle and shout and boo and shout out the names of songs they wanna hear. I mean, I actually find it incredibly rude, and I really don't enjoy that. It's not every concert I've played in Brazil, but I encountered it a couple of times last year when I was on tour in Brazil, and that's the way they are. There are other national stereotypes where people do behave that way. You will encounter it sometimes in the USA, where people think it's okay to shout and whistle. It's not okay. I'm trying to concentrate on playing sometimes quite difficult music, and I don't like to be interfered with. I like to have the flexibility to be able to do that. And so if the audience set out to somehow manipulate you or influence your way of playing, that's not good. For me, it is absolutely sufficient, at the end of a song, to see smiles on faces and somebody applauding at the appropriate time. That means everything to me. I don't wanna be interrupted while I'm performing.

"I'm not complaining," he clarified. "Things are the way they are. If you're a performing musician, just as they would be if you were the prime minister at prime minister's questions — you have to accept that you're gonna get some bad behavior and some interfering kind of manipulative demands from the backbenchers. It's the way things are. We have to accept it. But sometimes, as in this case, it becomes a topic of a song, slightly tongue in cheek, and certainly not only applicable to me. It could apply to a ballet dancer or an opera singer or a thespian in the midst of a Shakespearean dramatic play. It happens to all of us. We are controlling, and yet in a funny kind of a way we're also being controlled by. And in a kind of sadomasochistic way, perhaps we, or at least some of us, might like that. They might like that feeling of having to work within the expectations of an audience and they want to satisfy that, particularly in more popular, big productions. They probably get a little cheesed off if the audience isn't jumping around and waving their hands in the air and taking selfies and doing whatever. They probably feel they're being ignored in some way, or it's not a responsive audience. But since 1969, when I first started playing in theaters in the U.K., I take a different tack. I like a respectful, relative silence until we get to the end of a song. Then it's time to applaud. And some people might find that difficult to understand or something they don't particularly like, that I would feel that way, but it's the way I've always been. And the way I am, on the rare occasions I go to a concert, I'm not gonna start whistling and shouting and calling out for songs that I wanna hear. Or booing. What's the point in doing that? You might as well just leave the venue and get to the pub early."

After Robinson noted that many of his concert experiences in recent years have been "completely ruined by the sea of iPhones that go straight up into the air as soon as the show begins," Anderson said: "The first time I encountered that, I suddenly flashed back to playing in a concrete amphitheater in the middle of the woods somewhere in the former East Germany that was actually built for Nazi rallies, and I just thought that it must be like that. There's suddenly this sea of arms shooting into the air, and you suddenly notice they've got phones on the end of them. But we, for some years, have made polite announcements to request that people restrain the use of their cameras and iPhones until the encore, and I get about a 95 percent compliance with that, which I'm grateful to see. Sometimes it is a hundred percent. In Brazil it was about a 50 percent. So, sometimes even with the translation into other languages and making it a little bit light-hearted, not making it sound threatening, but most people will go along with it. It usually gets a round of applause when they hear my voice saying that, because a lot of people feel the same way. They haven't come to a concert and paid good money for a ticket, only to have to stare at the screen of the person in front who's holding it up. I mean, I once went to a concert and left early, because after the fourth song, I think, I had to leave, 'cause I just couldn't face what I was being confronted with. It was embarrassing, because I'd been given tickets by the artist concerned, but I just couldn't I couldn't sit there and watch these tiny little figures on a screen and I couldn't see what was happening on the stage with all the arms in the way. So, yes, I find it particularly irritating."

"Curious Ruminant" consists of nine new tracks varying in length from two and half minutes to almost seventeen minutes. Among the musicians featured are former JETHRO TULL keyboardist Andrew Giddings and drummer James Duncan, along with the current bandmembers David Goodier, John O'Hara, Scott Hammond and, making his recording debut with JETHRO TULL, guitarist Jack Clark.

"Curious Ruminant" was made available on several different formats, including a limited deluxe ultra clear 180g 2LP + 2CD + Blu-ray artbook and limited deluxe 2CD+Blu-ray artbook. Both of these feature the main album, alternative stereo mixes and a Blu-ray containing Dolby Atmos and 5.1 Surround Sound (once again undertaken by Bruce Soord of THE PINEAPPLE THIEF),as well as exclusive interview material. The limited deluxe vinyl artbook also includes two exclusive art-prints. The album was also made available as a special edition CD digipak, gatefold 180g LP + LP booklet and as digital album (in both stereo and Dolby Atmos).

