In a new interview with Sonic Perspectives contributor Jonathan Smith, CRADLE OF FILTH frontman Dani Filth once again spoke about the decline of the music industry as consumers value access over ownership and experiences over assets. He said (as transcribed by BLABBERMOUTH.NET):"I owe it to my brethren in metal and music not to have a fucking Spotify account because they don't pay people. And it's not just them — it's just platforms in general. And I appreciate the fact that from that people could discover you from another band and whatever, whatever, whatever, whatever; I've heard it a million times. But I'm old school. I want CDs, I want vinyl, I want my bands to be paid because if they're not paid, they're not bands anymore. And I know so many people from big bands that since the pandemic have gone, 'You know what? I'm taking a proper job. So you'll see me less often. We'll still be doing albums, but probably once every five years,' because music — it just seems like daylight robbery."

Dani continued: "If you owned a delicatessen or a fucking supermarket even, people aren't allowed to just come in and help themselves to free produce, which is what people think they're entitled to do with music because it's a periphery thing and it's in the air. You can't physically touch music. But how do you expect bands to survive without that? Okay, yeah, sure, music's getting bigger and bigger. But that's because Taylor Swifts of the world and the Ed Sheerans, whom we've just done a song with, are everywhere. If you work in a delicatessen or you work at a building site and you've got the radio on, chances are you can hear one of those two or Beyoncé or whatever, or Megan Thee Stallion within fucking five minutes of putting it on. And it's kind of a mind control because you adjusted to that. You remember those songs 'cause that's all you hear."

Filth noted that producers of audiovisual content like TV shows and movies have also been hit hard by online piracy. "Obviously, they really try [to combat piracy] with movies, and there's more money involved in movies — obviously," he said. "But in England, we used to have these, not up to very recently, this whole advert they had before the movie starts where 'video piracy is killing the movie industry', and they even go to the point where they'd have this slamming prison doors, in IMAX quality sound, THX. 'You're going to prison if you watch a bootleg movie.' But not the same for… I know back in the day [they had a message on the back of albums saying that] 'home taping is killing music,' but nowadays it's like a fucking free for all."

Dani went on to say that heavy metal fans buy physical product in greater numbers than is the case with fans of other genres of music.

"I think the metal scene is probably one of the most loyal and also one of the most agitated scenes," he explained. "Everybody hates, 'Oh, that band?' 'I love ARCH ENEMY. Do you? What about IN FLAMES? Oh, no. They're fucking shit.' The metal scene is so carnivorous and so cannibalistic, yet probably the most loyal. And, yeah, people, they wear their hearts on the sleeves and wear the bands on their battle jackets. And they'll go and buy the blood-splattered vinyl or they'll buy the special edition, if there was one."

Dani previously blasted Spotify in a June 2023 interview with Sakis Fragos of Rock Hard Greece, saying: "It's been deteriorating ever since… I think 2006 was the year that everything swapped from being comfortable for musicians — well, not necessarily comfortable; it was never comfortable. But [it went to] just being a lot harder with the onset of the digital age, the onset of music streaming platforms that don't pay anybody. Like Spotify are the biggest criminals in the world. I think we had 25, 26 million plays last year, and I think personally I got about 20 pounds, which is less than an hourly work rate.

"For example, the other day my girlfriend… She's got an ill cat; her cat's very sick and needed a life-or-death operation," he continued. "She's a well-known tattooist, and she posted a thing online about… a GoFundMe for her cat, and she was gonna do a raffle and people could win a tattoo, et cetera, et cetera. The point of it is a lot of people were, like, 'Why the fuck should we pay for your cat? You're going out with a multimillionaire?' And she was, like, 'Excuse me, I don't think you understand how the music industry works nowadays. One, he's not a multimillionaire at all. Two, I'm my own person, and this has nothing to do with him.'

"I think people just have this amazing ability to [believe] that when you have stuff out there, like physical product, that you're earning a fortune from it," Filth added. "They don't realize you have so many people taking pieces of the pie — record company, management, accountants, blah blah blah blah; it doesn't matter. If you're not getting any money in the first place, there's not much money to share around. And nowadays, the reason why people put out limited-edition vinyls and stuff, it's for collectors — they're the only people that buy it; other people just stream it for nothing. That's why you're finding a lot of bands, since the pandemic, are not touring. Petrol's gone up. Tour bus hire's gone up. The cost of living's gone up. Yeah, it's very hard for bands at the moment. But it doesn't help when people just have this in-built idea that it's not a privilege to get music, that music is something that should be given away free. I mean, I don't walk into someone's shop and just pick up — I don't know — a pack of bananas and say, 'Well, these grow on trees. They should be free. I'm walking out with these.' I'd be arrested for shoplifting. But it's fine for people to download… Even before albums are out, you find fans, like, 'Oh, I've got a link to it,' and they put it up and then instantly any sales you're gonna get from people buying it for a surprise are out the window because they've already heard it and then they just move on to the next thing.

"Yeah, the music industry is on its knees at the moment," Dani concluded. "I still enjoy making music — don't get me wrong; I love it — but, yeah, the musician nowadays is finding a million things against them. It's a hard time."

CRADLE OF FILTH will release its 14th studio album, "The Screaming Of The Valkyries", on March 21, 2025 via Napalm Records.

