On a new episode of the "Talk Louder" podcast, hosted by veteran music journalist "Metal Dave" Glessner and lifelong hard rock/metal vocalist Jason McMaster (DANGEROUS TOYS),Kerry King was asked about the possibility of a new SLAYER studio album. "I can 99.9 percent give you a 'no' on that one because I have a new outlet to present music to the fans," Kerry responded, referencing his eponymously named solo band. "And I just put these guys [in my solo band] together. I'm not gonna abandon them."

SLAYER played two reunion concerts last fall — on September 22, 2024 at the Riot Fest in Chicago, Illinois and on October 10, 2024 at the Aftershock festival in Sacramento, California.

At Riot Fest and Aftershock, SLAYER ran through a 20-song set that included opener "South Of Heaven", "Seasons In The Abyss", "Angel Of Death", "Hell Awaits", "Raining Blood" and the title track of SLAYER's final album, "Repentless".

SLAYER was also scheduled to play at the Louder Than Life festival in Louisville, Kentucky on September 27, 2024, but that performance was canceled due to severe weather.

Five years after SLAYER played the last concert of what was being billed as the band's farewell tour and just weeks after King unveiled the details of his solo project, Kerry and his longtime bandmates announced that they would play at Aftershock, Riot Fest and Louder Than Life.

The lineup for SLAYER's comeback was the same as the one which last toured in 2019: King and bassist/vocalist Tom Araya, along with guitarist Gary Holt and drummer Paul Bostaph.

Kerry's debut solo album, "From Hell I Rise", arrived on May 17, 2024 via Reigning Phoenix Music. All material for the LP was written by King, who was accompanied during the recording sessions by Bostaph and the rest of Kerry's solo band, consisting of guitarist Phil Demmel, bassist Kyle Sanders and singer Mark Osegueda.

SLAYER will perform at the 2025 edition of the Louder Than Life festival, set to take place September 18-21 at the Highland Festival Grounds in Louisville, Kentucky. The band will also play at BLACK SABBATH's final concert on July 5 at Birmingham, United Kingdom's Villa Park stadium.

This past December, King spoke to Australia's Metal Roos about SLAYER's future plans, following the band's two festival appearances in after a five-year hiatus. He said: "We're never gonna tour again. We're never gonna make a record again. Mark my word: we're never gonna make a record again, we're never gonna tour again. Because that was the last thing. We said [back in 2018], 'This is our final tour.' It took five years for us to come and say, 'Hey, here's a couple of shows, five-year anniversary.'"

Elaborating on the significance of SLAYER's comeback live performances more than four decades after the band's formation, Kerry said: "I think it's really cool. A lot of fans are into it. There's gonna be haters who say, 'Oh, they retired.' Yeah. Whatever. This is all about celebration. Say a kid was 10 years old when we retired. Now he's 15, 16. [It's his] first opportunity to see us. I think that's important."

King also touched upon the fact that SLAYER's reunion shows were announced just a couple of weeks after he went public with the details of his new solo band and debut solo album. He said: "The [SLAYER] announcement timing was not my favorite, but my band was doing its thing. The festivals SLAYER agreed to play, they wanted to release [the information about us playing there], they wanted to announce [it]. So, the timing wasn't in my favor, but everything went [as it did]."

Image credit: Pics from the pit

Reactivated Santa Barbara-based metal/punk rock hybrid SNOT played its third concert with new singer Andy Knapp on Saturday, February 8 at SOhO Restaurant & Music Venue in Santa Barbara, California. Fan-filmed video of the show can be seen below.

SNOT's first gig with Knapp took place on January 17 at the Parish room at the House Of Blues in Anaheim, California. The performance was also livestreamed via the band's Instagram. SNOT played a second show with Knapp, who also sings for fellow Southern California band STRONGER THAN MACHINES, on January 18 at Brick By Brick in San Diego, California.

In a recent interview with "The Garza Podcast", hosted by SUICIDE SILENCE guitarist Chris Garza, SNOT guitarist Mikey Doling and bassist John "Tumor" Fahnestock confirmed that there are plans to the band to write new music. Mikey said: "Oh, I got riffs, man." Tumor added: "We tracked stuff six, seven years ago, Mikey and I, that sounds jaw-dropping like SNOT, 'cause that's just how we work together." Mikey continued: "There are no vocals on it yet, but we're writing." Tumor said: "But the music, you'll be like, 'Holy shit. That's like SNOT.' It's just what we do. It's not a struggle. We just write that way. And when we pair it together. And it was kind of like an East Coast-meets-West Coast thing back then, and it still jells; it still works."

Elaborating on the SNOT songwriting process, Mikey said: "Whenever John and I get in a room together, it's pretty fucking rad, like when we start writing, 'cause we start developing and talking and all of a sudden we're talking the same language and all of a sudden we're, like, 'Whoa.' It's easy."

Tumor explained: "Like, he'll need a little puzzle. And usually Mikey's got the main idea, everything. And I'm this guy, I've always been known to write the bridges for the songs. And I'm, like, 'I've got this riff that'll fit right in there, like a puzzle.' And then we're, like, 'Holy shit.'"

SNOT's current lineup also includes guitarist Sonny Mayo and drummer Jamie Miller.

SNOT is scheduled to play two more club concerts in April 2025, leading up to the band's appearance at the Welcome To Rockville festival in May 2025 in Daytona Beach, Florida. SNOT will also play at select European festivals, as well as at the Inkcarceration Music & Tattoo Festival in Mansfield, Ohio, this summer.

SNOT disbanded in 1998 following original singer Lynn Strait's death, putting an end to a career that generated considerable promise but only one studio album, "Get Some". The band had been writing material for its sophomore CD and had completed 10 songs at the time of Strait's tragic passing. As a memorial to Strait, SNOT eventually decided to release those tracks, with lyrics and guest vocals provided by a host of stars from the alt-metal community. The resulting album, "Strait Up", was a fitting tribute from Strait's peers and friends, featuring members of LIMP BIZKIT, KORN, SLIPKNOT, SEVENDUST, (HED) P.E., COAL CHAMBER, SUGAR RAY, SYSTEM OF A DOWN, SOULFLY, and more.

SNOT in 2014 recruited Carl Bensley (VITIATE, CONSUME THE FIRE) to sing for the band following the departure of Tommy "Vext" Cummings (ex-DIVINE HERESY, BAD WOLVES).

Reflecting on SNOT's original split and 2014 comeback, Doling told The Kevin Powell Podcast: "Un-fucking-fortunately, our singer Lynn Strait, the great, mighty Lynn Strait, who I miss and love so much, he passed away in a car accident and it put a halt to SNOT. We just couldn't go on without him at that point. And so we stopped for many years. And then we kind of got back together with some friends, and it wasn't real serious — [we] just [played] some shows. I don't really wanna say their names right now, but they're cool people and they helped us out."

As for how SNOT's latest reunion is different from the band's 2014 comeback, Doling said: "This one, it's serious. We're back-back. We got the booking agency. We got high-level shows and festivals. This is the real deal for us. We're back right now. And, yeah, that's where we are right now. And we're hungry to do it again. I'm very excited about it."

Doling previously discussed SNOT's reunion during an appearance on an episode of the "Talk Toomey" podcast. Regarding how the band's comeback happened, Mikey said: "Well, let's see. About a year ago, I was seeing the festivals that were coming in 2024, and I was noticing there were so many bands out there from our genre. You have the COAL CHAMBERs, the MUDVAYNEs and just so many bands out there killing it. And I'm sitting there thinking, 'Man, SNOT, it's time that we get on board with this.' So I talked to the dudes. We didn't even have a singer at that point. So anyway, so I reached out to the band and said, 'Hey, man, I think we should find a singer and play some festivals and have some fun.' And they were, like, 'Yeah, well, we're in if you can find us the right singer.' So, I looked around for a while. I had no luck. But I kept looking. And then I reached out to Alex Gilbert over at TKO — it's our booking agency — and I asked him, I said, 'Hey, man, I'm currently looking for a vocalist. And if I put all this work into putting SNOT back together, would you be interested in booking some shows and festivals for us?' And he said, 'I'll put the feelers out there and let's see how it goes.' So, a year went by. I didn't hear anything back. I kind of thought, 'All right. No interest.' So about three months ago, Alex called me. So I'm looking at my phone, like, 'Whoa, it's Alex from TKO.' I answered and I asked him how he's doing. And he said, 'Hey, man, I'm getting a lot of interest for SNOT. It's a lot. Everybody I talk to wants the band.' So I told him, 'Look, man, we're into it.' I didn't even let him know we didn't have a singer yet at that point. And I said, 'Let me get back to you. I'll talk to the guys.' So I instantly jumped on social media for a little something about looking for a vocalist for SNOT. And I got a lot of response. I got, like, eight videos and audio of dudes who just didn't fit. What they did is they would sing with the album, 'Get Some', and it just didn't fit. So I almost kind of gave up. And so right there at the end, before I threw the towel in on the whole thing, a friend of mine from Santa Barbara hit me up, texted me and said, 'Hey, I found the guy for SNOT.' And, I was, like, 'Yeah, sure,' in my mind thinking, 'Yeah, yeah. Right. Right.' So I jumped on the phone with him — let's say it's a girl, with her — and she said, 'I saw a guy. He has a band. And he reminded me of Lynn. It was goosebumps,' she said. And I said, 'Cool.' And Lynn is one of his favorite all-time singers. So, she put me in contact with him. And, again, I asked him, I said, 'Look, we're looking for a singer. Do me a favor. Set up a camera, microphone and sing along to 'Get Some', our album. And so about three or four days go by and then I get some videos on my phone. So I'm watching the video, and immediately it just punched me in the face how good it was. I was, like, 'Wow, this is the guy.' What he did is he set up in front of his — he has a little rehearsal spot, drums and amps, and he put 'Get Some' through his P.A. system and he wrapped the cable from the microphone around his arm and laid into it as if he was doing a show. He did, like, five songs and he was absolutely incredible, nailing it. He looks right. He's got the whole punk vibe that we're looking for. And he just nailed it, man.