In a new interview with Scott Itter of Dr. Music, former WHITESNAKE and DIO and current THE DEAD DAISIES guitarist Doug Aldrich offered an update on his health, nearly seven months after he underwent a "very successful" surgery following a throat cancer diagnosis. Regarding how he is feeling at the moment, Doug said (as transcribed by BLABBERMOUTH.NET):  "I feel great. I'm doing really good. It's taking me time. I'm still getting there, because in certain situations, when they're working on your neck, you can't eat very good. And then, getting radiation, you're not hungry, really. They're frying your neck every day and eventually you lose your taste and you can't swallow so good. And so you lose weight. So I'm working on bulking back up a little bit. But, fortunately, my neck healed. The scar is good. Sometimes I got a few little issues, but I feel really good and I'm grateful.

"The silver lining is just — I was living pretty hard for a long time and I think that now I'm realizing I need to live a little more healthier," he explained. "So that's a good thing,

"I think before, when I was in my forties, it was easy [ to stay in shape]. 'Cause for people who are out there that are in their forties, that's like being in your twenties now. That's the way people come off. But eventually your body starts to slow down. You've gotta work a little harder at it. And it was harder, in the past couple of years, to really stay in shape. I tried to, but I wasn't living as… I was definitely drinking a lot and eating not good stuff. Obviously, since cancer, I've been a hundred percent trying to be better — not drink and eat cleaner and stuff like that. But the problem is that you lose weight with cancer most of the time, and so you've gotta find a way to build that back. So it just takes time.

"But anyway, I feel great, man. I'm grateful," he added. "And I would just stress to anybody, especially male listeners of yours in their fifties or sixties, going to the dentist is a good thing to do, overall wellness of your mouth and throat, because the dentist checks that every time before they do anything. And I wasn't going to the dentist. I would take my kids there, but I had no problem with my teeth. I was, like, 'Why spend the money?' But then this thing happened and I realized, well, had I gone to the dentist, they probably would've saved me a bunch of money in medical bills. Well, they would've caught it. And it would've been a matter of — when they catch stuff early, when it's cancer, they can just either do some type of minimal treatment or minimal surgery. But as it progresses, if you wait six months or a year or longer, and then you find it, then it progresses and it goes deeper into your body and it can go to your liver, it could go to your heart, whatever, your brain. So I recommend, in my situation for that kind of cancer, neck and throat, getting checked. It's worth it because even at 60-plus, there's a lot of time left to live, so you don't wanna be getting hammered by some health problem."

Two months ago, Doug told Ernest Skinner of Canada's Border City Rock Talk how he found out about the seriousness of his diagnosis: "Once I met with the oncologist, he said, 'Hey, this is very treatable. You're gonna be fine. It's gonna be a pain in the ass, but it's very treatable.' But prior to that — it was about two or three weeks [earlier] when I got the news that it was cancerous, it was definitely cancer — I didn't know what kind of cancer [it was] and how advanced it was. That's the scary part, because, man, I was, like… It was just a nerve-racking situation because I've got kids. I've lived a great life, I'm super blessed and lucky, and if it's my time, I'll go, but I don't wanna leave yet because I've gotta help my kids get through life a little bit."

Doug continued: "It was definitely a setback mentally. And I just had to kind of go, 'Look, I'm gonna leave it in God's hands and just whatever it is, it is, and I'll just deal with it my best I can.' And then the doctor said it was very treatable and it would be a pain in the ass. It would be a surgery and also radiation. And I thought, 'Okay, the surgery is the worst part of it,' but actually radiation is [the worst]… Fortunately, I didn't have to have chemo, so that was good. They took out my tonsil where it was, and then they took out a bunch of lymph nodes right here. And the scar is pretty good, actually."

Elaborating on the negative effects of his treatment, Aldrich said: "One of the biggest things was I lost all my taste, so you could smell stuff, but you couldn't taste it… On one side, for some reason, it was really metallic… I would gargle all day with salt water and baking soda, and that helped a bit with a lot of issues. But anyway, the bottom line is I got my blood test the other day and it's zero, whereas prior to my surgery, it was 277, whatever that is. Now it's zero. So that's good. I've still gotta get scanned on my full body to make sure there's no organs that got anything in 'em, but I think I'm pretty good. I'm hoping so."

He added: "Going through that treatment, I lost a bit of weight, and so I'm trying to build back a little bit without gaining in the other spots. I like that I lost some weight."

Earlier in February, Doug told Ralph Rasmussen of Radio Bypass that "everything" was "good" following his treatment. "I got done with all the radiation treatments in December, and then it's just been a quick six weeks or whatever," he said. "It's just flown by. But I've been feeling good. Everything's kind of getting back to normal. I'm starting to go to the gym a little bit and work on my muscles and stuff and getting going again like that. So I'm good. I've been playing a lot. There's a few little issues that pop up — I get some swelling sometimes. After they do that surgery on you, there's some restructuring of your nasal cavity and stuff like that in your throat. So there's a little bit to get used to, but I can't complain. I'm doing really good. And after what I went through, I'm definitely feeling blessed."