In a new interview with Italy's Poisoned Rock, SAVATAGE guitarist Chris Caffery spoke about the reactivated band's upcoming shows in Europe and South America. Joining Chris in SAVATAGE's current touring lineup are Johnny Lee Middleton on bass, Al Pitrelli on guitar, Jeff Plate on drums and Zak Stevens on lead vocals. Caffery talked about some fans' complaints that SAVATAGE's comeback doesn't include Jon Oliva, SAVATAGE's founding vocalist and keyboardist, who in 2023 suffered a T7 vertebra fracture in three places, a severe injury that has left him relying on a wheelchair. Additionally, he was diagnosed with multiple sclerosis and Ménière's disease, conditions that have further complicated his health. Chris said (as transcribed by BLABBERMOUTH.NET): "[Jon] was the one who told us to go do it, really. He kind of wants this thing to happen as much as anyone. And he was the first one to say we were gonna be working on a new record. And then he had his health issues come up and we kind of paused things and the ability to do these shows happen. And Jon wanted us to go do it.

"I remember speaking to [Jon] right before we were about to leave for the TSO [TRANS-SIBERIAN ORCHESTRA] tour [in late 2024]. And I was, like, 'You know, Jon, I've never done a SAVATAGE show without you.' And we were getting kind of emotional talking about his brother [late SAVATAGE guitarist Criss Oliva] and things in our lives and our families and people we lost and everything like that. And he just looked at me and he said, 'Will you go play this fucking music?' So that explains everything.

"[Jon] wants to be there," Chris said. "And I think if anything, it's gonna inspire the powers that be to get with him and heal him and get with us in any way, shape or form that he can. And I know he's gonna be at our rehearsals and he's working with us on the sets and he'll be working on the production and everything else we do. And hopefully we can add him in somehow through the video screens, if we record something or whatever. But we will make sure he's there, and he is always there. I mean, it's Jon's band, basically. He just physically is not able to fly and travel right now. And I know that he wants to be there.

"I know Jon," Caffery added. "He's one of the strongest people I've ever met in my life. And he's had a whirlwind of hits on him. His wife had passed, his father passed, his son-in-law passed, [former SAVATAGE producer and TRANS-SIBERIAN ORCHESTRA founder] Paul [O'Neill] had passed away. He had multiple sound engineers and band members from JON OLIVA'S PAIN and all these — he's got so many so many reasons to push himself to stay there and be there and get out there and do this. And I think that, like I said, he's the strongest person that I've worked with in this business, physically and emotionally. And I just think that… I know the Mountain King, and we'll get him out there with us when he can."

Earlier this month, Pitrelli told Barbara Caserta of Italy's Linea Rock about Jon's absence from the SAVATAGE comeback: "There's people who are gonna complain and I understand their complaint — I get it. The two original members, Jon and Criss — well, Jon is not healthy enough to do this this year. And we're gonna do everything in our power to make sure he can come back, 'cause I want the Mountain King to come out and be amazing, not just be there for the sake of being there. And he doesn't wanna be there unless he can do a spectacular job. Now, Criss Oliva passed away 35 years ago. I have no control over that.

"I know that if you enjoyed the 'Dead Winter Dead' and 'The Wake Of Magellan' tours that we had done, and everybody seemed to have, albeit Jon Olivawas with us, then come out and see for yourself," Al continued. "Don't live in disappointment now. Come out and see it, and if you hate it, then I'll buy the ticket back from you. [Laughs] I don't know what to tell you."

Pitrelli added: "There's always gonna be people who are purists, and I respect that, and I understand that completely.

"We're going to present and articulate this music in an outstanding manner, and I hope everybody enjoys it. And for the people who are like, 'Ehhh', just give us a chance, no pun intended. Let us show you what we're working towards and we can carry on the tradition. I think the songs will supersede everything else. When Zak digs in and starts singing all of Zak songs, everybody's gonna just go, 'Wow, that's amazing.' And we will represent the Mountain King songs the best that we can.

"We know we're going up against some haters," Al concluded. "That's okay. But I'm gonna spend more time thinking about the positive side of it and all the people that are just so excited to come see us. And if in the audience, there's a couple of people with their arms folded, we're gonna work real hard to convert you guys over. Give us a shot. Give us a shot. We'll see what happens."

Asked if there are any plans for SAVATAGE to release new music in the not-too-distant future, Al said: "Jon Oliva and Paul O'Neill were constantly writing together — constantly — up until Paul's passing. So there's a lot of unfinished material or demoed material that's kind of sitting around. I know that some of the other guys in the band have gotten with Oliva and were kicking the tires, if you will, on some new material.

"I couldn't give you an answer as to any recording coming out in the near future, only because we're so concentrated on making this world tour so amazing. I would prefer not to confuse anything right now. I just wanna focus on what we have to do, and let's get through this together and see what happens.

"Everybody would love to put a new record out, new material out, but this is not the time," Al added. "This is the time to come out and just show the world this band is better than it was three decades ago."

Zak joined SAVATAGE in 1992 as the replacement for Jon Oliva. Zak sang on four albums with the band — "Edge Of Thorns" (1993),"Handful Of Rain" (1994),"Dead Winter Dead" (1995) and "The Wake Of Magellan" (1997) — before departing in 2000, allowing Jon to return. Both Jon and Zak took part in SAVATAGE's 2015 performance at Wacken Open Air, which marked the band's first, and only so far, appearance on stage since they went on hiatus back in 2002.

SAVATAGE's last album release, "Poets And Madmen", in 2001 was highlighted by Jon's return as lead vocalist, replacing Zak, who left the band citing family reasons, and the departure of Pitrelli, who accepted an offer to join MEGADETH in 2000. Pitrelli did record solos for some songs prior to his exit. Another very limited U.S. tour followed, supported by FATES WARNING in the early shows, and then NEVERMORE for the remainder. Around this time, Jon chose Zak's replacement in the form of Damond Jiniya (DIET OF WORMS). Damond performed Zak's parts on tour, with Jon having an increased vocal role in proceedings.