"Singing like Lynn Strait is not easy, man. And he absolutely fucking rocked it, to the point where I had to sit down; I was so blown away. And so I immediately contacted Tumor, John Fahnestock, bass player for SNOT. And Tumor, [he is the] best guy in the world, but [he] hates everything. I sent it to him, and he called me right away. He was, like, 'Dude, holy shit. You found our guy.' That was the first thing he said. 'Who is it? Is this real?' I was, like, 'It's real.' So then I sent it out to the rest of the guys, Jamie and Sonny, and, and yeah, boom, it's there."

According to the Los Angeles Times, Lynn died in died in a car accident in December 1998 as he attempted to drive across Highway 101 in Mussel Shoals, California. The 30-year-old singer died instantly after his 1992 Ford Tempo was broadsided by a southbound full-size pickup truck about noon. Also killed was Strait's small bulldog, SNOT's mascot Dobbs, who adorned the cover of the band's debut album, the 1997 Geffen Records release "Get Some". Strait, a Santa Barbara resident, was crossing the highway after visiting his girlfriend in the community. Lynn apparently pulled into the path of the truck, which was going about 65 mph. The impact sent Strait's car spinning into the center divider where it stopped, a California Highway Patrol officer told the Los Angeles Times at the time.

SNOT's most recent U.S. tour, during which the band performed "Get Some" in its entirety, kicked off in late November 2014 in Palm Desert, California and wrapped in late December 2014 in Pomona, California.

Cummings fronted SNOT in 2008-2009 before he and Mayo exited the group amid "strained relationships."

Gritty, grunge-infused heavy rockers ROLLIN' COFFIN, the latest musical venture from VISION OF DISORDER and BLOODSIMPLE veteran Tim Williams, have released a new single, "Sun And Rain", via Static Era Records. The track is accompanied by a visualizer, available to view below.

Currently sitting at No. 4 on the Metal Contraband and NACC Heavy radio charts respectively, "Sun And Rain" marks the reunion between producer Machine (LAMB OF GOD, CLUTCH, SUICIDE SILENCE) and Williams, who last worked together on the landmark BLOODSIMPLE album "Red Harvest".

Williams comments: "Getting back into the studio with Machine was a long time coming. We have a relationship that goes back 25 years. He is one of my favorite producers to work with, especially when it comes to vocals.

"My ideas for 'Sun And Rain' pretty much set when we started tracking the song. The vocals had to really carry the song; they needed to carry the song to the next level. The ideas started flying all over the place; the further we got the harder we worked, and the song was just getting bigger and better. It was a very exciting day in the studio, to say the least.

"I'm always working on some sort of self-expression — mostly music, writing, and art. So I had the ruff demo to 'Sun And Rain' kicking around. I was away on vacation in a hot tub after a long ski day. The chorus just popped into my head, and I said to myself, 'This song has to be heard; it's a killer song.' When I got back to town, I immediately started brainstorming on production, scheduling and flights. It came together very quickly and sure sign of a good idea.

"The track is inspired by the forces cast upon us in life. The push and pull, the strength and fear, good and bad. These threads of light take us on our journeys. The randomness of it all and how in a moment, it all can be taken away. 'Who are you to take away my life.'"

Williams has been a major influence in the hardcore and metal scenes since his early days fronting VISION OF DISORDER and BLOODSIMPLE. ROLLIN' COFFIN marks the latest chapter in his storied career which has been constantly evolving and continuing to push the envelope.

Photo credit: Shacktown City Photography

In a new interview with Barry Robinson of Classic Album Review, JETHRO TULL leader Ian Anderson spoke about the lyrical inspiration for the song "Puppet And The Puppet Master" from the band's upcoming 24th studio album, "Curious Ruminant", due on March 7, 2025. He said in part (as transcribed by BLABBERMOUTH.NET): "I wanna be free of feeling that I am in any way having to comply with other people's wishes and other people's demands. And the more demanding an audience are, by the way, the less I enjoy it, because there are occasions where sometimes you get a volatile audience due to the cultural tendencies in particular places. I could name Brazil, for example, where audiences think it's okay to whistle and shout and boo and shout out the names of songs they wanna hear. I mean, I actually find it incredibly rude, and I really don't enjoy that. It's not every concert I've played in Brazil, but I encountered it a couple of times last year when I was on tour in Brazil, and that's the way they are. There are other national stereotypes where people do behave that way. You will encounter it sometimes in the USA, where people think it's okay to shout and whistle. It's not okay. I'm trying to concentrate on playing sometimes quite difficult music, and I don't like to be interfered with. I like to have the flexibility to be able to do that. And so if the audience set out to somehow manipulate you or influence your way of playing, that's not good. For me, it is absolutely sufficient, at the end of a song, to see smiles on faces and somebody applauding at the appropriate time. That means everything to me. I don't wanna be interrupted while I'm performing.

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

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

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

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

Anderson had been saying for months following the release of "RökFlöte" that he would embark on a new project in late 2023. He waited only a few weeks before the first notions began to solidify into some drafted words of intent and in May 2024, some unfinished music recorded earlier with John O'Hara, David Goodier and James Duncan became the starting point for the new songs as they took shape.

Writing the lyrics and melodies for all the newly written material came very quickly once he began in earnest during June and just seemed to slot right in to the musical feel and styles of the earlier recordings.

Anderson's writing here is often on a more personal level of lyric content than we are used to hearing. Interspersed with his usual observational descriptions are the slightly more heart-on-sleeve moments of soul-baring — albeit not on the topics more often paraded by the usual I-me lyric merchants of pop and rock.

Some of the songs are developed from unfinished instrumental demos made some years ago although this does not result in a huge stylistic divide to jump out at the listener. Apart from the signature flute solos and melodies, accordion, mandolin, acoustic and tenor guitars feature on several tracks too, so the subtle backdrop of acoustic and folk rock serves to remind of the TULL heritage of the 1970s.

BAD COMPANY, THE BLACK CROWES and SOUNDGARDEN are among the nominees for this year's Rock And Roll Hall Of Fame.

To be eligible for a nomination, the artist or band must have released its first commercial recording at least 25 years before the year of nomination.

BAD COMPANY and THE BLACK CROWES have made the list for the first time while SOUNDGARDEN returned to the ballot after first appearing in 2023.

Here are the 2025 nominees:

BAD COMPANY
THE BLACK CROWES
MARIAH CAREY
CHUBBY CHECKER
JOE COCKER
BILLY IDOL
JOY DIVISION/NEW ORDER
CYNDI LAUPER
MANÁ
OASIS
OUTKAST
PHISH
SOUNDGARDEN
THE WHITE STRIPES

"This remarkable list of nominees reflects the diverse artists and music that the Rock And Roll Hall Of Fame honors and celebrates," said John Sykes, chairman of the Rock And Roll Hall Of Fame Foundation, in a statement. "Continuing in the true spirit of rock and roll, these artists have created their own sounds that have impacted generations and influenced countless others that have followed in their footsteps."

Nominees are voted on by an international panel of more than 1,200 artists, historians and music industry players. The selection criteria include an artist's impact on other musicians, the scope and longevity of their work, innovation and excellence in technique.

THE BLACK CROWES frontman Chris Robinson told Billboard about his band's nomination: "We're just very excited. I don't think we ever really would have thought about it, so for it to be in front of us, it's incredible. We're thrilled. All sarcasm aside, it's amazing to be thought of. It's amazing to be included. We love music, and we understand the real magical, alchemic process in it, and that we've managed to still be here this many years later and still be making records and in a lot of ways having a level of recognition and success that we haven't felt before. Just to be mentioned (alongside) some of the names of the greatest artists, it's fantastic."