Doug went on to say that he felt some fatigue as a side effect of his radiation therapy. But "it went away pretty quick," he explained. "Literally, you would do radiation every day for 15 minutes and then they would give you Saturday and Sunday off, and, man, I was just so happy when it was Friday and I could look forward to Saturday just not having to go there. And then by Sunday, I'd start to feel a little better. I mean, I was definitely taking naps every day. But after a couple of weeks of being done with it, I feel my energy is back. I've been taking it easy in the gym 'cause I don't wanna strain anything. I've done that in the past where I was getting ready for a tour and I started to do some heavy weights and I'd pull something, and it's like I got an issue for six months for it to come back. So I'm taking it pretty easy. But I'm feeling good, and, yeah, overall, I can't complain at all."

Asked if he is now "clear" from cancer, Doug said: "I don't know if I'm clear. I guess it takes five or seven years before you're actually clear, but the doctors — the surgery was really good. Everything was positive, and they fried me really good for six weeks, so I'm pretty sure everything else that was left over is gone. But I got some blood work done last week. We'll see what that says. And then I've got to get a PET scan, and that's a full body scan again to determine if everything's good."

Asked if there was any damage to his vocal cords, Doug said: "No. I think I sound pretty similar to what I did. It was on my tonsil. So they removed my tonsil on one side and then the lymph nodes on the inside of my neck — they took 30 lymph nodes. But, yeah, my voice sounds pretty similar and I can sing — not that I do a lot of singing with THE DEAD DAISIES, but I can do it."

Aldrich previously discussed his cancer battle during an appearance on the December 16, 2024 episode of SiriusXM's "Trunk Nation With Eddie Trunk". Regarding how he got diagnosed with throat cancer, Doug said: "I never thought I would get cancer. It just never occurred to me. I've always been super healthy and — knock on wood — I never had a major anything. And one day, I think it was in May, I was about to go on tour with THE DAISIES and I was shaving and I saw a little lump on my neck. And I was, like, 'Well, that looks when you're sick, you've got swollen glands or something.' It was on one side. And I thought, 'That doesn't hurt at all. My throat doesn't [hurt]. Nothing hurts.' And I went on tour, and I said, 'Hey, something like that could be a viral thing. Let it roll for a couple weeks, and if it doesn't change, then make an appointment to see your doctor.' And so I went and did the dates — it was, like, three weeks of dates or something in the U.S., I believe. And I got home and got an appointment. It took a little time. As you know, to get a doctor's appointment it takes a minute. So it was another few weeks before I got in. And immediately they looked at it in order for me to get a CT scan, [and] after reading that they were concerned there was something in there. It wasn't a major concern. Then I did a little MRI of the neck, and that's when they could measure the bump, and they realized that this was really concerning. [And they told me] I should go see an ear, nose and throat doctor. And my doctor was, like, 'Hey, it could be cancer. It could be cancerous, but it could be benign. It could be whatever. Don't worry about it yet.' But already my mind was starting to get a little bit nervous. So I go to the ear, nose and throat doctor, and he goes, 'I see it. It's on your tonsil. And if you don't mind, I'm gonna grab a piece of it with the tweezers and I'll send it in for a biopsy,' which, actually, just for those people that care about this stuff, you could go get a biopsy and it would cost you thousands of dollars or insurance or whatever. The way this guy did it was old school — he just ripped a chunk off my tonsil and sent it in and it saved me a ton of money to do that. So it came back positive for HPV 16 throat cancer. Definitely not good. So, right then you start freaking out, like, 'Oh, man. Okay, what stage is it?', whatever. And it's very difficult to get definitive answers on stuff, 'cause nobody really knows until you do all these tests and all this stuff. So there's probably three or four weeks before you find out what stage it is or whatever."

Doug continued: "So that's how it started. And then I went and started going through the process. By that time, I was doing a lot of tests and stuff. I have insurance for me and my family, and I maxed out my deductible. So that was good. But insurance is a whole another thing. Doctors' bills — you get bills; every day there's bills from this and that, and you don't know what to pay and what not to pay. It's very confusing. But anyway, that's how it started. That's how it was diagnosed. And I immediately got in with… My wife got me into a doctor at UCLA Medical Center, which is close in L.A. And then my sister's boyfriend is a plastic surgeon, and he got me in with a doctor for a second opinion from Cedar Sinai in L.A. And that's the guy I went with, a guy called Dr. Ho."