In September 2021, Jon Oliva was arrested on the west central coast of Florida for driving under the influence as well as possession of a controlled substance. Police charged Oliva with possession of cocaine, which is a felony, and DUI, which is a misdemeanor. Oliva was reportedly arrested again in July 2023 on another cocaine possession charge.

Back in 2016, Jon announced on social media that he suffered a stroke in April of that year. At the time, he said: "It was not as serious as it could have been, but it did leave me with some physical recovery challenges often associated with strokes."

Despite his health issues, Jon said that he didn't regret the way he had lived his life. He wrote: "I lived the rock 'n' roll lifestyle since I was 18. It's all I knew and I enjoyed the ride very much. But there comes a time in everyone's life where you have to step back and make some life-changing decisions... which I have."

Shortly after SAVATAGE's reunion performance at the 2015 Wacken Open Air festival in Wacken, Germany, Oliva claimed that he felt better than he had in 20 years because he had "stopped drinking and eating" in preparation for the concert. He explained: "It's my voice that's freaking me out, because, even when I was in my late 20s, early 30s, doing songs like '24 Hours Ago' were always really hard to do. And, of course, I didn't realize that it was all the drugs and alcohol I was doing. But, after doing that, getting my act together and stuff, singing '24 Hours Ago', it's actually easy now. [Laughs]"

In addition to his work with SAVATAGE, Oliva is well known for co-creating the aforementioned classical music-meets-prog rock and pyro act TRANS-SIBERIAN ORCHESTRA alongside O'Neill. Oliva has reportedly remained involved in TSO's activities even after O'Neill's April 2017 death of an accidental drug overdose.

Jon's brother Criss, who was one of the founding members of SAVATAGE, was killed in October 1993 by a drunk driver when he and his wife Dawn were en route to the Livestock festival in Zephyrhills, Florida. The driver of the other car was found to have a drunk driving record of seven prior DUIs and having a blood alcohol content of .294 percent.

Photo credit: Josh Ruzansky

In a new interview with "The Garza Podcast", hosted by SUICIDE SILENCE guitarist Chris Garza, former CANNIBAL CORPSE and current SIX FEET UNDER vocalist Chris Barnes was asked if his replacement in CANNIBAL CORPSE, George "Corpsegrinder" Fisher, is "still blocked" from Barnes's social media. Barnes responded (as transcribed by BLABBERMOUTH.NET): "I haven't had him blocked. In fact, on Instagram, I follow him. And I don't know if he follows me, but at one point I confronted him because I saw a video on YouTube where during a live performance, he's poked at me pretty good. And I wrote him 'cause I was, like, 'Look, man, I never have said anything nasty about you at all. I don't know why you're doing this on stage about me.' And I said, 'We met and I thought everything was cool that one time. And listen, I'll give you my phone number.' … I said, 'If you wanna talk on the phone, I'll give you my phone number. We can talk it over.' And I sent him the link to the YouTube video, and magically it disappeared after that. But he never responded to me. He saw the message, 'cause it said 'seen.' But he wouldn't talk to me about it."

Chris admitted that he hasn't been impressed with George's execution of the CANNIBAL material which was originally written and recorded during his era with the band. Chris said: "I don't think he sings my songs very well. I don't. I think he walks through 'em. And on this [current SIX FEET UNDER] tour, I poked back at him a little bit just because I felt like it was funny. But it was all in good humor."

Barnes added that Fisher has said some "insulting" things about him in the press, particularly as it relates to CANNIBAL CORPSE's early material.

"I saw a couple interviews with him where he said that he believed that my songs that I wrote are more his now," Chris claimed. "And that really upsets me. Because they'll never be his. He's a karaoke singer when it comes to my songs. He is. Those aren't his songs. He says they're his songs because he's sung them more times than I have. He didn't write 'em. He doesn't get publishing checks from 'em. Those are my songs. Those lyrics are from my brain. And for him to insult me that way, I take that really serious. And I think that that's so ignorant and just so — just wrong. I think it's wrong that he even signs the CDs or the album covers that he didn't perform on. I don't sign [CANNIBAL CORPSE's 1998 album] 'Gallery Of Suicide'. Why would I? I wasn't on it. So, hey, if he wants to settle it, like get in a race car on a track, see who can drive better. [Laughs] But I know he doesn't know how to drive, so I'd probably win that race too."

After Garza opined that Barnes and Fisher should get in a room and work things out, Chris said: "Listen, man, I tried to. I tried to. I've got no problem with him. Like I said, when I met him, I thought everything was cool, because we got into a room. We were at an IRON MAIDEN concert in one of the boxes. [Metal Blade Records founder Brian] Slagel kind of got us all together in the same room, and I was talking to him. I was having a good time talking about video games. I'm a 'Call Of Duty' guy; he's a 'Warcraft' guy — two different types of games."

Barnes continued: "I respect that he's been a great vocalist for the band for many years. I just don't like being poked at. I've never done anything to the guy… "I have respect for him. It's just I wish people had a little more respect from that camp for me, but they have their reasons not to, so. I mean, I reached out to Alex [Webster, CANNIBAL CORPSE] the other day. Me and Jack [Owen, former CANNIBAL CORPSE and current SIX FEET UNDER guitarist] thought it would be cool to have him come up when we played Portland to play bass on 'Stripped[, Raped And Strangled]' and 'Hammer [Smashed Face]'. But he passed. We knew he wasn't gonna do it, but I told him, I said, 'Those songs are so important to us all, I thought you might want to.'"

