At this past weekend's Louder Than Life festival in Louisville, Kentucky, BLACK VEIL BRIDES vocalist Andy Biersack spoke to PK of the ALT 105.1 radio station about the band's recently released track "Hallelujah". The Tampa, Florida-based choir One Voice Ensemble lent its talents to the song, which was produced by Biersack and guitarist Jake Pitts and was made available in July by BLACK VEIL BRIDES' label partners Spinefarm. Andy said (as transcribed by BLABBERMOUTH.NET): "We just wrapped the [new BLACK VEIL BRIDES full-length] record. We put that song out… In the old days, they used to be called a 'street track', right? It's not a single; it's just showing 'this is what we're working on' kind of thing. So we did that before the record was done. We just wanted to get something out, because it had been a year since we had released anything. And so now the [full-length] record is done. It's fully mixed. It's going into mastering. Our work's getting done. I think that we'll probably have another song out before the end of the year. And the record will get announced early next year."

He added: "I'm hyped, man. I really love the record. We're really excited about it. We produced it ourselves. And it's our first record with Spinefarm as a label, and so it's just a great relationship, a great situation."

Asked if this is the first time members of BLACK VEIL BRIDES have produced their music themselves, Andy said: "Yeah. We've been able to work with really great producers over the years, and so Jake and I feel like we learned a lot from them. We worked with Bob Rock, John Feldmann, Erik Ron, all these guys who are top of the game. And so we wanted to try our hand. And we're never gonna do what they do, but we felt like it's our record and we wanted to take ownership over it and see how good we can do on our own. And I think the result is, at least for us, it's pretty exciting. I think it's one of the best things we've done because it's unfiltered us. If you're a fan of what we do, it's going to be the most of what we do, 'cause without anybody else's voice in the room, you're left to your own devices."

He continued: "As from a writer and a singer perspective, for me, one of the things I found to be the most exciting about this record was when you write a song and you work with a producer, a lot of times the producer hears it a certain way. So I get in the booth to sing it and the phrasing, they'll say, 'Ah, sing it this way' or 'that way.' And so for this, it's exactly how I pictured it in my mind as I'm writing the thing down. And so for better or for worse, it feels the most complete."

Three months ago, BLACK VEIL BRIDES released an animated video for "Hallelujah", directed by Marco Pavone (THE BLACK DAHLIA MURDER, PINK FLOYD, SHADOW OF INTENT).

"Hallelujah" received its live debut at Warped Tour in Long Beach, California on July 26. BLACK VEIL BRIDES will also make appearances at Rock The Locks in Umatilla, Oregon (September 26) and Aftershock (October 5) before heading to South America for six headline shows. The "We Missed Ourselves Tour 2025" will also feature UNDEROATH, SILVERSTEIN, SENSES FAIL and I SET MY FRIENDS ON FIRE.

When "Hallelujah" was first made available, Biersack said in a statement: "'Hallelujah' is an important song for us, not only because it is the first track from the new record, but also as a signifier of what's to come for the band. On a narrative level, it represents the themes and ideas I am exploring lyrically on the album.

"I am fascinated by the current state of discourse and how often we seem to prioritize ideological certainty over the heart and soul of humanity. Over the years we have developed a tremendous connection with our audience, which is often dismissed or misinterpreted by the 'scene.' We stand at a unique inflection point culturally and I want to be able to speak openly about how much I believe in being true to yourself over the fear of mass hysteria or in-group recriminations.

"When my grandfather's voice spoke to 'the outcasts' in the first moments of our first record in 2010, it was a sincere call to arms for all those who feel different. In many ways this record is the natural evolution of that same idea. This is the heaviest and most vitriolic BVB record by far but more importantly I believe it is the most sincere and honest record we have ever made."

Earlier this year, Andy credited Feldmann and Ron with helping him develop the skills in the studio to oversee a BLACK VEIL BRIDES recording from beginning to end. Biersack told Brandy-Baye Robidoux of Idobi Radio: "I wouldn't know how any of this stuff functions without particularly those two. Jake and I have always said we learned how to be people in a studio from John Feldmann. And then that carried over to where when we started working with Erik, who also had worked with Feldmann as an engineer in his early career, we come from that same school. And so I think in a lot of ways we brought that same sort of means of production to our record. It's just that we were doing it on our own. But it really comes from that for us."

Asked if it was "more challenging or easier" to produce the new album themselves, Andy said: "I would say it was a little bit more challenging in the capacity that you've gotta make sure that you get it right. I would say the easier thing is for me vocally, sometimes — and I guess this will be determined by how people hear it — but sometimes when you're singing, if you're working with a producer who is also a singer, they have a way that they want to hear something. So if I go, 'This melody goes this way,' and they go, 'Oh, this melody should go this way.' And then you're, like, 'Oh,' and that's unnatural. I always say, like, there's certain times when I can hear on records where I would've wanted it to be pushed this certain way, and then somebody else wanted it to go this other way, and then I just end up sounding like I don't know what I'm saying in the song. With this, it's just the way I want it, for better or for worse. So we'll find out whether that was the right way or not. We'll find out. We'll see if people like it."

Regarding whether BLACK VEIL BRIDES is "pulling from any unexpected influences" this time around, Andy said: "Well, I think we have a total lack of interest in any commercial crossover. We've been in the major label system for most of our career, where even though we were a band with a lot of shreddy guitars and I'm writing about theological ideas, they're, like, 'But where's the single?' And so you'd always kind of have to temper that with, 'We've gotta make sure that there's a single.' And what we have found, and thankfully working with Spinefarm now, 'Bleeders' was not a song that was made to be a hit. And yet it was a song that, because the label believed in it, did really well at radio and traditional places. So we want to be able to make songs that are enjoyable and that people at radio wanna play — we sincerely want that — but we are not in a position now where we're going to the studio going, like, 'Okay, but we've gotta make sure that we have the song that it's cool for the executives' kind of thing, which is kind of something that we had been bogged down by for a lot of years… And sometimes it works and sometimes it doesn't. In some cases, you make a concept record that's an hour and a half long, but you happen to have a song that is a platinum single on it. People are, like, 'All right, fine. You could do weird stuff.' If you do that same thing and then you don't have that platinum single, yeah…. And we've seen both sides of that. So, at this point I feel like the best bet is just to make the coolest thing we can make as opposed to trying to go, 'I hope we've got that big hit on there,' 'cause you can't prescribe those things."

In May 2024, BLACK VEIL BRIDES released the title track from their "Bleeders" EP, inspired by Stephen Sondheim and Hugh Wheeler's "Sweeney Todd". The band paid tribute to the classic musical with a music video for the title track that is inspired by the musical's 2007 Tim Burton-directed film adaptation.

Released in June 2024, the three-track EP, which included "Bleeders", a cover of "My Friends" from the Sondheim classic, and a cover of U2's "Sunday Bloody Sunday", was BLACK VEIL BRIDES' first release for Spinefarm.