Asked by host Eddie Trunk to clarify that he "had no symptoms" beyond this little bump and that he wasn't "in pain or anything", Doug said: "Nothing. Sometimes people lose weight. I had no symptoms — nothing. It was just a bump, and it was not super noticeable, but then, of course, once you see it, you can't unsee it. And another thing that's important for people [to know] is that the most important thing you can do to protect yourself is get checked. Well, this particular cancer, it usually gets discovered by a dentist. But I don't have many problems with my teeth, and a dentist is expensive. So I would be, like, 'Look, my kids, I wanna make sure they're checked, and [they have] braces and whatever they need to do. That's what I'm gonna spend my money on.' I was, like, 'I don't need to go to the dentist. I just brush my teeth and floss. That's it.' But had I gone to the dentist, he would have seen this before it… It's called metastasizing when it switches from the actual tumor to a lymph node, and that's what my neck bump was; it was a lymph node that had gotten swollen. So a dentist would have seen that thing on my tonsil a lot sooner and it would have been much easier to deal with, or my treatment would have been much easier to deal with. But it got discovered when it was already metastasized in the lymph node and then the question was, what stage is it? How big is it? How far did it go?"

Doug added: "So the bottom line is you've gotta get diagnosed of where you're at, and you need to go to an oncologist. And I would recommend [for you to] go to a big hospital in your area and make an appointment, start making appointments with whoever you can. And that's what my wife did. She reached out to UCLA because we've used them before for kids and stuff. And so she got me that one. And the guy, he had been there a long time, had a great record, and UCLA is great and everything, but he said, 'We don't really do stages anymore. It's kind of an old thing that they did with cancer. They call it stage 1 through 4, whatever.' Basically, he goes, 'I don't know what yours is exactly. It could be 2, it could be 3, it could be 1 and a half, whatever. But you're gonna need surgery.'

"When it's in your throat, you've got all these things that are connected in there. So they're looking down your nose, looking in your throat, looking at X-rays and scans and all this stuff. And by the way, around that time too, the doctor ordered a PET scan, which is a full-on body [scan] to see if the cancer has spread to like your lungs or your liver or kidneys or whatever, and that's scary. When you start thinking, like, 'When is my appointment? Oh, it's in two weeks. It could be right now growing anywhere.' And you don't know, so you've gotta get this PET scan. But, fortunately, so far and at that time, I was all clear everywhere except for that spot. So he said, 'You've gotta operate,' and he goes, 'The good thing is I'm a great surgeon. I can do the outside part on your lymph nodes, but I can't do the inside, which is gonna be a robotic surgery. I need somebody else to do that.' And then when I met with Dr. Ho at Cedar Sinai, he was younger. He had probably had more up-to-date kind of training in terms of robotics. And he goes, 'I'm gonna do both surgeries myself.' And he was very confident."

According to Aldrich, another issue had come up during that time which affected the way he went about his surgery. He explained to "Trunk Nation With Eddie Trunk": "There's a nerve in your neck that connects your shoulder that's involved in this area. And when they do the surgery, if they clip that nerve, then you're have a real hard time lifting your arm, which wouldn't affect my guitar playing, but I wouldn't be able to lift my arm up very well. And I'm thinking not just about playing guitar, but I'm thinking about, like, shooting a basketball with my kids or something. So I asked him about it, and he goes, 'We'll do our best. I think we can save that nerve.' And he did. So first thing [they did was the] surgery, and then after surgery, they decide what kind of treatments, whether they got it all and you don't need to do anything, or if you have to have radiation, or chemo, or both. And I had to get radiation."

Asked if he is now done with all the radiation, Doug said: "They told me that I needed radiation just to clear it up, because it had gone to the lymph nodes on my neck and it looked like it was pretty contained, but there might be a little piece or some fragments that would come off, so they need to zap them with radiation just to make sure. And I started reading about what radiation was gonna be like, and my wife did, and it's not fun any way you do it. It's basically frying certain parts of your body, and there's a lot of side effects that happen from that, so I wasn't looking forward to it. And I thought maybe because the surgeon did a good job, and I've got a lot of friends that have gone through [similar] stuff … I was hoping I could get a little bit of a less radiation than what I got. I got six weeks. But they said, 'Hey, you are eligible for a clinical trial where you could get three weeks radiation, but you've gotta get three doses of chemo as well. And it works out really well.' And I was excited about that, and I qualified for it, but the problem with the chemo when you're dealing with head and neck is it makes your ears ring and you can lose hearing. And I already got one ear that's ringing really bad with tinnitus or whatever you call it. So I wasn't a good candidate for that. So I went for the six weeks of radiation, which is five days a week. It takes 15 minutes under the microwave thing or whatever, the laser, whatever, that proton thing, and you do it five days a week. Then they need to give you two days to rest for six weeks. So I just wrapped up."