Barnes added: "I don't know what grudge they're holding against me, but they just don't like me. So, it's okay. Like I said, I'm happier, and I've been happier in SIX FEET UNDER than with those guys. I mean, those songs that I wrote with them, they are really important to me. That's why we still do a couple of 'em."

Barnes fronted CANNIBAL CORPSE from its inception in 1988 until his exit in 1995, one year after the release of the band's "The Bleeding" album.

After Barnes left CANNIBAL CORPSE, he formed SIX FEET UNDER, whose current lineup also includes another former CANNIBAL CORPSE member, the aforementioned guitarist Jack Owen.

In a recent Cameo video message requested by one of his fans, Barnes reflected on CANNIBAL CORPSE's "The Bleeding" (1994) album, saying: "In CANNIBAL CORPSE, with 'The Bleeding', those guys as musicians were really wanting to progress the band musically in a way. I could kind of say why — I think they were wanting to, in a way, prove themselves as well-skilled musicians. And I thought they always were, because it was always very interesting music, the arrangements and stuff in CANNIBAL CORPSE on the first three albums. But I think they wanted to really hyper focus their skills and weren't able to do that. And I just was along for the ride, man. I can write to anything. It was really challenging to me. And I really liked 'The Bleeding' too. I liked what we were doing with Bob [Rusay, former CANNIBAL CORPSE guitarist]. I didn't want Bob to leave the band, and I didn't want him to be forced out of the band, and neither did Jack. So it kind of was a strange thing with that whole situation, but it did bring about a good album with 'The Bleeding'. And 'Stripped, Raped And Strangled' is probably my favorite song that I've written. And 'Hammer Smashed Face' is probably the most successful song that I've written. But something about 'Stripped, Raped And Strangled', to me, it showed something with the band that never appeared again with any of their albums after that, even 'Created To Kill'. [Editor's note: 'Created To Kill' was the original title of CANNIBAL CORPSE's 1996 album 'Vile', which was partly completed before Barnes was dismissed from the band due to creative differences.] But that is a purposeful thing. I was told by one of the members I will never write another song like that, which I thought was a big mistake. So it's a special song to me in that way, and I love that song. I'll play that song forever."

In a new interview with Portugal's Look magazine, TRIVIUM's Paolo Gregoletto spoke about a possible follow-up to the band's 2021 album "In The Court Of The Dragon". The bassist, whose band is currently taking part in "The Poisoned Ascendancy" tour during which TRIVIUM and BULLET FOR MY VALENTINE are celebrating the 20th anniversary of "Ascendancy" and "The Poison" albums, respectively, by playing them in full, said (as transcribed by BLABBERMOUTH.NET): "New music, I think, [is] sort of the lifeblood of any band. It's, like, what are you doing next? And we're very excited because we have our hangar studio built. It's really cool. I would say it's probably a dream come true, I think, for any musician. To me, having a studio at our disposal like this, at this level, this quality is like — I guess maybe to go back to the VAN HALEN references, like 5150. They made that studio because they weren't fully happy with what they were doing in the studio at the time. They wanted full control, full control of the surroundings, the gear, everything. And that is what we've done with our hangar. It's, to a tee, made to our specs and our liking. And I think when people hear what we're doing there, they'll be happy, but we're just getting started. I think 2026 is the new music year. This is like the transition year. We're out here celebrating with BULLET FOR MY VALENTINE. We're playing two records that are very special for both our bands and for fans. But new music is on the horizon. We are thinking about it. We have been working on it. So don't think we're not thinking about the future while we're looking in the past at the moment."

Referencing the fact that TRIVIUM is performing the "Ascendancy" album in full on the current tour, Paolo said: "It's new for us, because we've never done this before. We've never done the full-album playthrough. And it's kind of nice, it's kind of freeing because I'm, like, we don't have to think about the setlist. It's, like, those are the songs; that's the order. And there's challenges to that because the last two songs of our album on 'Ascendancy', they're probably the least known, of course, 'cause they're at the end, but there's a lot more going on to it. 'Declaration' is like a really intense song. I know for BULLET FOR MY VALENTINE, I think their last song [on 'The Poison'] is kind of a ballady, longer song. So it's not what you would ever put at the end of your set. So we have to work around the limitations of a setlist and stuff. Now, of course, we play something after it. But we had some ways around it to where it wasn't gonna end on a song that's purely just, like, 'Okay, that's probably the least known song in the setlist.' But there's a lot of energy in 'Ascendancy', so I have no doubt that even if you didn't know every song well, you're gonna know what it's about and you're gonna have fun."

Earlier in the month, TRIVIUM's Corey Beaulieu told Jorge Botas of Portugal's Metal Global about a possible follow-up to "In The Court Of The Dragon": "We spent last year building our recording studio at our hangar. So we got that all up and running and stuff. And we're always working on some new stuff. And since it's been — 2021, I guess, was [when] the last record came out, or something like that, so it's definitely our longest gap in records and everything. So, definitely new music will be on the horizon. We've been working on some stuff."

He continued: "So, yeah, doing the 'Ascendancy' anniversary thing, and the next thing on our plate is preparing for a new record. And then, obviously, 2026 will be new record, touring, festivals and stuff like that. So, it'll be another busy year, just like this year, but it'll be kind of flipping the page to kind of the next chapter, new music and moving forward and go from nostalgia to new stuff. So, we're looking forward to it."