The Class Of 2025 will be revealed in late April. At that time, additional nominees will be announced that have not gone to the broader votership but were directly installed by the seletct committee, in the Musical Influence, Musical Excellence and the Ahmet Ertegun Non-Performer Award areas.

The 2025 Rock And Roll Hall Of Fame induction ceremony will take place in Los Angeles this fall.

And the 2025 Nominees are...

Congratulations to the #RockHall2025 Nominees! Cast your ballot in the Fan Vote, sponsored by Alliant Credit Union: vote.rockhall.com
🎉
¡Felicitaciones a los nominados al #RockHall2025! Emitir su voto en el Fan Vote, patrocinado por Alliant Credit Union: vote.rockhall.com

Posted by Rock & Roll Hall of Fame on Wednesday, February 12, 2025

During an appearance on The Mistress Carrie Podcast, former MEGADETH guitarist Marty Friedman, who has been living and recording music in Japan since 2003, was asked what he would say about Japan to the people from America and other parts of the world who have never been before. He responded (as transcribed by BLABBERMOUTH.NET): "Well, I think it's the closest you can get to being on another planet and being safe and enjoying another planet. Sometimes you're in a place that is just so dangerous, you feel like you're on another planet, but Japan is the complete opposite. I believe it's the safest country in the world, considering the fact that there are full-on metropolises everywhere. I mean, Tokyo is the highest-population city in the world or something like that, and it's the safest metropolis I've ever been in. And I live straight downtown, two-minute walk to the Red Light District, which is completely safe at all hours of the night."

Marty continued: "It's an absolute must just to see something that you haven't seen before. And, I mean, the food is just out of this world, and the people are very friendly and helpful to foreigners. It's not too terribly English friendly, so I'll say that right off the bat. And I think that's what's good about it. Does everything have to be exactly the same as every other country in the world? Why fly 15 hours, or wherever you're coming from, to sit in a Starbucks and read an English menu? I don't get that at all. So Japan is not a thousand percent English friendly, but people are extremely helpful, even if they can't speak English. And I just recommend it for everybody. Music is just on a whole new plane and music is different there. 80 percent of the music that people listen to is domestic music — not American, English, Canadian, whatever. And that's gonna freak a lot of people out in a very good way. And it's exciting."

Last month, Friedman was asked by Canada's The Metal Voice if he ever feels isolated or that he doesn't belong in a country like Japan, which is not generally exposed to other cultures. He responded: "Oh, it's an excellent question. And I'm definitely, definitely the minority here [in Japan]. In the majority of everything I do, I'm the only non-Japanese in the room — in the studio, in the venue you could play. I'll do a show and there's thousands of people there [and] I'm the only foreigner in the room.

"People don't really understand the ratio of what it's like in a one-race society," he continued. "I think the correct number is something like 94, 95 percent of the people in this country are all Japanese. So, that's something to be reckoned with.

"It's interesting, because America, as you know, is a complete melting pot, so the concept of everything is completely different. We could talk forever about that, but for me, my personal experiences, which, of course, I outlined a ton in ]my recently released] book ['Dreaming Japanese'], is you can never, ever, no matter how fluent you get at the language, no matter how much you get immersed in the culture, never ever have the goal or intention to belong, because that's where you're gonna get tripped up. If you feel like, 'Well, I don't belong here. All these people are different. I'm the odd man out,' then you're not suited for this kind of thing. The way to internalize it is, there's no way I'm gonna belong, but I can certainly coexist and I can certainly bring something to the party and I can certainly get something out of this.

"Belonging is extremely overrated," Friedman added. "You don't have to belong. And what's so great about belonging? If you find a place that you like to be, that's where you like to be, and that's where you like to make your contributions to whatever it is you're doing, and to receive things. But sometimes people get turned off by not belonging to something. And that's kind of a — not a mental issue, but it's kind of the wrong goal, I think.

"Belonging is way overrated, and separating people because of whatever race they are is also very overrated," Marty explained. "Because, here I'm in a one-race society, but, for example, if I'm auditioning people for a project — say, I'm putting together a band for a record label or something, which I've done several times — there's guys who suck at what they do, and there's guys who are great at what they do, and there's guys who look the part, there's guys who don't look the part, there's guys whose attitudes are great, guys whose attitudes suck, all within the same one race. Qualified people and non-qualified people, this is the same with mixed-race countries like America. So why does race even matter? I want the best person for the job. And so the longer you're in any kind of professional capacity of anything, you kind of forget that everybody's a different race that I am. I've completely forgotten. And, actually, a lot of people tell me, after working with me for years, 'I totally forgot that you're American.' They might hear me speak English. I never speak English here in Japan, except for doing stuff like this [interviews with English-speaking media outlets] and talking to my family, so occasionally, if someone will hear me on the phone speaking English, they're, like, 'Oh my God. He speaks English. I forgot you were American.' Because I've really assimilated that much. But not to be confused with belonging, because I'm still the elephant in the room, so to speak."

Back in November 2021, Friedman, was asked during the fourth event in Cardiff University's Cardiff-Japanese Lecture Series if he experiences culture shock when he returns to his former home country of America. Marty said: "When I moved to Japan, I completely was encompassed by Japanese culture. No one I worked with spoke English. No one around me spoke English. The only time I spoke English was when I was doing international promotion or international tours or international interviews. So 24/7, it was all Japanese. And when that goes on for years and years, you start to dream in Japanese. My wife's Japanese, and we speak only Japanese. So, cultural things also become a part of you, because when you live somewhere, you become a part of the culture. And the things that matter in Japan are not the things that matter in America. Or the things that matter in Europe are not the things that matter in South America. So things that matter on a day-to-day basis are different. So culture 'shock' is kind of a shocking word, so I don't really feel shocked. But I feel like I'm very blessed, because when I go to America, I'm an American, so I can feel all the great things about being American. But I've lived in Japan for almost 20 years, and before I came here, I've been in so many Japanese situations that there's a definite part of me that is really a part of the Japanese culture so I can really feel both of them.

"You should never think that you're trying to belong," he continued. "Because it doesn't matter how perfect my Japanese is — and it's not perfect — but I'm never, ever gonna be Japanese. I feel a part of me is definitely influenced by Japan very much, but if your goal is to belong in another society, I think you're gonna be let down very, very much. Because as hard as you try, Japan is a one-race society and you just look different and you're born in a different place and you have different things in you. So the goal is not belonging; the goal is to add what you have to Japan. If you're trying to belong to something like that, I think you're gonna be let down. But it's not a letdown. You only really belong to yourself. And belonging to something is overrated. So I think you'll enjoy your Japan experience a whole lot more if you celebrate your differences while understanding Japan and enjoying the great things that you're able to enjoy about Japan. And don't be let down when sometimes people are not necessarily so friendly to foreigners. This happens to every country. You just have to let it be; it's just the way it is, especially with older generations. They're, like, 'Oh, the world is changing. Now there's English in the taxicabs. Oh my God.' People fear change. But you can't let that bother you. It's never bothered me once. I'm completely fine being a gaijin [a Japanese word for foreigners and non-Japanese citizens in Japan, specifically non-East Asian foreigners such as white and black people]; it hasn't stopped me from anything. So culture shock, it's not really as bad as people think it is. I enjoy being in America, and I enjoy being in Japan because both things have given me a lot of great things in my life. So learning English — English is the language of the world, so that's helped me everywhere. But in Japan, it's the opposite — in Japan, Japanese is the language, so it's a must. So culture shock is not really that big of a thing."

Friedman's autobiography, "Dreaming Japanese", arrived on December 3, 2024 via Permuted Press.

In a new interview with The Heavy Metal Journal, DREAM THEATER bassist John Myung discussed the band's decision to reunite with Mike Portnoy in October 2023, 13 years after the drummer first left the progressive metal titans. Asked how the reunion with Mike came about, John said (as transcribed by BLABBERMOUTH.NET): "I think he was ready to come back, and he had spoken to a few of the guys in the band, and then we had a meeting. And the gist of the meeting was, 'We talked to Mike and he's ready to come back home.' And it just made a whole lot of sense, because Mike wants to come back into the band, and my history with Mike is… The band, I think, was doing really well, and musically I think we felt we were our strongest when we were with him, so, of course, it made sense to bring him back, being that he wanted to come back."

Myung also talked about DREAM THEATER's just-released sixteenth studio album, "Parasomnia", which marks the band's first release with Portnoy since 2009's "Black Clouds & Silver Linings". Regarding how the songwriting and recording process went this time around, John said: "It went really well; it went really smooth. There wasn't any problems. It's kind of like the way I remembered it was when Mike was originally in the band. And it was really just a great feeling to kind of have him back and have the chemistry that we once had. And then when he left, a lot of the things that I took for granted, because it's just all I ever knew. We got to audition different drummers and got to know their personalities, and just stepping back in with Mike coming back into the band was a real great thing for us. We're in a really good place, and everything makes a little bit more sense to me. I get to look back and realize the things I took for granted. And so I kind of have a greater appreciation for the band and the chemistry we have now."