Photo credit: Jonathan Weiner

Kirk Hammett, legendary guitarist of the multi-platinum-selling and nine-time-Grammy Award-winning band METALLICA, has shared official video of the "Kirk Hammett The Collection: Live" June 7, 2025 book event at the Seminole Hard Rock Tampa Event Center in Tampa, Florida. The intimate, live discussion took a deep dive into Kirk's storied music career and celebrated the launch of his new coffee table book, "The Collection: Kirk Hammett". Joining Hammett on stage at one point during the Tampa event was METALLICA bassist Robert Trujillo, who took part in a surprise jam with the guitarist.

Hammett said: "I am thrilled to share 'Kirk Hammett The Collection: Live' in Tampa, Florida June 7, 2025. This summer during the 'M72' tour, I took the book LIVE in six cities to share and discuss the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! Thank you to Gibson for making my passion for Greeny and guitars a reality. I hope you enjoy the LIVE journey as much as I did."

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

Released worldwide via Gibson Publishing, "The Collection: Kirk Hammett" is a premium, hardcover coffee table book in which Kirk tells the stories behind the rare and highly collectible instruments he has used on hit records and on stages worldwide in front of millions of fans. "The Collection: Kirk Hammett" is available globally via Gibson.com and the Gibson Garage locations in three premium formats: limited signed and numbered Custom and Deluxe Editions and a Standard hardcover.

A 400-page premium coffee table book, "The Collection: Kirk Hammett" explores in unprecedented detail the extraordinary guitar collection and life in music of one of heavy metal's true pioneers, Gibson signature artist Kirk Hammett. Shot on location in Hawaii and Los Angeles by legendary rock photographer Ross Halfin and featuring rare imagery from Halfin's photo archives, this latest release from Gibson Publishing features exclusive new interviews with Hammett conducted by Chris Vinnicombe (Gibson editor-in-chief) and Mark Agnesi (Gibson director of brand experience). "The Collection: Kirk Hammett" takes the deepest-ever dive into the METALLICA star's eclectic guitar collection, documenting the instruments he has leaned on throughout his career, from his early days with Bay Area thrash trailblazers EXODUS to selling over 125 million albums worldwide and rocking out with METALLICA for over 40 years on the world's biggest stages. Guitars under the microscope include Hammett's storied 1979 Gibson Flying V and Greeny, the legendary 1959 Gibson Les Paul Standard formerly owned by guitarists Peter Green and Gary Moore, and so much more. "The Collection: Kirk Hammett" is a must-have for fans of Kirk Hammett and METALLICA and anyone with an interest in fine guitars.

In a video teaser featuring narration from Jason Momoa, the actor — who is a longtime METALLICA fan — says: "Every guitar has a story, and the thrill of finding the right one can be as electrifying as any song it will play. Collecting is an obsession, a passion, and a neverending quest for discovering the perfect tone. No one knows this more than Kirk Hammett."

Hammett was a member of EXODUS's original lineup before replacing Dave Mustaine in METALLICA in 1983. In fact, Hammett was not only the person who came up with the EXODUS name, but also the first from the band to meet original EXODUS singer Paul Baloff and brought him into the group. With Hammett on guitar, METALLICA went on to record its debut album, "Kill 'Em All", later in 1983.

In a 1994 interview with Metal Hammer, Hammett said his EXODUS bandmates were less than happy about his decision to leave the band.

Coming to select cities on the Metallica #M72 North American Tour…

KIRK HAMMETT / THE COLLECTION: LIVE
A Conversation...

Posted by Gibson on Thursday, April 10, 2025

During this past Friday's (October 17) "Tribute To Ace Frehley" episode of SiriusXM's "Trunk Nation With Eddie Trunk", former KISS guitarist Bruce Kulick spoke about the band's original axeman Ace Frehley who died on October 16 at the age of 74. Asked by host Eddie Trunk if it "meant a lot" to him to know that Ace "had a lot of respect" for how he handled the KISS gig, Bruce said (as transcribed by BLABBERMOUTH.NET): "[I had] a tremendous feeling of accomplishment to have him support how I played, what my role in KISS was. Of course it's gonna be different to Tommy [Thayer, latter-era KISS guitarist] being the Spaceman. We understand that. And Vinnie [Vincent, former KISS guitarist] I'm not sure he had any opinion of. But I kept hearing from people that were close to him that he always said really wonderful things to me. And we got closer more in the last three to four years doing some events together. We did 'The Vault' together with Gene [Simmons, KISS bassist/vocalist] when he presented 'The Vault' and then a couple of those Creatures Fest gigs that we performed together. And then the KISS Kruise, and we actually jammed together. I shouldn't forget 'Unplugged', which is coming up on a big 30th anniversary."

Kulick continued: "I didn't really know Ace, but I so much respected… You gotta understand when I joined the band, and I hope everybody understands that I was asked to be flashy, be '80s rock. And we all know that Ace was a player that was very unique. He was closer to a Jimmy Page that it wasn't all flash; it was melody, and [his solos] were like another song within a song. Now, as my tenure with KISS increased through the years and we'd go deeper into the catalog, I wouldn't reinterpret his solo. And by the time of 'Unplugged', playing them on acoustic, some of those deep tracks, I was just playing, as note for note as I could do, what Ace played. So my respect for him as a player and how special he was for the KISS music just grew and grew and grew. And I think he knew I respected him and I wasn't trying to outshine him or something. There was no way. I was always aware of that shadow of his iconic nature in KISS."

Bruce went on to say that he was aware Frehley was likely not going to recover from a second fall he had around October 3, resulting in the cancelation of Ace's gigs for the remainder of the year.  "I didn't talk about it, but the KISS guys knew," he said. "I was informed and not to talk to anybody. The privacy of a family is imperative with this. With anybody's illness or death, they get to choose how that is handled. And for me to know any day now [we would get the news of Ace's death], and I want the listeners to understand the torture of that. When are we gonna get that news? So, in a way I was mourning the whole time, but when it actually was real, it was just completely awful. And it hit me harder than I ever thought, really."

In a November 2024 interview with Loaded Radio, Bruce was asked why he wasn't ever approached to rejoin the band after Ace left for good back in 2001. He responded: "That's a great question. And not everyone's aware of some of the backstory. I would hear things about them having problems with Ace and Ace was getting erratic or difficult. And Tommy Thayer was actually tour managing with them; he was on the road with them. Because even during my era, he was involved with the band, helping with 'Kisstory' and doing things for the group. He wrote some songs with Gene and was always part of the inner circle, shall I say. So from what I understood, there was one or two things that KISS did — not a concert, even though once Ace was almost not gonna make it and they made Tommy get the outfit on. [He had a] similar build — tall and thin — and Ace made it to the show. But there were a couple of other things they needed to do. I believe 'That '70s Show', when they were taping, Ace didn't show up. 'Tommy, get the outfit on.' And then I think there was a private gig, too, that no one would really know about — one of those things where you go to an island and play for some rich people. And Ace wouldn't go. And KISS wasn't gonna say, 'All right, we're not gonna take the gig.' So if they ever had a thought of me, I think they would have known that that probably would have been a lot harder. Tommy was younger, there already, if you know what I mean, working with them. And Tommy, not everybody knows that he was in a tribute band for fun at times called COLD GIN as Ace Frehley."