Asked if he has been given the "all clear" now, Doug said: "The biggest issue from the radiation was I'd get nauseated and major fatigue, and then little by little your neck on the outside starts to fry and my neck now is like baby skin. It's all brand new skin. And so I was lucky. I'm feeling great. I got done with it. I'm starting to think about getting to the gym. And I probably lost 10 pounds, which some people lose 40 or 50 or 100… So I just try to eat healthy and eat protein, and they just said, 'Keep your calories up.' And I've been really lucky, man, but there's a lot of side effects. There's a lot of stuff that's a pain in the ass. I still can't open my mouth to take a nice big bite of a hamburger, and then my jaw gets really tired, because… So I've got this fibrosis — it's like called TMJ or whatever — so I can't really eat; it's hard to eat, it's hard to chew. That's one thing. And then I've got no taste, because that radiation basically fries your taste buds. So that hopefully will come back. Because that's one of the things that's crazy, man, is without taste… When I got COVID a couple years ago, I didn't lose my taste, so I never knew what it was like."

"So to answer your earlier question [about whether I have been given the 'all clear'], I'm basically done with the treatment and the surgery and all that stuff," he continued. "Now I've gotta wait three months and they're gonna do a PET scan again and see if there's anything left. Chances are they got it all. If not, then I'll just deal with it, whatever it is. And you start getting freaked out about it, but there's so many people that go through various stages and things of cancer and they're still around and they're still fighting and kicking ass. And they really are warriors. The key is just to try and catch it early, if you can."

In late September 2024, Doug's wife Daniela "Danni" Aldrich said that his surgery, which she described as "five long hours of multiple steps", "went incredibly well", adding that "Doug pushed through like the fighter he is. Even the nurse called him a superhero for his strength and determination right after!" she wrote. "He is the strongest person I know."

As a result of Doug's surgery, he was not able to take part in THE DEAD DAISIES' recent European tour and was temporarily replaced by Reb Beach (WHITESNAKE, WINGER).

Aldrich played with DIO for a short period between 2002 and 2006. He was also a member of WHITESNAKE from 2002 to 2014 before leaving to spend more time with his family. The guitarist played on two WHITESNAKE studio albums, 2008's "Good To Be Bad" and 2011's "Forevermore", and appeared on several live releases, including 2013's "Made In Japan" and "Made In Britain/The World Records".

Aldrich left WHITESNAKE 10 years ago, saying in a statement that he "had several recording and live commitments," so he "needed a more flexible schedule to conclude these before going full force as normal." He added: "Unfortunately, my schedule was not workable."

The title track of METALLICA's "Master Of Puppets" album has surpassed one billion streams on Spotify.

METALLICA commented: "We're psyched to share that 'Master Of Puppets' has just made its way into Spotify's Billions Club - Thank you!"

Billions Club is a playlist first launched in 2020 which includes all of the songs on Spotify that have surpassed one billion streams on the platform. After the achievement, Spotify gifts artists the Billions Club plaque.

"Master Of Puppets" joins other tracks — including METALLICA's "Nothing Else Matters" and "Enter Sandman", AEROSMITH's "Dream On", SURVIVOR's "Eye Of The Tiger", ABBA's "Dancing Queen", PAPA ROACH's "Last Resort", GUNS N' ROSES' "Paradise City", EVANESCENCE's "Bring Me To Life" and Whitney Houston's "I Wanna Dance With Somebody" — to reach the achievement. The milestone has reportedly been achieved by nearly a thousand songs so far.

Three years ago, "Master Of Puppets" saw new life in the U.S. after its inclusion in season four of Netflix's hit series "Stranger Things". The popularity of the 1986 song brought it to the Billboard Hot 100 chart for the first time ever in the band's lengthy career.

In the season four finale of "Stranger Things", the Eddie Munson character performs what he calls "the most metal concert ever" — including shredding "Master Of Puppets" on his beloved Warlock guitar — in "Stranger Things"' "Upside Down" alternate universe during an attempt to help his friends vanquish the Big Bad of the season, a demon named Vecna.

METALLICA bassist Robert Trujillo later revealed that his then-17-year-old son Tye contributed "additional guitar tracks" to the version of "Master Of Puppets" which appears in "Stranger Things".

"Master Of Puppets" was released on February 24, 1986 and was the first album METALLICA recorded after signing a major label deal with Elektra Records.

The set only reached No. 29 on the Billboard album chart but has sold over six million copies in the U.S. since.

It is the last record to feature bassist Cliff Burton, who was killed later that year in a tour bus crash.

Several songs from the album are still staples of METALLICA's live set, including "Battery", "Welcome Home (Sanitarium)" and the title track.

Many fans consider it METALLICA's finest album, a fact that the band acknowledged by playing it in its entirety on a European tour in 2006.

"Master Of Puppets" continues to sell several thousand copies a week in the United States, according to Nielsen SoundScan.

In 2016, "Master Of Puppets" was among the albums that were selected for induction into the Library of Congress' National Recording Registry.

Several years ago, METALLICA collaborated with an author named Matt Taylor on a book about the making of "Master Of Puppets".
We’re psyched to share that “Master of Puppets” has just made its way into @Spotify’s Billions Club - Thank you!