Corey added: "When we were on break rehearsing for the 'Ascendancy' stuff, we kind of used playing 'Ascendancy' as our mojo to kind of inspire us to write new music and stuff like that, kind of take that vibe and energy and kind of use it to make new stuff. So, we've got some stuff cooking, kind of marinating, and with the new studio, we can kind of go in and start tracking whenever we've got stuff ready to go. So, hopefully — I don't know — sometime mid-next year, I don't know exactly, we have no like timetable, but definitely at some some point next year there'll be a record announcement or something coming out. Yeah, we're looking forward to it. By that time, it'll be five or six years since we had a new record out. So it's definitely time."

Regarding the fact that TRIVIUM released two albums, 2020's "What The Dead Men Say" and 2021's "In The Court Of The Dragon", within a year and a half of each other, Corey said: "Yeah, we did basically put out two records in a year, which is a lot, I guess, nowadays. So, doing that, we felt like we needed a little bit more of a breather space to kind of let everyone get excited and anticipation built up for new music. Since we did two records so quick, it felt like when we put out 'In The Court Of The Dragon', it was so quick, it seemed like maybe there wasn't as much like hype or anticipation 'cause it was so soon after putting out a record. So it feels like having a little bit more space will get people a little more pumped up."

"The Poisoned Ascendancy" launched in the U.K. in late January 2025 for six shows, before the two bands, along with support act ORBIT CULTURE, head over to mainland Europe for 18 more concerts.

Released in March of 2005, TRIVIUM crafted a classic in the form of "Ascendancy". It concluded 2005 as Kerrang!'s "Album Of The Year," went gold in the U.K., and has since surpassed global sales of 500,000 copies. Opening the main stage of Download festival that year, the Floridian four piece — barely out of their teens — delivered a set that left all who witnessed it in no doubt that they were looking at future legends, with Kerrang! readers later voting it as the tenth best gig of all time.

"In The Court Of The Dragon" came out in October 2021 via TRIVIUM's longtime label Roadrunner Records. The record was produced and mixed by Josh Wilbur and recorded in the fall of 2020 at Full Sail University in Orlando. The album cover is an original oil painting by French artist Mathieu Nozieres.

TRIVIUM supported MEGADETH and LAMB OF GOD on the 2022 leg of "The Metal Tour Of The Year".

Last month, Beaulieu was asked by Jorge Fretes of Spain's GoetiaMedia if there are plans for TRIVIUM to celebrate the upcoming 20th anniversaries of any other albums, such as 2008's "Shogun". Corey said: "We've seen over the years that a lot of bands, doing anniversary tours has been kind of like, I guess, a popular thing to do. Some bands have done it 10 years after a record came out or whatever, and we always just kind of thought that, 'Hey, if people still care after 20 years, that'll be like the time to think about doing something' and whatever. So, especially 'Ascendancy' our first big thing that kind of people heard of us, so that kind of made a big impact, so we figured 'Ascendancy' was a good record to do it on. Some of our records probably we wouldn't."

He continued: "We did a little thing on our last U.K. tour. It was the 'Shogun' 15th anniversary and we played a couple of extra songs from it. But 'Shogun', I'm sure there'd be a lot of fans that would love for us to play that record from start to finish, but that record is so musically demanding that I don't know if I could manage wanting to do a whole tour of playing just that record. I'd probably just be mentally exhausted. But, no, it's cool to do this record 'cause it was so special of a record for us and the fans. We have a lot of records that'll be turning 20 — 'The Crusade' turns 20 the year after, and then 'Shogun' and stuff like that — but we'll be probably back into focusing on new music. But there'll be some cool stuff for anniversary stuff coming out that people can collect and buy, but probably spending a year of touring for another record is not gonna be something that's gonna be popping up anytime soon. So this is a kind of our one-time thing for now. I know BULLET, talking to them, I know they're in the same boat, like, once we get done doing this anniversary run together, they've been in the studio. [The plan is to get] some new tunes and stuff out and kind of moving on to the next record. But it's gonna be exciting. I think playing a record like 'Ascendancy' on tour and the energy of the crowd, we're definitely looking forward to kind of channeling that, playing those songs and getting that energy from the fans and kind of channeling that into new music and hopefully capture some of that intensity from the tour and project that back into a new record that people will be pumped on."

Last September, BULLET FOR MY VALENTINE and TRIVIUM announced the North American dates for "The Poisoned Ascendancy" tour. Support on the trek will come from AUGUST BURNS RED, with SYLOSIS and BLEED FROM WITHIN appearing on select shows.

Produced by Live Nation, the 26-city tour kicks off on March 30 at PNE Forum in Vancouver, British Columbia, Canada, making stops across North America in Las Vegas, Chicago, New York and more before wrapping up in Raleigh, North Carolina at Red Hat Amphitheater on May 18.

In a new interview with The Metal Voice, DREAM THEATER drummer Mike Portnoy was asked how he feels about performing the song "Barstool Warrior" during the band's 40th-anniversary tour even though the track was originally written and recorded with ex-DREAM THEATER drummer Mike Mangini. Portnoy, who rejoined DREAM THEATER in October 2023 after a 13-year absence, said (as transcribed by BLABBERMOUTH.NET): "Well, it was important to me for that to be included, believe it or not. I'm the one that writes the setlist, and these guys gave me full-on freedom when it came to the Mangini-era material. I knew it had to be represented. You can't just brush away five albums from these guys' career because I'm back; it would have been pretty selfish and disrespectful. So, yeah, to me, it wasn't even considered to not be playing that material. And like I said, they gave me the freedom to pick and choose songs that I could relate to and be comfortable with. And, yeah, I think if you didn't know any differently when you come see the live show, it sits right in the middle of the set very comfortably with everything else that is part of my catalog. But I'm used to playing other drummers' material… I don't think [IRON MAIDEN singer] Bruce [Dickinson] ever does Blaze [Bayley-era MAIDEN] tunes, or very rarely. And I know [JUDAS PRIEST's] Rob Halford doesn't do Ripper [-era PRIEST] tunes. And I know David Lee Roth won't do Sammy Hagar[-era VAN HALEN] tunes. So, yeah, not all bands are as open to it."