Bruce continued: "So if they would have went to me, I can't say I absolutely would have said 'no.' I miss being in KISS. I do realize it would have kind of pooped on my era because then I'd have to kind of play the role of the 'Spaceman' and shoot rockets and play more like Ace. I was never given that direction from Gene and Paul, where Tommy knew that it actually was more comfortable with his natural style of guitar playing. He wasn't a Floyd Rose, play-some-flashy-riffs king of the mountain. So I never felt like they made the wrong choice — ever. I always felt that was the right way to go 'cause then Tommy could assume the role of the Spaceman in the group. Eric [Singer, KISS drummer] sometimes gets some criticism, like Tommy has, but Eric being behind the drums and having five years in the band without the makeup, maybe he gets a little less. Neither of them really deserve criticism because they're talented players doing a great job. And it was Gene and Paul's choice to say, 'And now you're the Catman,' 'And now you're the Spaceman.' It wasn't [Tommy and Eric] saying, 'Please, I wanna be the Spaceman.' And to new generations, Tommyis the Spaceman. Even though Eric has a lot of credibility from 'Revenge' and 'MTV Unplugged' and 'Carnival Of Souls' and all the work that we did together for those five years. So, I actually kind of lost the big gig on many levels for the right reasons though. And I was never fired the first time. It was simply, 'Well, we're making all this money. Now we're selling out from arenas to stadiums in makeup.' So my era ran its course."

In 1984, Bruce joined KISS, where he remained as their lead guitarist for twelve years, accompanying the band on the "Animalize" tour and continuing with the band until the 1996 reunion tour. Bruce is heavily featured on "Kissology – Vol. 2" and "Vol. 3", the band's DVDs spanning their historic 45-year career.

In an April 2020 interview with Sleaze Roxx, Kulick said that he was "relieved" he wasn't approached to rejoin the band after Frehley left for good back in 2001.

"When I had to leave in '96 after the success of the KISS 'Unplugged' performance, people were aware of the musicianship that existed in the band between Eric Singer [drums] and I, but after 20 years of people hearing about KISS in makeup, it was kind of like 'Star Wars' when it was rebooted people went to see what it was all about," he said. "I understood that it was the original guys, they put the makeup on and people were excited to either see it again or see it for the first time. That carried on, then it carried on and it carried on. [Laughs] It then reached a point where Gene [Simmons] and Paul [Stanley] couldn't continue with Peter [Criss] so they called on Eric Singer to step into the role and the makeup.

"Eric is such a tremendous drummer," he continued. "I was genuinely happy for him. I still am. Then when Ace started dropping the ball, it was seamless for them to go with Tommy Thayer who does such a fantastic job as the 'Spaceman.'

"If I had been asked to step into the 'Spaceman' role, it would have been really awkward for me. I get asked by the fans a lot, 'Well, why aren't you there?' I think Tommy stepping into the role was a lot more natural than Bruce Kulick becoming the 'Spaceman' and shooting rockets off of my guitar. I would have had to play the songs note for note like Ace. I don't think I could do that and remain happy in the band. Tommy does that to perfection. I was never required to learn the classic stuff note for note, but if you're going to be the 'Spaceman,' it would have to stay true to the way Ace plays it. That's not to say that I don't play the classic songs with respect. I play the GRAND FUNK RAILROAD songs with respect, while injecting my own style into them, like I did in my time in KISS. I would lose my 'liberties' if I stepped into the 'Spaceman' role.

"I'm friends with Tommy, Bruce added. "We've gotten closer over the years on the 'Kiss Kruise'. We've spoken a lot on the 'Kruise'. He once said to me, 'Hey, I never got into the Floyd Rose whammy bar thing. How do you play 'Crazy Nights'?' I said, 'Don't worry about it. Play it how you play it. It's what works for you. I don't take any offense and you don't need to copy how I do it.'

"Tommy's style is so much closer to Ace's than mine. I have a unique style to my approach you can hear it on 'Tears Are Falling', 'Who Wants To Be Lonely', 'Unholy' and even the acoustic solo on 'Forever'. I am proud of my body of work for that era of KISS. I'm embracing it. The fans are embracing it. It's all good."

Kulick went on to say that he is at peace with the fact that he will never be part of the makeup era of KISS.

"I was relieved [when they didn't ask me to step in after Ace left]," he said. "I think if I had been asked and done it, I think it would hurt. I know that Tommy and Eric avoid… I'm close to both but I'm closer with Eric. They avoid reading things online. Their best medicine is to just do a great job every night and not read that stuff. I'm shocked that sometimes someone will leave a snarky comment toward me. I'm, like, 'Really?' I don't get into that stuff and I don't like anything negative on social media and I never do or post anything negative. I won't allow anything negative. There's times I read something and I choose to ignore it. Everyone has a voice these days. They have a laptop, a tablet or a smartphone.

"I was relieved, but how could I not have 'entertained' the idea if I was asked? At the time when they swooped Tommy right in, I was already in GRAND FUNK RAILROAD and I was and still am pretty happy with my role in the band. Sure, it wasn't KISS, but it's a great gig. Now think of it from this angle. Let's say they made the right proposition and I took it, then Ace wanted back into the band. Where would that have left me? No KISS gig and no gig in GRAND FUNK."

In some of his recent interviews, Bruce once again confirmed that he wasn't asked to perform at KISS's final show and wasn't invited to attend the event, which was held last December at New York City's Madison Square Garden.

With everyone still feeling the impact of the sudden death of Ace Frehley, I started collecting all the photos and...

Posted by Bruce Kulick on Monday, October 20, 2025

Silver Lining Music will release "No Life 'Til Leather - A Tribute To Metallica's Kill 'Em All" on November 14. The third single from the all-star compilation is TESTAMENT's cover of METALLICA's "Seek & Destroy".

"We had fun covering METALLICA's song 'Seek & Destroy'," comments TESTAMENT vocalist Chuck Billy. "Songs like this started a movement."

The first single from "No Life 'Til Leather - A Tribute To Metallica's Kill 'Em All" was THE ALMIGHTY's blistering, full-throttle cover of METALLICA's legendary "The Four Horsemen", THE ALMIGHTY's first recorded work with their founding lineup since 1991, chosen by the band as both a nod to their roots and a declaration of intent.

THE ALMIGHTY guitarist Ricky Warwick commented: "'The Four Horsemen' by METALLICA got us back into the studio with the original lineup for the first time since 1991… Unbelievable.

"When the opportunity presented itself, it was really a no-brainer. METALLICA has been a huge influence for us. It was a bit nerve-racking because we had not been in the studio for such a long time. We did the whole thing in a day and a half with as much power and passion as you would expect from THE ALMIGHTY. It is such a powerful track. I think it turned out great, make sure you turn it up really, really loud!"