DREAM THEATER kicked off the North American leg of its 40th-anniversary tour last Friday night (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 vocalist James LaBrie, Myung, guitarist John Petrucci and keyboardist Jordan Rudess. The tour is scheduled for 29 more cities across the United States and Canada, concluding on March 22 in New York City.

Prior to Portnoy's return to DREAM THEATER, he and Petrucci worked together on the latter's 2020 solo album, "Terminal Velocity", and toured together. The two also joined Rudess and bassist Tony Levin for a third studio album as LIQUID TENSION EXPERIMENT in 2021.

Titled after a specific category of sleep disorders, "Parasomnia" is an eight-track, 71-minute set which was recorded at DREAM THEATER's DTHQ studio on Long Island, New York. It is the follow-up to 2021's "A View From The Top Of The World", which debuted in the top 10 of Billboard's Top Hard Rock Albums, Top Rock Albums and Independent Albums charts.

"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 as MAJESTY 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. LaBrie came on board in 1991, while Rudess joined in 1999.

Mike 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".

Legendary rocker Jizzy Pearl is back! The unmistakable voice behind LOVE/HATE's "Blackout In The Red Room" returns with "Punk Rock Fiesta!" on March 1 via Kenyon Records. This latest album from JIZZY PEARL'S LOVE/HATE is a raw, unfiltered blast of fiery rock 'n' roll energy, packed with high-voltage riffs, anthemic choruses, and relentless attitude.

From the Sunset Strip to stages worldwide, Pearl has made his mark on rock history, selling over 600,000 albums and sharing the stage with AC/DC, OZZY OSBOURNE, SKID ROW and DIO. He currently sings for QUIET RIOT and has recorded and toured with RATT and L.A. GUNS. Now, he delivers a powerhouse collection of songs, capturing the fire and energy of no-frills rock 'n' roll — it's "Punk Rock Fiesta!"

"Punk Rock Fiesta!" is a high-octane ride that leans into the rebellious spirit of classic, streetwise rock. Featuring blistering guitar solos and Jizzy's signature vocals — equal parts grit and soul — the album is a relentless sonic assault.

The lead single, "You're Gonna Burn", is already creating a buzz, showcasing former LOVE/HATE member Darren Housholder's electrifying guitar work alongside Jizzy's commanding presence.

"Rock 'n' roll should be dangerous, unpredictable, and make you feel something," says Jizzy. "We wanted to bring back that energy that made music exciting in the first place. This record is screaming, loud, and full of old-school rock 'n' roll soul!"

Since 1990, with LOVE/HATE's debut "Blackout In The Red Room" — named "Best Record Of The Year" by Kerrang! and Metal Hammer — Jizzy Pearl has remained a respected force in rock. Whether commanding the stage with multi-platinum bands or pushing his own creative limits, he continues to evolve while staying true to his hard rock roots. With his seventh solo album, Jizzy Pearl is ready to shake up the rock world once again.

"Punk Rock Fiesta!" track listing:

01. You're Gonna Burn
02. Eye For An Eye
03. The Wrath Of Love
04. Over The Edge
05. Didya Think You Could Fall In Love?
06. Can't Be Wrong
07. I'll Be Your Shadow
08. Time To Take Your Pill

Recording lineup:

Jizzy Pearl: Vocals, Guitars, Bass Guitar
Darren Housholder: Guitars
Christian Kimmett: Bass Guitar
Dave Moreno: Drums

Credits:

All songs (words and music) by Jizzy Pearl
Produced by Jizzy Pearl
Executive producer: Brian Kenyon
Mixed by Andy Haller and Jizzy Pearl at Android Audio, Arizona
Mastered by Maor Appelbaum
Guitars recorded by Tim Hofstetter
Drums recorded by Dave Moreno at Doom Room Studios, California
Additional guitars: Andy Haller
Cover art: Jordan Hursch
Layout and design: Michael Wohlberg
Album photos: Christina Pearl

U.K. dates:

March 05 - Edinburgh, UK @ Bannermans
March 06 - Newcastle, UK @ Trillians
March 07 - Buckley, UK @ Tivoli
March 08 - Wolverhampton, UK @ K.K.'s Steelmill
March 09 - Blackpool, UK @ Waterloo
March 12 - Bradford, UK @ Nightrain
March 13 - Camden, UK @ Underworld
March 14 - Yarmouth, UK @ Hard Rock Hell
March 15 - Crumlin, UK @ Patriot
March 16 - Swansea, UK @ Hanger 18

U.S. dates:

July 04 - West Hollywood, CA @ Whisky A Go Go
July 05 - Las Vegas, NV @ Count's Vamp'd

Photo credit: Christina Pearl (courtesy of Kenyon Records)

Some GIRLSCHOOL fans have expressed their concern after frontwoman Kim McAuliffe struggled to complete the band's set on Friday, February 7 Conventum in Örebro, Sweden as the support act for SAXON.

In a video of the performance shared on YouTube courtesy of Johan Jansson, the 65-year-old McAuliffe could be seen wobbling on stage and appearing disoriented while her bandmates delivered their parts seemingly unaffected by her inability to keep her balance. At one point, Kim made her way to the back of the stage and sat on SAXON's drum riser, visibly unable to stay on her feet, while a stage tech rushed over and removed her guitar from her shoulder.

McAuliffe's disappointing performance in Örebro was discussed by fans in the official GIRLSCHOOL Facebook group, with one person — who apparently attended the concert — writing: "So sad to see what could have been a great night. Almost half of the tracks was skipped and ending on a sad note with an instrumental version of 'Bomber'". When another fan asked, "What happened, exactly?", the first fan responded: "Let's wait and see if there will be an official excuse or statement. Otherwise I can talk more about it later".

As part of GIRLSCHOOL's ongoing European tour with SAXON, the two bands performed the following night (Saturday, February 8) in Norrköping, Sweden, seemingly without incident.

In a 2016 interview with Headbangers Lifestyle, Kim talked about how touring had changed in the four decades since GIRLSCHOOL's formation. She said: "We have a few drinks here and there, but I can't do it anymore like we used to do anyway. I don't think anybody I know can. It is too painful the next day. So at one point we go back to the hotel and watch something on the iPad or so." Guitarist Jackie Chambers laughingly added: "Yeah, because it takes you two days to get over the last gig."

Two years ago, Chambers and McAuliffe were asked by Classic Rock magazine if GIRLSCHOOL has "a reputation as a heavy-drinking band". Jackie responded: "You could say that." McAuliffe chimed in: "How on earth did anyone reach such a conclusion? It was all down to Lemmy [late MOTÖRHEAD frontman] and his bloody Special Brew. And then there was Elephant beer. Remember that? It was horrible stuff. One of the worst stories was in Germany when our crew introduced us to Jägermeister and we lost two hours of our lives."

Chambers added: "I remember being somewhere in Europe at eight o'clock in the morning, still drinking and wearing our stage gear, as people came down to breakfast. Things are a bit more moderate now." McAuliffe concurred. "They have to be," she said. "We can't do it at those levels any more. Sometimes we try, but it's just too much."

It is not clear if McAuliffe's performance in Örebro on Friday was in any way related to alcohol consumption.

GIRLSCHOOL originated in the U.K. during the New Wave Of British Heavy Metal scene in 1978 and is frequently associated with contemporaries and friends MOTÖRHEAD. They are the longest-running all-female rock band, still active and rocking hard after more than 40 years.

Formed from a school band called PAINTED LADY by McAuliffe and Enid Williams, GIRLSCHOOL enjoyed strong media exposure and commercial success in the U.K. in the early 1980s with three albums of "punk-tinged metal" and a few singles.

In the 1990s and 2000s, they concentrated their efforts on live shows and tours, reducing considerably the production of studio albums. During their long career GIRLSCHOOL toured all over the world, performing at many of the biggest rock and metal festivals as well as co-headlining with or supporting some of the most important hard rock and heavy metal bands in the genre.

They maintain a worldwide cult following and are considered an inspiration for many succeeding female rock musicians, such as THE DONNAS.

Original members McAuliffe and Denise Dufort are still in the band to this day. (Dufort is not taking part in the current tour while she is dealing with undisclosed issues with her hands. She is being temporarily replaced by Larry Paterson.) Original lead guitarist Kelly Johnson died of cancer in 2007 and was replaced by Chambers in 1999.𝐒!

Sony Pictures Classics' "Becoming Led Zeppelin", the first-ever sanctioned film on the band in the almost 57 years since the formation of the notoriously private group, gave a record-breaking performance for its first weekend at the box office as it opened to an impressive $3 million IMAX debut across 16 countries and territories. Domestically, the film's $2.6 million start ($7,000 per-screen average) represents the biggest opening weekend ever for an IMAX-exclusive music release, as audiences nationwide flock to experience the exhilarating docu-concert on the largest screens available.