Send it on its way to two billion, and listen to every member of the Billions Club at https://t.co/vLgkFPpLIR. pic.twitter.com/pjYPF2pvTB

— Metallica (@Metallica) April 3, 2025

In a new interview with Waste Some Time With Jason Green, Stephen Pearcy spoke about his reunion with his longtime RATT bandmate Warren DeMartini for a handful of shows this spring and summer. He said (as transcribed by BLABBERMOUTH.NET): "It's always been going around, 'You guys should get together.' I believe I actually approached Warren a few years ago. I go, 'Hey, why don't we try doing this [Jimmy] Page-[Robert] Plant [-style] thing or something.' And nothing became of it. So, I'm, like, hey, well, he's grooving. He's still that guy — he's the lead guitar player in RATT, the guy who co-wrote those songs; he's the guy. So I went about my business, as you know, and do my solo thing. And I have great players, but this is the real deal.

"So what happened was, over seven years later here, we get a contact from a promoter at M3 [Rock Festival], and it was, like, 'Well, I have this idea. Maybe we can get you guys back together and you can headline one of these nights.' And I'm, like, 'Okay. Yeah, right. Okay, well, let's see what happens.' So anyway, long story short, I said, 'Hey, whatever it takes, I'm in. Let's see if we can make this happen.' Well, it just happened to be the right timing for Warren too, to go, 'Hey, why not? Let's play again.' And here we are."

Pearcy and DeMartini played their first reunion show last Saturday night (April 5) at Mohegan Sun in Uncasville, Connecticut. Playing alongside Pearcy and DeMartini were former RATT and QUIET RIOT guitarist Carlos Cavazo, former RATT and ROUGH CUTT bassist Matt "Thorr" Thorne and former SLAUGHTER drummer Blas Elias. Thorne and Elias are both current touring members of Pearcy's solo band.

"It was fucking amazing," Stephen told Waste Some Time With Jason Green about the Mohegan Sun show. "And we kind of blundered here and there and it's a given. We had a few rehearsals.

"The way Warren and I worked in RATT was we do like to be loosely tight," he explained. "We don't wanna be that technical out there when we play. So it kinda worked out the other day, like, 'Okay, we got our feet wet. Now we know what's happening.' So, some of those songs you may never hear us play again, that we played."

Asked if there are any other songs that he would like to perform at the future shows, Stephen said: "Oh, a hundred percent. And I think [Warren] would do it. I wanna play 'Eat Me Up Alive'. And that's a song Carlos and I wrote, so what the fuck? We played it before. That's a song I wanna do. I liked the couple songs Warren picked.

"For me, it's kind of cool, and even being this sobered up guy for years, is going out there and it's still the same as it was in '85, '86 with Warren up there," Pearcy added. "That's the vibe I got. I mean, we were able to sit there and chit-chat and didn't give a fuck on stage. 'Let's take a second out for us, dude. This is funny, huhThis is a trip, right?' That's our conversation up on stage."

Regarding the fact that drummer Bobby Blotzer and bassist Juan Croucier, who were both members of RATT's classic lineup, are not playing with Pearcy and DeMartini at the current shows, Stephen said: "People are already going, 'Oh, bring back the other guys.' Well, I don't really think they know how complicated it is or it would be, or if it even need be. Because the reason Warren and I are out here in the first place is to kick about the legacy of the music. Hey, we had great songs.

"It wouldn't have worked [with the other members], nor would I think I would've… Of course if you're really doing 'business business', you have to consider all aspects," he added. "But do I wanna fuck with our fans or our friends and go out there and pretend it's fucking cool and it's really not? You know what I mean? I mean, look, it took seven years for Warren and I [to play together again], and it was, like, 'Hey. Wow.' I never thought it would happen, but now we're talking about writing new music. So what the fuck?"

Asked if he thinks he will ever play under the RATT brand again, Stephen said: "Uh, well, I could say it would be cool, but I've proven it's not necessary right now. If you're doing 'business business', so to speak — but it's not necessary. That's why I've been out there busting ass for the last few years, is to establish that… It's irrelevant. I'm the guy who co-wrote or wrote those songs, created the band. Here I am — I'm singing. Because one day I'm gonna wake up and go, 'I don't wanna do this shit anymore.' And it happens… But, yeah, I think about that all the time. I mean, I'm fucking Evel Knievel right here, so I've gotta take it carefully.

Pearcy and DeMartini will also perform a set of RATT classics at the 2025 edition of the M3 Rock Festival, which will take place May 2-4 at the Merriweather Post Pavilion in Columbia, Maryland, and at Rock The Dam 8 in Beaver Dam, Kentucky, on July 26.

"It's all good," Stephen said. "And I'll tell you what we've decided to move forward and because of that show, because we were touchy- touchy, if we wanted to stay out. And so we're gonna entertain some more shows. It's by overwhelming demand. I mean, this might be it, the last you'll see of RATT, for all I know. I don't know. But I'm enjoying this shit. It's fun again. It's been fun for me for the last few years, and I'd like to keep it that way."