Watch THE ALMIGHTY's video for the band's cover of "The Four Horsemen", edited by Freakshot Film, below.

The second single from the all-star compilation is former MEGADETH bassist David Ellefson's monumental cover of METALLICA's instrumental epic "(Anesthesia) - Pulling Teeth".

Ellefson comments: "It was a total honor to be asked to participate in this album, especially to record the iconic bass composition '(Anesthesia) - Pulling Teeth' by the one and only Cliff Burton [late METALLICA bassist]. I was able to borrow one of Cliff's Aria Pro signature bass guitars and signature Morley fuzz/wah pedal for the session to replicate his sharp-yet-thunderous tone he created on the original recording. It is my hope that this homage will highlight Cliff's larger-than-life personality and that his music will always live on through this unique and iconic song he gave to the world."

Ellefson and Dave Mustaine formed MEGADETH in 1983, after Mustaine got kicked out of METALLICA. METALLICA recruited Kirk Hammett and went on to record its debut album, "Kill 'Em All", later that year, while Ellefson and Mustaine began work on MEGADETH's first LP, "Killing Is My Business... And Business Is Good!"

During a 2019 ALTITUDES & ATTITUDE conversation with moderator Ryan J. Downey at the MI Concert Hall in Los Angeles, Ellefson was asked if Burton was an inspiration on his bass playing during MEGADETH's formative years. Ellefson responded: " I met Dave [Mustaine] in June of 1983. He had just left METALLICA literally not more than eight weeks before that, in April. So I didn't know anything about METALLICA, didn't know who Dave was, heard nothing about Cliff Burton — knew nothing about it, coming from the Midwest. And I didn't know anything about Cliff. And because the only recording Dave had of METALLICA was 'No Life 'Til Leather', and that had another bass player on it named Ron McGovney. So when we did a cover of 'Mechanix', I played Ron McGovney's basslines."

He continued: "Really, quite honestly, my METALLICA bass player was Ron, believe it or not, and I kind of modeled what we did off of that 'No Life 'Til Leather' demo. And I remember the day when 'Kill 'Em All' and we sat… There was complete silence in the room, and we sat and we listened to the album. And the differences — tempos were pulled back. And obviously the bass solo, 'Anesthesia'. That was really my first experience hearing Cliff. And at that point, we were two months into… MEGADETH was well on its way.

"So, long answer to your short question is I didn't really have an influence [from Cliff]… That was not where my influence came from. And quite honestly, growing up in a rural area of Minnesota, bass players in rock and roll were cool, but when I started hearing some jazz players… Those guys were more of my influence, along with Steve Harris [IRON MAIDEN] and Geddy Lee [RUSH] and Ian Hill [JUDAS PRIEST] and the metal guys. But, for me, I went more into the jazz world… But those were the things that I brought in, and I think that made, me and Dave, our participation together with the MEGADETH sound something that was… And even then with Gar Samuelson and Chris Poland — they were jazz-fusion musicians. We really had a very different sound — different even from ANTHRAX, from METALLICA, from SLAYER — a very different sound. And I think that probably is what sort of set us apart as our own pillar of the 'Big Four.'"

"No Life 'Til Leather - A Tribute To Metallica's Kill 'Em All" is a colossal celebration of the most propulsive debut album in heavy metal history, reimagined by the legends who inspired it and the generations that came in its wake!

The veteran likes of SAXON, DIAMOND HEAD and MOTÖRHEAD — three of METALLICA's favorite bands — are joined by rising stars such as TAILGUNNER and Swedish prog metallers SOEN to create a who's who of heavy music, with each performer lending their unique sound to one classic track. Contributions from thrash giants TESTAMENT, ex-MEGADETH bassist David Ellefson and New Wave Of British Heavy Metal linchpins TYGERS OF PAN TANG show the label looking beyond their own artists to amass the greatest lineup possible. Joining the superstar lineup are the legendary RAVEN (closing with the thundering anthemic "Metal Militia") who were part of METALLICA's first-ever tour, 1983's famous "Kill 'Em All For One" venture.

"No Life 'Til Leather - A Tribute To Metallica's Kill 'Em All" is an ambitious achievement worthy of METALLICA's game-changing legacy. By the fans and for the fans, it reaffirms the Four Horsemen's ironclad status — and its stacked roster continues the band's mission to shove metal up your ass.

"No Life 'Til Leather - A Tribute To Metallica's Kill 'Em All" will be available on vinyl, CD, and digital formats.

"No Life 'Til Leather - A Tribute To Metallica's Kill 'Em All" track listing:

01. Hit The Lights - TAILGUNNER
02. The Four Horsemen - THE ALMIGHTY
03. Motorbreath - SOEN
04. Jump In The Fire - TYGERS OF PAN TANG
05. (Anesthesia - Pulling Teeth - DAVID ELLEFSON
06. Whiplash - MOTÖRHEAD
07. Phantom Lord - SAXON
08. No Remorse - DIAMOND HEAD
09. Seek & Destroy - TESTAMENT
10. Metal Militia - RAVEN

DIAMOND HEAD's version of METALLICA's "No Remorse" was originally included on a reimagined and re-recorded version of DIAMOND HEAD's "Lightning To The Nations" album, which was released in 2020 via Silver Lining Music.

"I wanted to cover a song from METALLICA's debut album, 'Kill 'Em All'," DIAMOND HEAD guitarist Brian Tatler explained, "partly because METALLICA covered songs from DIAMOND HEAD's debut album 'Lightning To The Nations' and it felt like things have come full circle to me. None of the band members knew how to play any of the songs from 'Kill 'Em All', and I eventually decided we should all learn 'No Remorse'. Then when we got into the rehearsal room, we played 'No Remorse' and immediately it just sounded great; it was very 'DIAMOND HEAD' and it really suited us as a band. Of the four covers we ended up doing, 'No Remorse' sounded the best straight away. I've seen METALLICA live over twenty times and they don't play 'No Remorse' very often, but it's always great when they do."

Back in December 2011, SAXON's Biff Byford joined METALLICA on stage for the first of four intimate shows at the 1,200-capacity Fillmore in San Francisco as part of the week-long celebration of its 30th anniversary as a band for fan club members only. The iconic metal vocalist performed the SAXON classic "Motorcycle Man" with METALLICA.

It wasn't the first time Biff and METALLICA had surprised their fans with a live rendition of the song: in 2009, Byford joined the San Francisco heavy metal giants in Paris, at Palais Omnisport de Bercy.

METALLICA's second-ever gig was opening for SAXON, and Biff has been a longtime friend of the California band; like many other seminal bands of the genre, METALLICA always recognized SAXON as one of their main influences.

When METALLICA played Sheffield Arena on February 28, 2009, they invited as VIP guests former SAXON members Graham Oliver and Steve Dawson.