With its successful debut, "Becoming Led Zeppelin" landed in the domestic top 10 chart at No. 8 this past weekend and saw particularly strong results from both coasts as well as markets including Toronto, Cleveland, St. Louis, and Dallas. The documentary, which was released exclusively in IMAX this past Friday, February 7 on 369 North American screens and held one-night-only early access screenings in eighteen markets earlier in the week, will expand nationwide across 1,000 screens on Friday, February 14, 2025.

"Becoming Led Zeppelin" explores the origins of this iconic group and their meteoric rise in just one year against all the odds, providing an unparalleled look at the how the rock band came together as audiences witness firsthand the formation of their first two official tours and the creation of their history-making, self-titled debut and sophomore albums.

Powered by awe-inspiring, psychedelic, never-before-seen footage, interviews, performances and music, Bernard MacMahon's experiential cinematic odyssey explores LED ZEPPELIN's creative, musical, and personal origin story, with unprecedented access to the group and their archives that solidifies the film as the definitive LED ZEPPELIN documentary.

The hybrid docu-concert film also unveils a huge amount of rare and unseen LED ZEPPELIN performance footage. The result is a visceral musical experience that will transport audiences into the concert halls and musical lives of LED ZEPPELIN during their earliest tours, accompanied by intimate, exclusive commentary from the famously private band.

"Becoming Led Zeppelin" is a movie that almost didn't come to fruition — the filmmakers were up against epic challenges, including the fact that hardly any footage from the band's early period existed. MacMahon and producer Allison McGourty embarked on a global detective search for material to illustrate the band's story.

"Becoming Led Zeppelin" is directed by the award-winning, Emmy- and BAFTA-nominated Bernard MacMahon ("American Epic"),and written by MacMahon and BAFTA-nominated producer Allison McGourty. It is produced by McGourty and Paradise Pictures in association with Big Beach, alongside executive producers Michael B Clark, Alex Turtletaub, Cynthia Heusing, David Kistenbroker, Duke Erikson, Simon Moran, and Ged Doherty. Editing is by Dan Gitlin, sound supervision is by Nick Bergh, sound restoration is by Grammy Award winner Peter Henderson, with archival research from Kate Griffiths and Rich Remsberg.

Last September, British progressive rock legends URIAH HEEP announced their plans to embark on a farewell tour, dubbed "The Magician's Farewell", beginning with a seven-show U.K. run in February. Asked in a new interview with Indie Power TV what led to the decision to stop touring around the world, URIAH HEEP guitarist Mick Box said (as transcribed by BLABBERMOUTH.NET): "I'd say it was part the fact that we're not getting any younger. But the other big part was that it's becoming impossible to put these tours together now, the long tours that we used to do. Especially over in Europe, with Brexit and after COVID and things like that, it's got really, really hard, because previously we could travel freely through Europe, but now we can't because of Brexit. So, we now have to have carnets [international customs and temporary export-import documents] for equipment to get through to every territory, which they've only gotta get held up in one territory, and you lose the show. Things like that."

Mick continued: "With the advent of the world as it is today, bus prices have tripled, truck prices have tripled, everything's tripled. I mean, to give you an example as well with the airlines, apart from their cost going through the roof, we had 11 flights the other month and five of them were cancelled. So it's getting more and more difficult. So every show you've gotta go in a day early just to compensate for anything that may happen. So it's getting really difficult to put those long tours together. So it's kind of all come to a head, if you like."

Box also spoke in more detail about the barriers British musicians face since Brexit when it comes to touring the EU. He explained: "Yeah, well, unfortunately, the government doesn't recognize how important music is to the world. We've got all these restrictions on. There's even a restriction that you can only stay out 90 days in 180 and things like that. All those things just knock you sideways when you try to put a whole run of tour dates together like we used to do for nine months of the year. It's very difficult."

Mick went on to say that URIAH HEEP will never stop playing live shows altogether. "Yeah, we'll always play festivals, we'll always do things like that, because it's in our blood to keep playing," he said. "But this is a total winddown over two to three years. And when you consider that you and I play in 64 countries, we've got a lot of flying about to do. [Laughs] But we hope to get to everyone we can with this final hurrah, if you like. But it's not that final, because, as we say, we're gonna continue playing probably in pockets rather than these lengthy tours that are now impossible for many, many reasons I just discussed."

Asked if touring America has become increasingly difficult as well, Mick said: "Yeah, the visa side of it is very expensive, of course. And then if you've got a [team of people working for you], which we have with our crew, you've got the flights and everything else to consider before you even play a note. So, those things are difficult, but not insurmountable.

"I think that in America, it's geared a lot better, with the tour buses and everything else, to make it possible," he added. "So, yeah, I don't think it's quite so bad because you don't have, like we do in Europe, to go into each territory, you have a carnet, like I say, for all our equipment to be cleared, whereas in America you can just keep on going. [Laughs]"

Last December, Box was asked by Planet Rock's Paul Anthony what he is planning on doing with his time once URIAH HEEP has completed its farewell tour. Mick said: "I guess we'll do [some] writing and go in the recording studio and do other aspects of the of the game, but as I say, we're still gonna be touring, still gonna be playing. It's just that we're not doing the really long stuff. We'll do it in sections rather than a whole long splurge."

As for the setlist for "The Magician's Farewell", Mick said: "I guess a setlist really writes itself to a degree, because there's so many songs that people expect to hear — you know, the 'Easy Livin'' to 'July Morning' and stuff like that and 'Stealin'' and whatever — so we kind of use that as the template. Then we'll add in some of the latest-album songs, and then build it from there. And maybe revisit something that we haven't revisited for a while, or even something we haven't played before. So we kind of just put it in the mixing pot, really. But it kind of works itself out because the popularity of the songs we've got, which is marvelous."

After Anthony noted that URIAH HEEP still records new music and is not known as "just a heritage act" which doesn't perform its more recent songs live, Mick concurred. "Well, yeah," he said. "I mean, when you look at it, we've got a lot of classic rock songs. And the new songs are soon to be classic, because it's only time that gives them that title. [Laughs] So, yeah, we look at it like that. And they merge very well, because it's the band doing what the band does, using the same template we had from day one, musically, and that's the Hammond organ, the wah-wah guitar, five[-part vocal harmonies], all that sort of stuff. We just apply that to each song and it's URIAH HEEP."

URIAH HEEP's farewell tour will run for approximately two or three years and will include performances in all parts of the globe.

In November 2023, Box was asked by Metallerium how he and his URIAH HEEP bandmates have managed to retain their trademark sound despite having gone through so many lineup changes over the years. He responded: "Well, I think, I think, basically, as long as I'm there, the band's gonna sound like URIAH HEEP. Because we created a template on how we sounded back in 1970 with our first album, '...Very 'Eavy ...Very 'Umble'. So, we've continued with that all the way along the line. And I think a lot of the credit must go to Jay Ruston, our producer, because he understood where we come from, what we're all about, but he managed to make the album sound really fresh and today, and I think that's a marvelous achievement. So really, as long as we keep playing and writing good songs and doing good performances, and we get someone like Jay Ruston recording it, I think it will always sound fresh and exciting."

Regarding what has kept URIAH HEEP going for so long, Mick said: "I think the only thing that drives us on, it's only one word — it's called passion. And if you've got passion for what you do, then eventually you'll achieve it."

URIAH HEEP's 25th studio album, "Chaos & Colour", was released in January 2023 via Silver Lining Music. The LP was recorded during the summer of 2021 at Chapel Studios in London with the aforementioned Jay Ruston (ANTHRAX, COREY TAYLOR, BLACK STAR RIDERS) at the helm.

"Jay was completely on board with what we are trying to achieve in the studio," Box previously said. "We're a band that has a fantastic heritage and to carry on that tradition it was vitally important that the band recorded in the studio all playing at the same time. Jay understood that and he pulled out the best of us as a band, as well as individual players, while getting us some amazing sounds."

URIAH HEEP's current lineup includes Box, frontman Bernie Shaw, bassist Dave Rimmer, drummer Russell Gilbrook and keyboardist Phil Lanzon.

URIAH HEEP debuted in 1970 with the release of one of hard rock's milestones, "Very 'Eavy, Very 'Umble", and has since sold in excess of 40 million albums worldwide. They have constantly toured the world, playing up to 125 shows a year to more than 500,000 fans. The band's live set features the classic tracks from the '70s and is a musical journey from the band's beginnings to the present day.