Asked what he thinks are the main differences between his drumming style and that of Mangini, Portnoy said: "He is very methodical. He's very conscious of what all four limbs are doing and the way he utilizes his independence. I'm not that kind of a drummer. I've never been a guy that sits there and studies technique and the correct way to hold a stick, and all that kind of stuff. I go on feel, and to me, I try to make difficult music sound easy. I think he has the tendency to make something that could be easy sound difficult. And I'm not trying to insult him; I'm just merely observing the difference in styles. And he's the type that I think would play the same part exactly the same as it is on the album and do it consistently every night. I'm just not that kind of a drummer. I like to fly off the seat of my pants and be in the moment and do different things, just depending on how things are feeling."

DREAM THEATER kicked off the North American leg of its 40th-anniversary tour on February 7 at The Met in Philadelphia, Pennsylvania. The trek is "An Evening With Dream Theater" and is the first tour of North America since Portnoy's return to the lineup, joining singer James LaBrie, bassist John Myung, guitarist John Petrucci and keyboardist Jordan Rudess. The tour will conclude on March 22 in New York City.

DREAM THEATER's sixteenth studio album, "Parasomnia", came out on February 7, 2025 via InsideOut Music. The LP marks DREAM THEATER's first release with Portnoy since 2009's "Black Clouds & Silver Linings".

"Parasomnia" was produced by Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returns once again to lend his creative vision to the cover art.

Portnoy co-founded DREAM THEATER in 1985 with Petrucci and Myung. Mike played on 10 DREAM THEATER albums over a 20-year period, from 1989's "When Dream And Day Unite" through 2009's "Black Clouds & Silver Linings", before exiting the group in 2010.

Mangini joined DREAM THEATER in late 2010 through a widely publicized audition following the departure of Portnoy. Mangini beat out six other of the world's top drummers — Marco Minnemann, Virgil Donati, Aquiles Priester, Thomas Lang, Peter Wildoer and Derek Roddy — for the gig, a three-day process that was filmed for a documentary-style reality show called "The Spirit Carries On".

Portnoy attended DREAM THEATER's concert in March 2022 at Beacon Theatre in New York City. It was the first time he witnessed his then-former bandmates perform live since his exit from the iconic progressive metal outfit 12 years earlier.

Two months after the aforementioned Beacon Theatre concert, Portnoy told SiriusXM's "Trunk Nation With Eddie Trunk" about what it was like to see another drummer play his parts live with DREAM THEATER: "I've always been the type of drummer that just flies [by] the seat of my pants in the moment. Even with my own drum parts, I don't necessarily stick to them faithfully from show to show, whereas Mangini obviously really studied the drum parts and they had everything programmed out. They're all about the precision, and that's surely their thing. And yeah, he killed it. There's no doubt he's an amazing drummer and he plays my parts incredibly faithfully."

Portnoy continued: "I feel bad for him. He and I joked about it. He's in a horrible situation where he's damned if he does and he's damned if he doesn't. He expressed that frustration to me, and I feel for him; it's definitely a weird position to be put into. I kind of had it a little bit when I played with AVENGED SEVENFOLD and TWISTED SISTER, coming into the throne of two drummers that have passed away, and I tried to learn those parts as faithfully as I could. When I had a hired-gun gig like that, I spent a lot of attention trying to honor the drummer that came before me — it's important. I don't wanna go into a gig like either of those and try to force my style on to it."

In a new interview with Rock Of Ages radio, British heavy metal vocalist Blaze Bayley, who fronted IRON MAIDEN more than 25 years ago, was asked what advice he would give to younger musicians who are trying to make it in the scene today. He responded (as transcribed by BLABBERMOUTH.NET): "Well, it's a different shape now, the industry, from when I started. When I started, you had to get a record deal. You had to be with a company to do everything. Now, you can afford your own recording equipment. It doesn't take that much. And studios are a lot cheaper.

"I would say don't stop at learning your instrument," he continued. "That's the key. You've gotta be great on your instrument. The next thing is you have to have songs that really mean something, even if it's just for you, a song that makes sense. And then after that you must learn to record yourself well. You must learn that. So as much as you learn to be a virtuoso on guitar or play drums or whatever instrument you've chosen, you must learn to record yourself. That is possible now with practice and experience to make an album that as good as an album that someone has spent a million euros recording. That's possible. You can learn to do that. It's absolutely possible. So I would say to new bands, do that and take advantage of the social media. But the key thing is, and this is a horrible question that I believe you must ask yourself is, why would anybody want to listen to me instead of watch Netflix or go on the PlayStation? That's a tough question to answer, man. And I have to ask myself that all of the time. And if you can't think of a reason, you'd better come up with something. The reason should be that your songs are so great live and you mean it so much when you bring these great songs to life in front of five people, 50 people or 500, it has to really grab everybody. That's my opinion.

"What I do at every Blaze Bayley concert, at every WOLFSBANE concert, what I'm trying to do is reach into the heart of my wonderful fans and go, 'Right, come on, you're gonna feel better. Just come with me, sing along. You're gonna feel better. Get involved.' So that's what I would say to new bands.