There has always been a strong link between the pioneering MOTÖRHEAD and mighty METALLICA. A unique bond of friendship between the two has stood over the decades, with METALLICA even playing Lemmy's 50th birthday party in 1995. In turn, MOTÖRHEAD have paid homage to some of METALLICA's finest compositions, even winning a Grammy Award for their cover of "Whiplash" in 2004.

METALLICA paid tribute to MOTÖRHEAD frontman Lemmy on its 2016 album "Hardwired... To Self-Destruct", which came out less than a year after the iconic rocker's death.

Shortly after Lemmy's passing, METALLICA drummer Lars Ulrich penned a lengthy tribute to the MOTÖRHEAD mainman in which looked back on the influence Lemmy had not just on METALLICA but also on him personally.

During an appearance on the latest episode of the "100 Songs That Define Heavy Metal" podcast, hosted by Metal Blade Records CEO Brian Slagel, SIX FEET UNDER vocalist Chris Barnes spoke about the progress of the recording sessions for the band's upcoming album. The follow-up to last year's "Killing For Revenge" is tentatively due in early 2026 via Metal Blade Records.  Barnes said (as transcribed by BLABBERMOUTH.NET): "Well, the new album's done. I finished vocals last week down in Miami, at the Criteria [studios]."

Regarding what fans can expect from the new SIX FEET UNDER LP, Chris said: "It's a really interesting album… Well, me and Jack [Owen, SIX FEET UNDER guitarist] wrote the songs on this… This time he wrote half of the lyrics on the album; I wrote the other half. And that's been really interesting for me too, to collaborate as a lyricist with someone… So me and Jack collaborated on [CANNIBAL CORPSE's debut album] 'Eaten Back To Life', on [the song] 'Shredded Humans'. And his writing style and his storytelling is very immersive as well. And I love the way Jack writes. He's been a really amazing addition to SIX FEET UNDER as far as progressing the band and keeping things interesting."

He continued: "This album, it encompasses just a lot of everything we've done. I mean, even going back to 'Haunted', there are some songs that are very rhythmic and I think more on the simple, straightforward side. And then there's some songs that are very thrashy, which kind of came into play on the last album, on 'Killing For Revenge', where they're more thrashy-based type of death metal. And then there's some songs — one of the songs really reminds me of like something we would've done on 'The Bleeding' when I was in CANNIBAL CORPSE, when [Jack and I] were both in CANNIBAL CORPSE. So it's really, really cool."

Regarding the production of the upcoming SIX FEET UNDER LP, Barnes said: "We haven't mixed the album yet; that starts next month in November. Mark Lewis is gonna be mixing this album. So we're gonna be working with him again. We haven't worked with him since 'Undead' and 'Unborn'. And I really liked his mix that he did on — he did the new DYING FETUS record, but the last one, I was really, really a fan of that. And we actually reconnected on SIX FEET UNDER's tour earlier this past year — it was January, February 2025 here when we were in Nashville and we talked backstage and we had a really good conversation. So it was sticking with me for a few months after that, like, 'Man, I just really love that production he did on the FETUS album and it'd be great to work with him again.' So I kind of connected with him after that tour, a couple of months after, and he was, like, 'Oh, man, I'm down. Let's do this.' So he's really open to explore the production and the mix in an interesting way so that it complements these songs, 'cause they are very diverse from each other."

He added: "I don't like blanket productions. I think I mentioned to you years ago, I was, like, how come one song can't have one production, like with a different snare sound, for instance? And why can't that song have another sound to it on the same album? And I understand there has to be some cohesiveness throughout the album. I'm a big fan of making each song its own entity. We're not gonna go so far with it like that, but I've always respected bands and albums and producers that have been able to do that and not just do a blanket production to make it sound more organic, I guess."

A month ago, SIX FEET UNDER canceled its previously announced "Midnight In Hell" tour with EXHORDER, WRETCHED and INCITE "due to unforeseen circumstances". The trek was scheduled to launch on September 20 in Indianapolis, Indiana and conclude on October 25 in New Kensington, Pennsylvania.

"Killing For Revenge" came out in May 2024 through Metal Blade Records. The LP marked the second effort that Barnes and Owen (ex-CANNIBAL CORPSE) had created together since reuniting for 2020's "Nightmares Of The Decomposed". Owen also produced "Killing For Revenge".

SIX FEET UNDER was initially formed as a side project for Barnes during his final years with the band that he co-founded, CANNIBAL CORPSE. It became the frontman's sole focus in 1995, coinciding with the release of their debut, "Haunted". Only Barnes remains from SIX FEET UNDER's original incarnation, but the quality has remained remarkably consistent. The current lineup of Barnes, guitarists Owen and Ray Suhy, bassist Jeff Hughell and drummer Marco Pitruzzella make for a devastating unit.

While Barnes is the sole remaining member, SIX FEET UNDER is about more than he and Owen. The singer is thrilled with the current lineup, and what each member brings to the table. "Jeff and Marco have been with me for about 10 years," Barnes said in last year's press release. "I'm really fortunate that I have probably the best musicians in metal. If you look at it, we have the same amount of original members as CANNIBAL CORPSE. Jeff is a killer bass player. Marco's probably the best drummer out there. Jack's the greatest songwriter I've ever been involved with over the 30-plus years I've been doing music professionally. And Ray is just a phenomenal guitarist who can play everything from jazz to death metal. The lineup now is untouchable."

"Killing For Revenge", which featured a guest appearance by guitarist Jason Suecof on "Neanderthal", was mixed and mastered by Chaz Najjar at Badlands Recording in Denver, Colorado. The record was released on CD and digital formats as well as vinyl.

SIX FEET UNDER is:

Chris Barnes - vocals
Jack Owen - rhythm guitar
Ray Suhy - lead guitar
Jeff Hughell - bass
Marco Pitruzzella - drums

On August 15, 2025, just five days before the tragic death of ex-MASTODON guitarist Brent Hinds, MASTODON guitarist Bill Kelliher was interviewed by Niels Guns of the Sixty Scales And The Truth podcast at the Dynamo Metalfest in Eindhoven, The Netherlands. During the chat, which has just been uploaded to YouTube, Kelliher stated about MASTODON's current lineup, which includes the band's latest addition, Canadian musician Nick Johnston (as transcribed by BLABBERMOUTH.NET): "We have gone through a lot of changes in the past, I guess this year, but all for the good. We are the strongest band we've ever been right now. And this is on every level — writing, touring, performing, just being friends and hanging out. Honestly, it's like being in a relationship with someone for so long that was not really something you were that stoked about anymore. Relationships get old — it happens — and you get a new wife maybe or a new girlfriend or something. That's the only way I can really relate it to, but it's a genesis of just a new band. We are just all firing on the same level finally. And it's the band I've always wanted to be in, and it's finally here. So we're just taking full advantage of it."