In a new interview with Mark Strigl, WARRANT bassist Jerry Dixon spoke about the band's plan to release new music. He said (as transcribed by BLABBERMOUTH.NET): "We're kind of thinking and probably implementing kind of like a box set of things we have with [late WARRANT frontman] Jani [Lane], unreleased stuff. We have maybe a song from a demo. We've got, like, nine records that [the rights] have come back to us over the years. So we wanna do some sort of box set with some new music as well, but also include all of WARRANT — Jani years, Jaime St. James years, 'Born Again', 'Rockaholic', all of [it]."

Asked if there are "numerous tracks" with Jani Lane that have not been released, Jerry said: "There actually are hardly any, but there's a few that we got back that we're working on finding. There's a lot of things that happened with the legality of stuff, but there are a couple diamonds that we have found. But we released everything with him. We never did anything just to go do it. If we were gonna record, it was a purpose — it was for a soundtrack or a record. So, you pretty much have 99.9 percent of everything out that we've done."

Elaborating on what might be included on the aforementioned box set, Jerry said: "Like, say we're writing and we're recording with Jani and he's talking, but it's not a finished song yet. So it may be something that entails video. We're sharing all that stuff. The making of 'Dog Eat Dog', we have a lot of behind-the-scenes stuff of that record that nobody's ever seen."

Regarding WARRANT guitarist Joey Allen's comment from October 2024 that he and his bandmates were collecting footage for a possible documentary, Jerry said: "Yeah, we have that in the works too, but it's a lot of speculation and people have ideas, but who's doing the work? So we'll figure it all out. But, yeah, I think it's time to do that and not give everything away on social media for free and just let people steal it and take it and molest it. And it's disgusting. We wanna put something out that people can take home and enjoy, like the old days."

Last October, Joey was asked by Become A Guitarist Today whether there has been any talk of a follow-up to 2017's "Louder Harder Faster" album. He said: "Here's the deal with WARRANT on records, is that the first three records, Jani Lane was the the creative force behind all the songwriting, which is fantastic. I mean, he was great at it. And it was a magic time for everybody. When you've got a guy that's bringing in songs like '[Mr.] Rainmaker' and 'Uncle Tom's Cabin', and nobody else is bringing in 'Uncle Tom's Cabin', you're, like, 'Okay, keep on going.' And so when he wasn't in the band, and then you've got the five of us, it's kind of the same thing. Whoever writes the music brings it in. If it's good and it's complete, then there you go. And I'm not a songwriter as much as I am a guitar player. I'm great at interpreting people that can't play guitar great and turning it into some cool-sounding riffs, the way I play. But it gets to the point where if there's riffs out there and you need somebody to come in and write lyrics to it, well, then everybody should pay attention and see if there's a riff out there. So the choices of songs and how we put a record together is very arduous. It's very difficult for WARRANT, for some reason. And it's amazing that after a record like 'Louder, Harder, Faster' that the band was still together. So, looking forward to another record, you're, like, 'Hmm.' [Laughs] 'Do you wanna do that again now — what is it? — seven years later?' And I think there's some desire, but it's not heavy."

He added: "New music's different now. People do records, nobody cares. So do we do a few songs at a time and release a song or two? I don't know what our model is gonna be. We're not going away. How's that? You want us to go away? We're not. And we still do 50 or 60 shows a year over here [in the U.S.]."

Allen went on to say that WARRANT fans can expect to see something else that might satisfy their craving for new product.

"We've gotten through a lot of our archives of videotapes and pictures and things that we all four of us have in our boxes in the attic and we've gotten them down," he said. "Because everybody had those little video cameras back in the day. So, there is private video from 1987. And I think we're trying to catalog all that data and kind of put together some type of a documentary with that stuff. And that's the next project. So if anybody was in the band from the front end on, from 'Dirty Rotten Filthy Stinking Rich' on, they're gonna get a peek behind what we were doing, what you thought we were doing. Were you right? Were you wrong? I mean, it's certainly not gonna be X rated by any means, but if you see some of the shit that did go on, it's great fun. I don't know if it'll be rated as a comedy or what, but there's some funny shit in there. So that's it."

Joey previously talked about the possibility of a new WARRANT album in March 2024 in an interview with the "Rimshots With Sean" podcast. He said at the time: "New record? I don't know. The last one was fun to make, and [producer] Jeff Pilson was fun to work with. And the one before that [2011's 'Rockaholic'] with [producer] Keith Olsen — God rest his soul — was great and fun to do.

"It's such an undertaking for us, and the return on making a record is [miniscule]," he explained. "You know what I mean? And not everything's about money. It's, like, can we play it live? Well, you can, but people are just gonna sit there and look at you, like, 'Where's 'Cherry Pie'? Where's 'Uncle Tom's Cabin'? Where's 'Down Boys'? Where are those hits I wanted to hear?' And so you can't go out and play three or four or five new tunes, which would be — for me, thumbs up. I would dig to do that. But we have a responsibility to play the songs that people really wanna hear too. So it's a double-edged sword. And that's what I mean when I [say], what's in it for us? It's not financially. The thing in it for us is to play new music, to create new music, to grow. Let's not be a nostalgia act. So I don't know if it'll be a new record or if it'll be a song at a time or whatever — I'm sure sooner than later something [will] happen — but nothing's going on right now."

In December 2023, WARRANT guitarist Erik Turner told Robert Miguel of Uvalde Radio Rocks that he and his bandmates were "not sure" what they were going to do as far as new music was concerned. "It's just been a little bit — there's just been some stuff going on where we haven't really been doing any new music," he revealed. "We have some riffs [being thrown] around. We have some half-finished songs going on. Due to some personal stuff going on, we're just kind of on hold as far as the new record goes. Nothing horrible, but just band stuff."

In March 2023, Allen told Mankato, Minnesota's "The Five Count" radio show that he and his WARRANT bandmates were "actually writing right now for a record. So people are sending riffs around. You can do it on the Internet nowadays," he explained. "We just have a cloud-based files system where we just upload ideas. And somebody will take an idea, a music idea, and put some lyrics to it, and we'll start to craft our songs. So maybe by this fall we'll dig into the studio again and [record] the follow-up to 'Louder Harder Faster', which came out, I think, six years ago this year. The recording process takes about four or five weeks, so maybe early next year we'll have something new out for everybody to listen to and back on the road we will go to support that."

Nearly four years ago, WARRANT singer Robert Mason told the "Thunder Underground" podcast that there wasn't "a defined schedule" for the group's next studio album, but he added that he and his bandmates are "always writing."

In 2020, Turner told the "Talking Metal" podcast that WARRANT was "throwing some ideas around" for a new LP. He said: "I've been sending Robert some riffs, and Robert's been working on songs. I've got a song going with Jerry [Dixon, bass]. So it's a slow, long process for us, but the seed of a new record has been started. Now, that doesn't mean the seed will grow into a record. We've got a long way to go. We don't have one finished song. We've got a couple of things cooking, and we're actually sending ideas around back and forth to each other."

"Louder Harder Faster" was released in May 2017. The disc was recorded with Pilson — a veteran bassist who has played with DIO, FOREIGNER, DOKKEN and T&N, among others — and was mixed by Pat Regan, except for the song "I Think I'll Just Stay Here And Drink", which was mixed by Chris "The Wizard" Collier (FLOTSAM AND JETSAM, PRONG, LAST IN LINE).

Mason replaced Lane in 2008 and has brought a degree of stability to the band after Lane's unceremonious departure and subsequent 2011 death.

WARRANT is rounded out by original drummer Steven Sweet.

UMR/Mercury has announced the March 28 release of Dio – The Complete Albums 1983-1993 9LP box set.

This special box set collection brings together seven classic Mercury albums for the first time, covering a decade of Dio: Holy Diver (1LP) / The Last In Line (1LP) / Sacred Heart (1LP) / Intermission (1LP) / Dream Evil (1LP) / Lock Up The Wolves (2LP) / Strange Highways (2LP).

– A 9LP Box set housed in a sturdy 12” box
– The box features 140gm versions of the albums that Dio recorded for Mercury
– The LP’s feature original art with replica inner bags
– The records use existing mastered versions previously released

The set will be available for pre-order soon at the official Dio Store. For now you can pre-order at The Sound Of Vinyl.

Serbian metal force, Claymorean, will release their new full length album, Eternal Curse, worldwide on February 17 via Stormspell Records (CD release), and on April 4 through GoldenCore/ZYX Records (vinyl release). For fans who prefer streaming platforms, the album will be available starting March 7.

Eternal Curse was recorded and produced by Claymorean and Boris Šurlan (Midnight Studio, Lazarevac) between October 2024 and January 2025. The stunning artwork was masterfully hand-painted by Anton Atanasov (OldSchool Crew), while the photography was flawlessly executed by Branko Kabašaj.

The new album represents a full-band collaboration in songwriting, recording, and arranging, a milestone that brings a smile to the face of Vladimir Garčević, guitarist and band leader: “We tried to capture the very essence of our live performances, and Boris truly excelled in helping us achieve the sound we envisioned for this album. Every song on Eternal Curse feels like a triumphant battle hymn for 21st-century metal, created with conviction, honesty, and passion. It’s a celebration of heavy metal and a tribute to our heroes and fans of this undying genre.”