Pearcy and DeMartini will headline the final night of M3 Rock Festival on May 4.

During an appearance on the January 29 episode of SiriusXM's "Trunk Nation With Eddie Trunk", Stephen said about the lineup of his new band with DeMartini: "We're gonna have Carlos out there, which is cool. And I'm bringing in Matt Thorr on bass, who's pretty much an original RATT guy from 1981, '82, when Jake E. [Lee] and Warren pulled in. And then we're taking Blas Elias on drums from SLAUGHTER and my band. And we're ready to go."

Added Warren: "When I moved up to L.A. to join RATT, I stayed at a house with Jake E. Lee for a few months, and, it was like a three-bedroom [house], and Jake had one, and Matt had the other, and this other musician had the third. And I was on the couch. But Matt goes way back with [RATT]. I'm actually kind of looking forward to checking that out again. He was playing bass at the time I joined [RATT]."

Regarding why they are not playing the M3 show under the RATT banner, Pearcy said: "Well, I'll tell you right straight up — it's not about RATT. It's about the legacy of our music. And who better to deliver it, because we don't have all the proper original elements, which would include [late RATT guitarist] Robbin [Crosby]. So we just decided — no. This is great. This is perfect. I mean, we don't wanna hit a brick wall. We want this nice and smooth. So that's what we intend to do. It's not about that — it's about the legacy of RATT. Period."

DeMartini went on to say that he was open to playing more shows with Pearcy in the future, assuming that everything goes will with the M3 gig.

"Since we announced the M3 show, other stuff has come up," he revealed. "When this [M3 concert] came up, I was treating it as a one-off, but everything has a momentum, or it can have a momentum. And in this case, it just feels better and better.

"I've always wanted to play these songs to the people, like we always have," he added. "So I'm totally game to doing more."

Asked if Blotzer and Croucier would have any involvement in M3 and other gigs Pearcy and DeMartini plan to play together, Stephen said: "No, no, no. Not on this. No. Like I say, we wanted it to be about the music and Warren and myself delivering it, because it is gonna be a little different. If you were to throw the other guys in the mix, it wouldn't be exactly what it is now, the opportunity."

On the topic of what he has been doing in the seven years since he last played with Stephen, Warren said: "What I always did and what I always do. When I'm not sort of dealing with all the stuff that we deal with in life, I drift back into the studio and either start working on something that I hear in my head or refining something that I have going. So it's been a really nice thing to be able to do all this time, because basically since Stephen and Robbin and I wrote 'Round And Round', it's, like, 'Okay, you can be a writer if you wanna be,' so that's what I do, basically."

Asked if he missed being on stage and being in front of an audience, Warren said: "Oh, of course. It's hard to find words to describe the kind of energy that we have with our audience. It's just fantastic… I did do some gigs with some friends, like the last one was with Billy Gibbons and Sebastian Bach, and we would all play each other's songs. It was two or three songs each. And stuff like that kind of kept it burning, but this is the real fire."

Last year, Pearcy celebrated the 40th anniversary of RATT's classic debut album, "Out Of The Cellar", by performing it in its entirety and in sequence for the first time.

RATT exploded on to the national scene in 1984 with the release of "Out Of The Cellar". Featuring an undeniable hook and legendary music video, lead single "Round And Round" hit No. 12 on the Billboard Hot 100, while "Out Of The Cellar" reached No. 7 on the Billboard Top 200 and was certified triple platinum. Two more charting singles followed with "Back For More" and "Wanted Man". RATT started the tour as an opening act, but by the end of the tour had climbed to arena headliner.

RATT returned in 1985 with its second full-length album, "Invasion Of Your Privacy". Certified double platinum and also reaching No. 7 on the Billboard 200, "Invasion Of Your Privacy" also featured the classics "Lay It Down" (No. 40 on Billboard Hot 100) and "You're In Love".

"Dancing Undercover" followed in 1986 as RATT toured North America with a then-brand new Los Angeles band called POISON as the opening act. Lead single "Dance" hit the Billboard Hot 100 and spawned another music video hit with "Slip Of The Lip", while "Body Talk" was featured in a key scene in the Eddie Murphy film "The Golden Child". "Dancing Undercover" became RATT's third consecutive platinum album and reached No. 26 on the Billboard 200.

1988's "Reach For The Sky" saw RATT return to the Top 20 of the Billboard 200 album charts, peaking at No. 17. Driven by the bluesy hit and MTV favorite "Way Cool Jr.", "Reach For The Sky" was also certified platinum and became RATT's fourth album in a row to move well over a million copies. "I Want A Woman" was also a successful single and the video captured the excitement and energy of RATT live.