On the topic of Johnston, who is known for his catchy, melody-driven instrumental music, Bill said: "He is fricking good. And more importantly, he's just very humble and he is very extremely excited to be where he is with us. And he fits right in with us. And we're all pretty laid-back guys and don't take ourselves too seriously. Our music, I live and breathe MASTODON every day. But Nick is surely becoming one of those same people. At first it was weird, honestly, it was different, 'cause he's not the guy that's been there for 25 years, but he's quickly adapting to fit right in with us. And we're writing together like crazy. And he's just always so excited about going on. He's like a kid in a candy store when he goes on stage. He's, like, 'Yeah, I can't wait to get out there and grab the candy.'"

Regarding how MASTODON ended up recruiting Nick as the replacement for Brent, Bill said: "We found him — I believe he was doing some overdub guitar work with Brendon Small from DETHKLOK out in L.A. years ago. And I think Brann [Dailor, MASTODON drummer/vocalist] was out there visiting with Brendon, who is a friend of ours, and he heard Nick in the studio, and he was, like, 'God, who is that guy? That guy's really, really good.' And he just started thinking, if something ever happens, then maybe we could play with that guy someday, I think. And it just sort of [evolved from there]."

Kelliher went on to say that it was important for MASTODON to find someone who had musical chemistry with the other guys in the band but was also a good fit on a personal level. "Your heart has to be into what you're doing, especially if you're an artist," he explained. "You can't just get up there and fake it. I know if I were to fake it, if I didn't wanna do this anymore, I would stop doing it. But I love my band and I love all the hard work we've put into it. It pays off. Every day you have to do something positive for your band."

Touching upon MASTODON's split with Hinds, Kelliher said: "People go in separate paths. And sometimes you're doing something for the wrong reasons. It's just like being in a relationship with someone. You wanna get divorced, but you don't know how to do it. You don't know how to tell them. It's kind of similar."

Referencing Brent directly, Bill said: "I honestly just wish the best for that guy. I just hope he can find what he likes to do, and we're gonna keep on doing what we like to do."

Bill also revealed that MASTODON's upcoming follow-up to 2021's "Hushed And Grim" album will feature songwriting contributions from Johnston, who hails from Toronto and released his seventh solo album, "Child Of Bliss", in 2024.

"Well, we're kind of still in the writing process," Kelliher said. "Honestly, I've been writing for the new record since 'Hushed And Grim'. Even before 'Hushed And Grim' was finished, I still had extra songs, and then I just keep writing more and more and more. So now we've got, like, 20-some ideas. 'Cause I own a studio as well — not just the one in my basement, but I have a proper studio. So we'll demo the stuff at my house and we bring it to my studio with my engineer, and then we bring in Nick and João ['Rasta' Nogueira], the keyboard player, and we start jamming the songs and say, 'You wanna add something? Please add whatever you want in here.'

"It's only been a slow kind of process because you take one song a day and you've got 20 songs, it's taken 20 days and we've been touring and we've been busy," Bill continued. "We're in a good place, though. I feel like the stuff that I've written, mostly Brann and me, it's really good. It still needs the touch of the other guys, but there's also these whole new songs that Nick is bringing in, like, 'Hey, I've got this whole song.' I'm, like, 'Okay, cool. This is great.' So it's a combination of both. It won't be until the next record, after this one, I think, where it really will be more of kind of more Nick being in there. He's gonna be in the new record, for sure, yes. But he's writing like crazy. I'm writing like crazy. It's like a race. I don't know — not a race, and not a competition either — but we're just so full of energy. We just don't wanna get lost. I'm, like, Let's concentrate on the songs that we have that we had before Nick joined and get those out with their help.' And then it'll be more of a cohesive, like, 'Oh, this is definitely… Part A is Nick and part B is Bill and part C is Brann and part D is Troy [Sanders, MASTODON bassist/vocalist].' You know what I mean? It's a little lopsided still, because he's only just joined the band. But it's still gonna be fucking awesome. I'm so excited. Everything that we've been demoing is incredible."

He added: "I just feel like we've been given a booster shot of adrenaline, like, 'Kaboom!' It's kind of a clean slate. Now we can really open our minds and really just kind of write whatever we feel like writing without worrying about what another person's gonna think. Because that was a real challenge for a long time, and now I feel like it's just like a new, fresh start. It's the easiest way to put it."

Hinds died in a motorcycle crash on August 20. Brent was reportedly riding a Harley-Davidson motorcycle when he was hit by an SUV turning left and failing to yield at the intersection of Memorial Drive SE and Boulevard SE, less than two miles from downtown Atlanta, according to Atlanta police. Hinds was found unresponsive by officers who responded to the crash and was pronounced dead by medical workers.

In March, MASTODON revealed that the band and Hinds had "mutually decided to part ways" after "25 monumental years together."

Since 2000, Hinds had served as lead guitarist and vocalist for MASTODON, alongside Sanders, Dailor and Kelliher.

MASTODON's lineup had remained the same for 25 years, recording eight studio albums, beginning with 2002's "Remission" until the band's latest LP, 2021's "Hushed And Grim".

Hinds later claimed he had been ejected from MASTODON and called his former bandmates "horrible humans" in a social media post.

MASTODON has had nine Billboard 200-charting albums and has been nominated for a Grammy Award six times. The band won a "Best Metal Performance" Grammy for "Sultan's Curse" in 2018.

MASTODON's latest album, "Hushed And Grim", was a double LP recorded at the band's Atlanta studio, West End Sound.

MASTODON recruited Ben Eller, a guitarist known for his popular YouTube channel, to step in for Hinds when the band played at TOOL's "Tool In The Sand" festival in the Dominican Republic in March. For MASTODON's spring 2025 tour and other recent shows, the band enlisted Johnston, who has also worked with POLYPHIA, Guthrie Govan, PERIPHERY and many others.

IRON MAIDEN guitarist Adrian Smith spoke to Germany's Metal Hammer about the newly released book "Iron Maiden: Infinite Dreams - The Official Visual History". Available now via Thames & Hudson, "Iron Maiden: Infinite Dreams - The Official Visual History" is described in a press release as "a magnificent visual celebration of the first 50 years of IRON MAIDEN, chronicl[ing] the evolution of heavy metal's most prestigious band, with unparalleled input from band members and management."

Regarding MAIDEN's 1981 split with singer Paul Di'Anno and addition of Bruce Dickinson, Adrian said (as transcribed by BLABBERMOUTH.NET): "Bruce is a very different character to Paul. He was very focused on his craft. He was a singer and he took care of his voice. Bruce is Bruce, and he was probably a bit more professional. He was a powerhouse. Bruce could sing six nights in a row and just keep going and going and going. So that enabled the band to progress and tour and keep going."

Asked if drummer Nicko McBrain's addition to IRON MAIDEN in December 1982 for the 1983 "Piece Of Mind" album and tour, replacing Clive Burr, had an impact on his guitar playing, Adrian said: "Yes, it did. Nick is a show in his own, [with a] very distinctive style. I suppose, yeah, whoever you're playing with affects your playing. Nick, probably at one time, I thought he was probably technically the best player in the band, because he had all the flashy chops, as they call 'em. So, Nicko, yeah, he definitely made his mark, didn't he?"