"I think people do forget why they get into the artists that they like," Bayley added. "And it's almost always because of the songs, something about the songs that really appeals to you. So I think that's important. But it's tough, and you've really gotta consider if it's for you. Because in the end, if it's not life and death, it's really, really tough, man. If you're not prepared to sacrifice and work hard and work smart, it's tough."

Blaze will embark on a European tour this spring celebrating the 25th anniversary of his first post-MAIDEN release, "Silicon Messiah". On this tour, Blaze will play songs from "Silicon Messiah", previously unperformed songs from his most recent album "Circle Of Stone" and classic IRON MAIDEN songs from his era with the band. Blaze will give a free meet-and-greet at the merchandise stand before the show begins for all ticket holders. Support on the tour will come from WHITE RAVEN DOWN (U.K. dates) and PRYMA (continental European dates).

The 61-year-old Bayley fronted IRON MAIDEN from 1994 until 1999. The two MAIDEN albums he appeared on, "The X Factor" and "Virtual XI", sold considerably less than the band's prior releases and were their lowest-charting titles in the group's home country since 1981's "Killers".

Since leaving IRON MAIDEN in 1999, Bayley has released a number of albums, including several under the moniker BLAZE and more than a handful under his own name. He also appeared on 2012's "Wolfsbane Saves The World", the first album of new material by WOLFSBANE since the group's self-titled 1994 effort, and a follow-up LP, 2022's "Genius".

Nearly two years ago, Blaze underwent a quadruple bypass surgery following a heart attack.

Bayley's latest solo album, the aforementioned "Circle Of Stone", came out in February 2022.

SLIPKNOT's Eloy Casagrande has shared drum-cam video of him and his bandmates performing the song "Liberate" on December 21, 2024 at The O2 Arena in London, England. Check it out below.

In an interview for the cover story of the January 2025 issue of Modern Drummer magazine, Casagrande was asked for his opinion of his replacement in SEPULTURA, Greyson Nekrutman, who joined the latter band at around the same time in his life as Eloy did in 2011. The Brazilian musician responded: "Yes, and when I see him playing, I can remember myself in the same spot. When I joined SEPULTURA, I was his age. That's quite interesting. He's a very good drummer. I used to watch him playing videos he posted on social media when he was playing more jazz and drum solos. He's a brilliant player and I wish him and the rest of the band all the best. I have a lot of respect for him. I wish I could talk to him more one day. Maybe we could bring all the SEPULTURA drummers together.

"Greyson came to my studio in São Paulo when he joined the band to do some rehearsals, and we had a very good talk," Eloy added. "He had just two or three weeks to learn all the songs, so I gave him some advice like, 'We used to play that song faster. Be careful with this song because we used to play it slower.' I wasn't teaching him how to play the songs because he can play anything he wants to play. He's an incredible drummer."

Asked what it was like getting the call from SLIPKNOT and how he got the gig, Eloy said: "Everything happened at the end of 2023 when I got a call from SLIPKNOT's manager asking me if I was interested in doing an audition for SLIPKNOT. That year, SEPULTURA decided to stop playing, so it was a very natural decision for me to keep playing with someone else instead of just retiring. At the end of [2023] and the beginning of [2024], I wasn't supposed to talk to anyone about that. The audition was a big secret. Nobody could know about it. SEPULTURA didn't even know, it was just something between me and the guys from SLIPKNOT. It was my decision to do the audition. I said, 'Okay, I'm interested in doing an audition because SEPULTURA is going to stop. I have one and a half years left of working with them and I'm going to be done.'

"Through the years, I have played many times with SLIPKNOT," he continued. "We shared stages when I was playing SEPULTURA, and that was the place that I always wanted to be. I grew up listening to their music, so I wanted to have the experience playing live with SLIPKNOT with a mask on my face. In my first show with the band I was thinking, 'Oh, this is really happening. Oh my god. I can't believe it.'

"Going back a little bit, before I was invited to do the audition, I took my drums to a studio in São Paulo and did a proper sound and video recording," Eloy explained. "I played six songs, and I sent it to the guys. I chose three songs and then they asked me to play three specific songs. They were 'Eyeless', 'Purity' and 'Gematria'. My flight was booked to go to the audition, so at the end of January [of 2024], I flew to Palm Springs, California, and spent ten days with them there. The first five days, the whole band was rehearsing like it was a live show. Every day, the guys came with a different setlist, and we just played those songs."

In December 2024, Modern Drummer magazine's readers voted Casagrande as the No. 1 metal drummer in the publication's 2024 Readers' Poll.

After parting ways with Jay Weinberg in November 2023, SLIPKNOT teased fans with a hint about a new drummer 11 months ago, posting a photo of a single broken drumstick online with the caption "Rehearsal."

The band explained in a statement that the split with Weinberg was a creative decision. Jay followed up with a statement of his own, saying that he was "heartbroken and blindsided" by his dismissal.

Weinberg has since joined SUICIDAL TENDENCIES and INFECTIOUS GROOVES.

Casagrande abruptly quit SEPULTURA a year ago, shortly before he was supposed to begin rehearsals for the band's recently launched 40th-anniversary farewell tour.

"February 6th, a few days prior to the first rehearsal, drummer Eloy Casagrande informed the band that he was leaving SEPULTURA to pursue a career in another project," the band said in a statement.

Casagrande joined SEPULTURA more than 13 years ago as the replacement for Jean Dolabella.

SLIPKNOT's latest album "The End, So Far", arrived in August 2022. It marked the band's the last full-length LP before the departure of both keyboardist Craig Jones, who left the group in June 2023, and Weinberg.