RATT released its last full-length record of the Atlantic era, "Detonator", in 1990. Music was changing, but "Detonator" was still a success, peaking at No. 23 on the Billboard 200 and going gold. It was the first RATT album to feature major outside songwriting contributions (Desmond Child, Diane Warren) and guests (Jon Bon Jovi, Michael Schenker). Lead single "Lovin' You's A Dirty Job" hit No. 18 on the rock chart while the power ballad "Givin' Yourself Away" reached No. 39.

In 1991, they released the single "Nobody Rides For Free" from the hit film "Point Break", starring Keanu Reeves and Patrick Swayze.

In January 2021, Pearcy told SiriusXM's "Trunk Nation With Eddie Trunk" that he was open to the idea of making a new RATT album with all the surviving members of the band's classic lineup.

RATT hasn't released any new music since 2010's "Infestation" LP.

"Round and Round," to Mohegan Sun! Pearcy and DeMartini Performing RATT with special guest Vixen are coming to Mohegan...

Posted by Mohegan Sun on Monday, February 24, 2025

ALICE IN CHAINS guitarist/vocalist Jerry Cantrell spoke to Alejandrosis about his latest album, "I Want Blood", which came out last October via Double J Music. The LP, co-produced by Cantrell and Joe Barresi (TOOL, QUEENS OF THE STONE AGE, MELVINS),was recorded at Barresi's JHOC Studio in Pasadena, California. The album features contributions from bass heavyweights Duff McKagan (GUNS N' ROSES) and Robert Trujillo (METALLICA),drummers Gil Sharone (TEAM SLEEP, STOLEN BABIES) and Mike Bordin (FAITH NO MORE),and backing vocals from Lola Colette and Greg Puciato (BETTER LOVERS, ex-THE DILLINGER ESCAPE PLAN). Asked if it's fair to say that "I Want Blood" features social commentary regarding current issues, including politics, Jerry said (as transcribed by BLABBERMOUTH.NET): "I don't think the whole record's about that. [Laughs] I'm a citizen of the world, just like you are, man. And a lot of great music is made through really trying times, and I draw on elements of all sorts of things.

"I wouldn't say it's a political record at all, but politics and technology are part of the world. They're part of my world; they have been since the get-go.

"I don't know. I think it's a little too oversimplified to say it's a political record. I don't think so. I think it's a very human record, is what I think it is."

Regarding how he goes about deciding which piece of music to use for ALICE IN CHAINS and which to set aside for his solo project, Cantrell said: " I guess I don't really think about it. Whatever project I'm working on, I throw myself into 100 percent. And I can always count on the fact that I'm gonna sound like me, so I don't have to worry about that. [Laughs] That's a quality problem not to have: 'Shit, man, I've gotta try to sound like myself.' [Laughs]

"I do have a way of going about things, and there's a lot of variety and musical kind of styles and landscapes I can operate in," he explained. "But I like to think that my voice is unique enough that it's gonna bleed through wherever the music takes me. So I don't really have to worry about it. I don't spend a whole lot of time worrying about if I sound too much like myself [laughs] or if I don't sound enough like myself. I just do my thing. If I'm doing it with ALICE, then it's an ALICE record. If I'm doing it on my own, then it's not an ALICE record. So I don't really know how to answer that question other than that."

Ahead of "I Want Blood"'s release, Cantrell was featured on the cover of Revolver, participated in a career-spanning conversation with Rick Beato, and received widespread praise album for the collection's heavier sound. Metal Hammer described "I Want Blood" as having an "iconic sound, sludgy guitars and soulful vocals."

"I Want Blood" was recently reimagined as a spoken-word series, featuring video animations by Boy Tillekens. Additional collaborators on the project include Barresi, Greg Puciato (BETTER LOVERS, THE BLACK QUEEN),Roy Mayorga (MINISTRY),Gil Sharone (STOLEN BABIES, TEAM SLEEP),Rani Sharone (STOLEN BABIES),George Adrian (THE MAYBIRDS),composer Vincent Jones, and producer Michael Rozon.

Cantrell's first headlining tour supporting "I Want Blood" kicked off on January 31 in Niagara Falls, with FILTER opening on all dates.

Cantrell's previous solo album, "Brighten", came out in October 2021. The LP was Jerry's first project without ALICE IN CHAINS in 19 years.

Jerry's career outside of ALICE IN CHAINS has consisted of two other solo albums and contributions to major film soundtracks. Cantrell's first solo album, "Boggy Depot", was released in 1998, followed by his second album, "Degradation Trip". In addition to his solo artist work, Jerry has released music on soundtracks for several films, including "Spider-Man", "The Cable Guy", "John Wick 2", "Last Action Hero" and "The Punisher".

ALICE IN CHAINS regrouped in 2006 with DuVall joining the band, and released its third LP with DuVall in the lineup, "Rainier Fog", in August 2018.

Photo credit: Darren Craig