Regarding Nicko's December 2024 announcement that he was retiring from touring with MAIDEN and Simon Dawson's addition as McBrain's replacement, Adrian said:  "Yeah, it was never gonna be the same. Obviously, Nick was a massive part. He's a big personality. It would never be the same. But it was unfortunate. He had a stroke and physically there's nothing he could do about it, really. He tried — we all tried to help him."

He continued: "I think the MAIDEN drumming gig is one of the hardest, physically. For two hours live you've gotta be really, really on the front foot. And, yeah, he did great to get through those [last couple of] tours, and it was quite amazing — a tribute to him, really. And he was incredible over the years. A lot of people loved him. Well, we all loved him — Well, we still do. [Laughs] And he'll always be a part of the band, even now. So [it was] very sad. Simon's come in, and he knows Nick was a massive part of it. But Nick gave him his blessing and wished him luck. He said to me — I still talk to Nick — he said, 'Good luck for the tour' and everything. 'Cause he still wants the band to do well because he still feels like he's a bit of a part of it, and he is, really. But it's nice to keep the music alive. It's bigger than all of us, really, I think, is to get out there and keep that thing, whatever it is, out there and going."

"Iron Maiden: Infinite Dreams - The Official Visual History" has been described as "a truly spectacular and beautiful book, featuring never-before-seen items and photographs, which have been curated with enormous attention to detail over a number of years, it celebrates one of Britain's most influential and biggest-selling bands, who have become arguably the biggest metal band in the world."

Organized chronologically, "Iron Maiden: Infinite Dreams" tells the story of the band from their first pub gigs in 1975 and their first record deal in 1979, through the recording and reception of groundbreaking albums, including their self-titled debut, 1982's global breakthrough "The Number Of The Beast" and the stadium-conquering "Seventh Son Of A Seventh Son", to 2021's hugely acclaimed double-album "Senjutsu" and the forthcoming "Run For Your Lives" world tour.

The book traces the evolution of IRON MAIDEN's iconic Eddie mascot, alongside exclusive comments from his creator Derek Riggs, and documents the band's spectacular and complex stage productions and extensive live tours, including the "Somewhere Back In Time" world tour of 2008, which made international headlines as Bruce Dickinson piloted the band's very own Ed Force One 757.

Presenting iconic album and single artworks, photographs of the band's instruments past and present, stage props, hand-written lyrics and artefacts from the archive and the band's personal collections, as well as landmark photographs by Ross Halfin, John McMurtrie and more, "Iron Maiden: Infinite Dreams" is rife with revelatory stories and intriguing insights from pivotal band members and management. It is bookended by a foreword from bassist and band founder Steve Harris and an afterword by vocalist Bruce Dickinson.

Harris said: "I've been pleasantly surprised at some of the stuff that I've managed to unearth for this book. I knew I had kept a lot of things from the early days but they have lasted really well and the photography has brought them back to life. I hope the fans are going to love looking at all the stuff presented like this! It's the right time to bring it all together for part of our 50th celebrations."

Tristan de Lancey, creative director at Thames & Hudson, comments: "IRON MAIDEN is an institution. Hailed as pioneers of British heavy metal in the 1980s, the band has come to embody a spirit of fearless creative independence and ferocious dedication to their fans that has won them a huge following around the world and across generations. With astonishing archival access and more meticulous, hands-on participation from the band than I ever thought possible, we have been gifted the tools to create something beautiful, comprehensive and unique which, I have no doubt, raises the bar for illustrated books in this music genre. Every page will surprise and delight its audience — just don't expect metal fans to be the only ones who buy it…!"

"Iron Maiden: Infinite Dreams - The Official Visual History" has been curated by Ben Smallwood and co-edited by Alexander Milas and Terry Burrows, incorporating contributions by band members and creatives past and present.

Tristan de Lancey acquired world all languages rights for Thames & Hudson from Oliver Stanton at Global Merchandising Services. Thames & Hudson has sold rights in six countries thus far: in France to Editions du Chêne (Hachette Livre); in Germany to Prestel Verlag (Penguin Random House); in Japan to Kawade Shobo Shinsha; in Spain to Libros Cúpula (Grupo Planeta); in Brazil to Belas Letras; and in Italy to Rizzoli Lizard (Gruppo Mondadori). The book will be published by Thames & Hudson in the U.K., U.S. and Australia.

During this past Friday's (October 17) "Tribute To Ace Frehley" episode of SiriusXM's "Trunk Nation With Eddie Trunk", RAGE AGAINST THE MACHINE guitarist Tom Morello reflected on his KISS fandom and the inspiration he took from the latter band's original guitarist Ace Frehley who died on October 16 at the age of 74. When host Eddie Trunk noted that Tom's guitar-playing style is "nothing like Ace" but that Frehley still "meant so much" to Morello as a musical influence, Tom said (as transcribed by BLABBERMOUTH.NET): "One hundred percent. [Ace] was my first guitar hero. KISS was the band that made me love rock and roll, and he was the lead guitar player of that band. I mean, without him, I don't know whether I would've ever wanted to play guitar. It was totally formative. KISS was the supernova that made me light up and think, 'Oh, this is something I might wanna do for the rest of my life.' And the lead guitarist of that band, a crucial part of that band, an indispensable part of that band's original chemistry, was Ace Frehley. So I owe not just a artistic debt to him, but just a life debt to him. Every riff that has ever come, every guitar solo that's ever been a part of my life has its origins, the DNA imprint of Ace Frehley."

Tom continued: "In the same way that acts like THE ROLLING STONES and THE BEATLES, they captured the imagination of generations and made people think, 'There might be room for me to do that too,' KISS was that for us. And Ace was the coolest axe-slinging, Les Paul smoke-belching guitar hero for all of us."

Morello also talked about the fact that Frehley's approach was loose, melodic, fun and unconcerned with technical perfection. "And time has told the story that that really mattered," Tom said. "I listened yesterday, after the news [of Ace's death came], to KISS 'Alive!' beginning to end. I hadn't listened that record beginning to end for a long time. And maybe my kind of impression, off the cuff, is KISS songs are these kind of hard rock songs with a pop element to 'em. It's a band that has progressive elements. It's a band that has huge [BLACK] SABBATH-like riffs in it. It's a band where [Ace's] guitar solos are these kind of journeys within the song — super hooky, super catchy. He's got that kind of gun-slinging free way of playing that sometimes is beautifully messy. And I just was really kind of overwhelmed with it reminded me of what originally lit my fire and made me love the band and made me love him as a guitar player."

Morello inducted KISS into the Rock And Roll Hall Of Fame in April 2014 at the Barclays Center in Brooklyn, New York. In his induction speech, Tom said in part: "Growing up, KISS was my favorite band — and it was not easy being a KISS fan. Just as KISS were relentlessly persecuted by critics, their fans were relentlessly persecuted by the self-appointed arbiters of taste in middle schools and high schools across America. Arguments and even fistfights were not uncommon. I recall as a 15-year-old telling one bully, 'You can kiss my KISS-loving ass!' because KISS was never a critics' band, KISS was a people's band.