Eternal Curse tracklisting:

“Overture 1914”
“By This Sword We Rule”
“Under The Sign Of The Cross”
“Battle Born”
“300”
“Wind Before The Storm”
“Eternal Curse”
“Bannockburn”

The CD version also includes an exclusive bonus track, “The Oath”, a cover of the song originally recorded by KISS on their 1981 album, Music From ‘The Elder’.

Vlad adds: “We’ve succeeded in crafting a unique and distinct sound on each of our records, all while staying true to our identity and artistic integrity. No compromises! But beware – safety first! You might need ear-plugs before putting on your headphones, or blasting Eternal Curse through your speakers. Prolonged exposure to this album could cause severe hearing damage! Prepare yourselves, for your souls will forever be marked by desire to worship and kneel before the gods of steel.”

Catch Claymorean this spring on the “Strong Winds Magic Mist” co-headlining tour with Crystallion and special guests.

In a new interview with The Good The Band & The Ugly, former MEGADETH bassist David Ellefson spoke about how certain bands share everything equally, regardless if some members never write lyrics or a melody, while others have one or two main songwriters who receive the lion's share of royalties. He said (as transcribed by BLABBERMOUTH.NET): "Bands usually start that way [where things are split more equally]. They don't always end that way where it's like that. Trust me, I know. That's an internal thing that happens sometimes.

"It's funny, not every band works as a democracy," he continued. "There's just some situations where — there always has to be a leader, right? And being the leader is not always — it's not a popularity contest, that's for sure. And you're not always the most popular guy in the room either because you're having to lay down the law and make some decisions on stuff. And that's really what separates the men from the boys as far as sort of the hobbyist weekend-warrior players versus those who are in it professionally. It's just like a chef. It's, like, 'Hey, we want the hamburger medium well.' 'Well, I make my medium.' 'I don't care. Here we make a medium well. Make a medium well, or we'll require another chef to do it.' So it's the same thing. It's, like, 'Hey, here, this is what we do. This is how we do it. We need you to dress like this, play like this.' And like I always say, don't bring the six-string fretless to the punk rock gig and don't bring your P Bass [Fender Precision Bass] with BLACK FLAG stickers on it to the wedding band gig. Read the room."

Ellefson was originally in MEGADETH from the band's inception in 1983 to 2002, when the group briefly broke up because MEGADETH leader Dave Mustaine suffered severe nerve damage that left him unable to play.

Mustaine reformed MEGADETH 21 years ago. Originally setting out to record a solo album, Mustaine enlisted studio musicians to play on what ultimately became MEGADETH's 2004 "The System Has Failed" comeback album, subsequently recruiting former ICED EARTH bassist James MacDonough to take Ellefeson's place for the album's touring cycle.

Ellefson sued Mustaine in 2004 for $18.5 million, alleging that the MEGADETH guitarist/vocalist still owed him substantial merchandise and publishing royalties. In January 2005, the case was dismissed in court, and five years later, Ellefson rejoined MEGADETH.

In his first book, Ellefson admitted that he became a salaried employee upon his return to MEGADETH 15 years ago. He told Metal-Rules.com in an interview: "Going from being a co-founding owner to just a sideman musician was initially why I didn't come back in 2004. I was not happy with the participations that were presented to me. In recent times, coming back, I found great joy in doing music with a lot of other people in other settings that helped me fall back in love with playing music. Now I can come back into or go into musical situations and be able to be there for a purpose and level of pay. Being a sideman absolves you from being involved in all the other stuff. At this point in my life, I would rather leave that stuff on the sidelines. Like American Express says, 'membership has its privileges,' being a sideman has its benefits. In my case, it helps retain a friendship too. In order to have a friendship, I had to give up some ownership."

During a February 2021 appearance on Mitch Joel's "Groove - The No Treble Podcast", Ellefson reflected on his legal battle with Mustaine, saying: "I firmly believe Dave and I ended up in that situation because he and I were not directly communicating. There was a new manager, a new lawyer, a new team of people, and they were all trying to impress the client, so they were just, 'Well, we're just doing whatever the boss tells us to do.' And it's, like, wait a minute — your job is to manage and counsel and direct your client, and — in my opinion — avoid litigation, avoid these things. Those people are no longer here — they've all been let go, thank God — and once most of them were let go was when Dave and I had an opportunity to come back and reconcile. And as soon as Dave and I get in a room, it's, like, 'What the hell are we fighting over? Get your guitar. Let's play. Let's jam.' And then it becomes about the music, and there it is. So when we keep it on that level, it goes well. When the business people and the lawyers and the people come in and they try to sort of put logic around it, that's when the trouble [begins].

"I've always said MEGADETH is completely illogical — there's no logic to it at all," he continued. "And there's not really supposed to be, because it's something of the heart — it's not of the head; it's of the heart. I always say the longest journey is the 15 inches from the head to the heart. To memorize it is one thing, but to know it by heart is another thing. And that's what we do as musicians — we don't just memorize it; we have to really [know] it by heart. And that's what a group is — a musical setting is about that. And, of course, there has to be some sort of business dynamic around it to kind of make it work, I guess — at least for the accountants."

In September 2020, Mustaine spoke about Ellefson's lawsuit during an appearance on Fox Sports 910's "Freak Nation". He said at the time: "I think forgiveness is a super-cool thing. When David Ellefson sued me for 18 and a half million dollars, and the judge dismissed it and then made him pay a bunch of money on top of that, he got his ass handed to him in public. And I was really, really, really hurt by the things that he said about me. And I thought, 'You know what? If I never see him again, I guess I'll be okay.' And I was sad, but I figured he was gone. One day, I was flying home from Dallas, and the flight stopped in [Ellefson's hometown of] Phoenix, and for some stupid reason, I called him up and I said, 'Hey, you wanna have dinner?' And he said, 'Yes.' So we went out. And the first thing he said was, 'I wanna tell you, it was the stupidest thing I ever did suing you, and I wanna apologize.' And I looked at him and I waited a beat, and I said, 'Dave, I forgive you. I completely forgive you. I love you.' And it was over like that. And I think that that's really something great that people should take with them today, anybody listening to this. There may be somebody you need to forgive or somebody you need to apologize to, but I'll tell you what — it makes [you feel] a lot better at the end of the day."

In his 2004 lawsuit against Mustaine, Ellefson claimed that he "attempted to resolve his differences with Mustaine on an amicable basis and offered to continue to perform with [MEGADETH]." However, his "offers were met with verbal abuse, threats, lies and continued invective from Mustaine." Ellefson also said that Mustaine — a veteran of at least 17 drug rehab stints, according to the bassist — resented Ellefson, a former drug addict, for having kicked his own habit. According to Ellefson's court papers, the battle of the band spread to the Internet when Mustaine posted on Megadeth.com that Ellefson was trying to extort him.

Mustaine gave his version of why the 2004 reunion with Ellefson didn't pan out in a message posted on the MEGADETH web site. In lengthy essay, Mustaine claimed that Ellefson missed several deadlines to accept his offer, which included 20% of the artist royalties on "The System Has Failed", none of the publishing royalties and a $2,500-a-week salary while the band was on the road.

Ellefson was fired from MEGADETH nearly four years ago after sexually tinged messages and explicit video footage involving the bassist were posted on Twitter.

Photo credit: Maciej Pieloch (courtesy of Napalm Records)

In a new interview with Emilee Capogni, SWEET guitarist Andy Scott spoke about the similarities between the opening riff of MÖTLEY CRÜE's 1989 song "Kickstart My Heart" and the 1973 SWEET track "Hell Raiser". He said (as transcribed by BLABBERMOUTH.NET): "I'll tell you who played ['Kickstart My Heart'] to me the first time. We were gonna go and see MÖTLEY CRÜE and SKID ROW in Sweden. I was in Sweden producing a band called SHA-BOOM and [the guys from the Swedish band] EUROPE came into the studio and they said, 'Come with us tonight. We're gonna see MÖTLEY CRÜE.' They said, 'Our keyboard player went to see them last night in Gothenburg and we're gonna see them in the ice hockey place in Stockholm.' I said, 'Yeah, as long as these guys are okay.' And [they] said, 'Oh, they're coming with us.' So we all got in taxis and cars and lobbed up there. And when we were on our way there, one of the guys, on a portable player, played me the start to 'Kickstart My Heart'. And he wouldn't tell me who it was. I went, 'Well, somebody's using my guitar riff.' I said, 'You know, it happens.' And when we got to the gig, they started the whole show with the stripper, which is what we did in the '70s, and the first song they played was 'Kickstart My Heart'. And we used to do 'Hell Raiser'. And the whole of EUROPE, the band, who were in the audience when we used to play in Sweden back in the '70s, were all laughing now looking at my face, me going, 'Yeah. Yeah. Yeah. Good. Lovely.'"