SLIPKNOT recently completed the North American portion of the "Here Comes The Pain" tour. The band was celebrating the 25th anniversary of its seminal debut album, "Slipknot", which catapulted the band back in 1999.

In an interview with Tone-Talk, SLIPKNOT guitarist Jim Root spoke about how Casagrande came to join SLIPKNOT and his impact on the band's overall sound. He said: "We didn't even try anybody else. Eloy's name came up. He contacted us, actually, about wanting to be a part of it and started sending a bunch of videos in. I think him and our bass player [Alessandro 'Vman' Venturella] might've had a little bit of a relationship before. I think they knew each other. They had mutual friends. And Vman's really in tune with a lot of really great, proggy, heavy musicians that are passionate about their instruments. And it just seemed like a no-brainer. And he's really respectful of the legacy of [SLIPKNOT's original drummer, the late] Joey [Jordison], and Joey was a huge influence on him. And he's so humble. The dude has so much humility. And you could tell he just lives and breathes his craft, to the point where I see his passion and it ignites my passion for my instrument. And Brazilians, South Americans in general, are so passionate about what they do. Our manager told me, he was out to dinner with four or five promoters from South America, and they were all really stoked. They're all, like, 'It's so good you've got a Brazilian drummer in SLIPKNOT now. We kind of feel like we've won the World Cup.' It's a cool feeling. And God, he just fits in so well. I don't know, man. I mean, there's a lot of things I can say about it. I'm just glad it happened when it did. And we're lucky to have him — we are really lucky to have that dude."

San Francisco Bay Area metallers MACHINE HEAD will release their eleventh studio album, "Unatoned", on April 25, 2025 via Nuclear Blast/Imperium Recordings.

The official music video for the LP's second single, "Unbound", can be seen below.

According to a press release, "Unatoned" is "a testament to momentum, an album honed to its sharpest edge, forged on creative discipline and the hunger to push forward. It drips with melancholy melodies, and yet hammers with bludgeoning riffs, soars with anthemic sing-alongs of love lost and sadness, to bellowing power and undeniable confidence. Eleven albums deep, MACHINE HEAD remain as fierce, relevant, and unstoppable as ever."

"Unatoned" track listing:

01. Landscape Of Thorns
02. Atomic Revelations
03. Unbound
04. Outsider
05. Not Long For This World
06. These Scars Won't Define Us
07. Dustmaker
08. Bonescraper
09. Addicted To Pain
10. Bleeding Me Dry
11. Shards Of Shattered Dreams
12. Scorn

"Unatoned" was produced by MACHINE HEAD frontman Robb Flynn and Zack Ohren, and was mixed by Colin Richardson and Chris Clancy. The effort was mastered by Ted Jensen at Sterling Sound in Nashville, Tennessee.

Last November, MACHINE HEAD released "These Scars Won't Define Us" as the first single from "Unatoned". The official lyric video for the track, which features guest appearances by the other three bands which will accompany MACHINE HEAD on the Flynn-fronted outfit's spring 2025 North American tour — Swedish metal icons IN FLAMES, Italian alt-metallers LACUNA COIL and American metalcore maestros UNEARTH — can be seen below.

The five-week jaunt will begin on April 5, 2025 in Oakland, California at the legendary Fox Theater, then heads south for a stop at Sick New World festival, then east, and back across Canada, before concluding on May 10 in Kelowna, British Columbia.

MACHINE HEAD's current lineup includes former HAVOK guitarist Reece Alan Scruggs. Scruggs stepped in for MACHINE HEAD's previous guitarist Wacław "Vogg" Kiełtyka, who had been unable to make some of the group's dates due to his touring commitments with his longtime band DECAPITATED.

Reece made his live debut with MACHINE HEAD in November 2022 at Strummer's in Fresno, California at the opening show of the "Electric Happy Hour (Live)" tour.

Vogg joined MACHINE HEAD's touring lineup prior to the launch of the band's "Burn My Eyes" 25th-anniversary tour in late 2019.

The rest of MACHINE HEAD's lineup consists of guitarist/vocalist Flynn, bassist Jared MacEachern and British drummer Matt Alston (DEVILMENT, EASTERN FRONT).

Earlier last year, MACHINE HEAD completed the "Slaughter The Martour" North American tour with support from L.A.'s FEAR FACTORY, Sweden's ORBIT CULTURE and Louisville, Kentucky's GATES TO HELL.

MACHINE HEAD has been touring in support of its latest album, "Of Kingdom And Crown", which came out in August 2022. The follow-up to 2018's "Catharsis" included the three songs that were featured on the 2021 "Arrows In Words From The Sky" single: "Become The Firestorm", "Rotten" and "Arrows In Words From The Sky". Much of "Of Kingdom And Crown" was recorded at Sharkbite Studios in Oakland, California with engineer/producer Zack Ohren.

In November 2020, MACHINE HEAD released a single, "My Hands Are Empty", via Nuclear Blast. The song marked the first musical collaboration between frontman Robb Flynn and original "Burn My Eyes" guitarist Logan Mader in 24 years.

"My Hands Are Empty" was just one in a line of singles to be released by MACHINE HEAD, which issued "Do Or Die" in October 2019, "Circle The Drain" in February 2020, and the two-song digital single "Civil Unrest", consisting of "Stop The Bleeding" and "Bulletproof", in June 2020. "Stop The Bleeding" featured guest vocals from KILLSWITCH ENGAGE frontman Jesse Leach, and was written and recorded just days after the murders of George Floyd and Ahmaud Arbery.