"And so I waited in a long line on a bitter cold Chicago morning to buy a ticket for my first concert, a KISS concert. I was especially thrilled because imprinted on the ticket were words that hinted that it was going to be a special event. The ticket said 'A partial view of KISS.' I was certain this meant the band were going to reveal some new secret corner of their artistic souls. In reality, it meant that my seat was behind a pole. Still, that concert was the most exciting, cathartic, loudest and most thrilling two hours of live music I've seen to this day.

"While there is a often debate about who should and shouldn't be in the Rock And Roll Hall Of Fame, I think the criteria are actually quite simple: impact, influence and awesomeness. KISS have all three in spades.

"Impact? KISS have sold over 100 million albums worldwide. They have 28 gold albums in the United States alone. That's more than any other American rock band in history. Their theatrics were indisputably groundbreaking, but it was KISS' music that had an impact on me. All four guys wrote great songs. All four guys were great lead singers. They practically invented the live album with 'Kiss Alive!' Then came 'Destroyer', 'Rock And Roll Over', 'Love Gun', 'Alive II', 'Dynasty', all exploding with killer riffs, anthemic choruses and screaming solos that for 40 years have been filling arenas and stadiums around the world.

"Influence? Simply put, KISS is the band that made me and millions of others love rock and roll. What Elvis and THE BEATLES were to previous generations, KISS were to us. They propelled millions of young people to pick up instruments. Their influence is everywhere. From METALLICA to Lady Gaga, KISS have inspired thousands of artists of diverse genres, some of whom may be on a Hall Of Fame trajectory themselves. They've been a formative influence on members of TOOL, PEARL JAM, ALICE IN CHAINS, SLIPKNOT, Garth Brooks, PANTERA, FOO FIGHTERS, MÖTLEY CRÜE, Lenny Kravitz, WHITE ZOMBIE, SOUNDGARDEN, NINE INCH NAILS… and RAGE AGAINST THE MACHINE, to name just a few.

"OK. Impact? Check. Influence? Check. And the final criteria? Awesomeness. There's a simple test for that. What if you had never seen or heard KISS before? What if you had never heard a note of their music, never viewed a YouTube clip, never seen a reality show featuring any of the members? And what if you wandered into a divey club in your hometown and saw KISS in all their glory thrashing the place to the ground? One guy belching fire and spraying blood past his gargantuan tongue. A drum riser bursting through the roof. A guitar player so incredible his axe billowed smoke and shot rockets. A frontman flying back and forth across the joint like a superhero Tarzan. All of them in frightening horror movie/comic book superstar, sexifying kabuki make up. All of them in black and silver warrior bondage gear and seven-inch platform heels. The place blowing up with explosions, screeching with sirens, raining confetti, all to the pounding soundtrack of bareknuckle badass heavy duty liberating rock and roll. What would you say if you saw that? You'd say, 'That band's fucking awesome and deserves to be in the Rock and Roll Hall Of Fame!!' That's what you'd say.

"Eric Carr, Vinnie Vincent, Mark St. John, Bruce Kulick, Eric Singer and Tommy Thayer have all been important in extending and expanding KISS' impressive legacy and they deserve a round of applause. But tonight we honor the fearsome foursome; the four original, founding members of KISS. The Demon, Gene Simmons — he's the God Of Thunder, he's Dr. Love. He's BEATLES-like bass on the bottom, a bat lizard Bela Lugosi on the top. The Starchild, Paul Stanley — the heart throb ringmaster of KISS' Psycho Circus. His vision, talent and dedication over four decades have made KISS the band it is today. The Space Man, Ace Frehley — my first guitar hero. He designed the band's iconic logo and blazed unforgettable, timeless licks across their greatest records. And The Cat, Peter Criss — jungle rhythms, jazz fills, and the writer and singer of the band's biggest hit, the world's first power ballad, 'Beth'. Tonight we also honor the fifth member of the band without whom this night could never have happened. Tonight we honor the Kiss Army, generations of fiercely loyal fans who are celebrating this long overdue induction all over the planet tonight."

The news of Ace's passing came just hours after TMZ reported that Ace was hospitalized on life support after he suffered a brain bleed when he took a fall in his studio a couple of weeks earlier.

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

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

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

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

Grammy Award-winning progressive metal trailblazers DREAM THEATER spotlight their influential studio recordings with two releases arriving on November 21. "The Studio Albums 1992–2016" brings together nearly 25 years of groundbreaking music, while "Dream Theater Vol. 3" concludes the vinyl reissue series covering the band's studio albums.

"The Studio Albums 1992–2016" unites 12 of the band's core studio works for the first time across 14CDs. The boxed set charts more than two decades of DREAM THEATER's musical growth — a career that helped define the sound of modern progressive metal while selling more than 12 million albums worldwide.

It begins with the band's gold-certified 1992 breakthrough "Images And Words", featuring the Top 10 hit "Pull Me Under", then navigates a prolific decade as the band scaled new creative heights on albums like "Metropolis Pt. 2: Scenes From A Memory", one of the greatest concept albums in progressive-rock history.

The band continued adding to its legacy in the 21st century with a string of acclaimed works, like "Six Degrees Of Inner Turbulence" and "Octavarium" — milestones that expanded DREAM THEATER's musical range and cemented their reputation for unmatched technical precision and ambition.

Also arriving November 21, "Dream Theater Vol. 3" serves as the final installment in the group's vinyl reissue series. Limited to 2,500 copies worldwide, the 10LP boxed set pressed on 140-gram black vinyl is available exclusively through Rhino.com. It includes "Black Clouds & Silver Linings" (2009),"A Dramatic Turn Of Events" (2011),"Dream Theater" (2013) and "The Astonishing" (2016),each pressed on 140-gram black vinyl and housed in a newly designed slipcase.

"Black Clouds & Silver Linings" marked the end of an era as DREAM THEATER's final studio album with founding drummer Mike Portnoy before his return to the band in 2023. The record balanced towering epics such as "The Count Of Tuscany" with deeply personal writing on tracks like "The Best Of Times" and "A Nightmare To Remember".

With "A Dramatic Turn Of Events", DREAM THEATER began a new chapter with drummer Mike Mangini. The album earned the band its first Grammy nomination for "On The Backs Of Angels", reaffirming their ability to evolve while maintaining their signature precision and emotional range.

Their self-titled "Dream Theater" followed in 2013, debuting in the Top 10 of more than 20 countries and earning another Grammy nomination for "The Enemy Inside". Combining intricate musicianship with renewed energy, the album distilled the group's defining elements into one of their most focused statements.

Finally, "The Astonishing" expanded the band's scope into cinematic territory with a two-act rock opera. Orchestrated and expansive, it embodied the ambition that has long defined DREAM THEATER's approach — melding storytelling, virtuosity, and scale into an immersive listening experience.