MÖTLEY CRÜE bassist and main songwriter Nikki Sixx has admitted to being a SWEET fan in the past, writing in his book "The First 21" that he tried to get SWEET singer Brian Connolly to be the frontman of Nikki's pre-MÖTLEY CRÜE band LONDON.

"How hard could it be for the top band of the Strip to find a new singer?" Sixx wrote. "'Fuck Nigel Benjamin,' I told the guys. 'We're going to get Brian Connolly!' Brian Connolly was the voice behind 'Ballroom Blitz' and 'Solid Gold Brass'. He'd left SWEET by that point and recorded one single, but a solo album had not materialized. I called Uncle Don and asked him, 'Can you help me get ahold of Brian Connolly from SWEET?'" Nikki added that he still has the letter he wrote to Connolly.

Released as the second single from MÖTLEY CRÜE's "Dr. Feelgood" album, "Kickstart My Heart" reached No. 27 on the Billboard Hot 100 chart in the United States in early 1990.

"Hell Raiser" is actually credited to the Chinnichap songwriting team of Nicky Chinn and Mike Chapman, who also wrote hit songs for MUD, Suzi Quatro and many others.

Three members of the original SWEET — Brian Connolly, Steve Priest and Mick Tucker — have since died while remaining bandmate Andy Scott is still alive and has formed his own version of the group, which tours the U.K. and Australia.

Andy Scott (guitars/vocals) is joined in his version of SWEET by Paul Manzi (lead vocals),Lee Small (bass guitar/vocals),Tom Cory (guitars/keys/vocals) and Adam Booth (drums/percussion).

Before he died, Priest had the right to use the SWEET name in the U.S. and Canada, whereas Scott toured a version of the group in the U.K. The pair were estranged for decades, but resumed contact in the 2010s.

The Scott-led version of SWEET released a new studio album, "Full Circle", last September via Metalville Records. According to a press release, the LP will be SWEET's final studio album ever.

U.K. independent publisher Rock N' Roll Colouring has set a March 21 release date for the first 100% official coloring book from the hottest band in the world — KISS.

Featuring iconic artwork and instantly recognizable images all printed on high-quality paper in a square format officially licensed by KISS, these amazing designs span the band's explosive 50-year career and have the potential for hours of satisfying coloring in.

Mixing classic images from incredible albums such as "Destroyer", "Rock And Roll All Over" and "Sonic Boom", with trademark images of the Starchild and the Demon, the book offers something for fans of all eras of the band, and all levels of coloring ability.

Pre order "The Official KISS Colouring Book" at this location.

Devised and created by two lifelong rock and heavy metal devotees and coloring book fans, Rock N' Roll Colouring was formed by fans for fans.

Every effort has gone into making sure this book does justice to the legendary artwork of KISS and is printed on high-quality paper in the U.K.

Coloring has positive benefits including mindfulness, relaxation and increased focus and can be enjoyed by any age group. These books provide hours of creative and restful activity that combines the love of the music with the love of the art.

The KISS book follows on from the previous official Rock N' Roll Colouring titles from IRON MAIDEN, ALICE COOPER, MOTÖRHEAD, JUDAS PRIEST, MEGADETH and CANNIBAL CORPSE.

In a new interview with The Break Down With Nath & Johnny, KILLSWITCH ENGAGE vocalist Jesse Leach spoke about the band's upcoming upcoming album, "This Consequence", due on February 21, 2025 via Metal Blade. "This Consequence" is KILLSWITCH ENGAGE's ninth album overall, and sixth with Leach, who rejoined the band in 2012. Asked if he and his bandmates felt any pressure to deliver the goods this time around, Jesse said (as transcribed by BLABBERMOUTH.NET): "The only pressure that I felt was pressure we put on ourselves, which is a lot. I would say it's more so than any other pressure. And the quality control on this one was high — a lot of rewrites, a lot of hard thinking, a lot of course correcting. I think we just all felt like we have to deliver something that feels important, feels like it's coming from a really genuine, heartfelt place. And part of that process was really digging deep into my, I think, suppressed anger and frustration of just the state of the world and coming out of the pandemic and all the things I saw and witnessed during the pandemic and the power struggle between rich and poor and continuing to fight endless wars and just all that. So I just brought it on my shoulders and digested it and sat with it and just put everything I had into this album."

Asked whether he and his KILLSWITCH ENGAGE bandmates feel the need to please their fans every time they release a new album or if they just want to make the best music they can, regardless of what other people think about it, Jesse replied: "Yeah, I think it's the latter, but I'd be lying if I said it didn't cross my mind that people are gonna hear it, and, of course, you hope they like what you're doing, but I think if you are being genuine as an artist, the more important thing is how do you feel about it? And then secondary to that is how do my bandmates feel about it? Are they stoked on it? And if the internal unit is firing on all cylinders and we're, like, 'Yes, this is a great record,' hopefully, chances are people are gonna react in a positive way towards it. So, yeah, I'm happy so far 'cause the reception has been great, but if people didn't like it as much, I would almost in my head be, like, 'Well, I still believe in it, man. I still feel great about it.'"

Leach also discussed KILLSWITCH ENGAGE's musical evolution and the fact that the fans have stuck by the band throughout the process. "I think it's just generous of the fans to be along for this ride," he said. "We are pushing to do things that are out of our comfort zone, pushing the genre of what we're known as our signature sound, which I think we have done on this record — embracing a bit of the elements we're all inspired by. There's definitely more aggression on this one, but, to me, at the end of the day, it is because of the fans; the fans are the ones propelling us forward. We could put out music and love it, but if no one gives a shit about it, then it doesn't matter. So the support we're getting is incredible, and we're super aware of it and grateful for it."

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

Jesse also talked about the lyrical inspiration for the first single from "This Consequence", a song called "Forever Aligned", which was made available in November. Speaking specifically about the line "now my tongue must confess", Jesse said: "Yeah, I'm always weaving in and out… I was raised by a minister, I was raised in a Christian home, so even though I don't subscribe to organized religion anymore, I like using biblical words here and there to sort of tie in the themes. I'm very much a believer in in God, if you will, in general. I know people roll their eyes when other people say that, but my journey has been such where I've just seen much deeper things that I don't think can be defined by a particular human organized religion. And 'Forever Aligned' is about that. It's about love. It's about, first and foremost, the song was inspired by the love I have for my wife and the relationship we were able to have during the pandemic, especially, where it was just the two of us, nobody else, and really learning what love and sacrifice is, and then weaving that into what I believe God is. God is love, to keep it really general for people to understand. We can try to tap into that as humans, that word 'love', but it's far beyond human comprehension. So that song is very much about being broken and in a dark place and finding salvation through love."

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

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

"Atonement" was released in August 2019 via Metal Blade Records in the U.S. and Sony Music Entertainment in the rest of the world. The disc featured guest appearances by former KILLSWITCH ENGAGE singer Howard Jones and TESTAMENT frontman Chuck Billy. It marked the band's third full-length release since the return of Leach.

KILLSWITCH ENGAGE will embark on a headline tour in March 2025. It's their first tour of North America since late 2022. The trek will feature support from KUBLAI KHAN TX, FIT FOR A KING and FROZEN SOUL, and will kick off on March 5 in Nashville and runs through April 12 in Portland, Maine.

360-degree drum-cam video of MACHINE HEAD drummer Matt Alston playing the song "Aesthetics Of Hate" with his bandmates on June 6, 2024 at the Mystic Festival in Gdańsk, Poland can be seen below.

The British-born Alston (DEVILMENT, EASTERN FRONT) and Polish guitarist Wacław "Vogg" Kiełtyka (DECAPITATED) joined MACHINE HEAD in time for the 25th-anniversary tour for the band's classic debut, "Burn My Eyes", which kicked off in Germany in October 2019. Due to his touring commitments with his longtime band DECAPITATED, Vogg has since left the band and was replaced by Reece Alan Scruggs (HAVOK).

Last November, MACHINE HEAD released a new single, "These Scars Won't Define Us", which features guest appearances by the other three bands which will accompany MACHINE HEAD on the Robb Flynn-fronted outfit's spring 2025 North American tour — Swedish metal icons IN FLAMES, Italian alt-metallers LACUNA COIL and American metalcore maestros UNEARTH.

The five-week jaunt will begin on April 5, 2025 in Oakland, California at the legendary Fox Theater and will conclude on May 10 in Kelowna, British Columbia.

"These Scars Won't Define Us" is taken from MACHINE HEAD's upcoming album, which is slated for an April 2025 release.

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.

The rest of MACHINE HEAD's lineup consists of guitarist/vocalist Robb Flynn and bassist Jared MacEachern.

In early 2024, 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" includes 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 the latest MACHINE HEAD album 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.