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31 àâã 2025
JEFF SCOTT SOTO Looks Back On His Performances On Early YNGWIE MALMSTEEN Albums: 'I Don't Sound Like I Found My Voice Yet'
 In the premiere episode of "5 To Rock", a brand-new series on journalist Ricardo Batalha's YouTube channel, acclaimed American vocalist Jeff Scott Soto (TALISMAN, JOURNEY, SONS OF APOLLO, SOTO, W.E.T., TRANS-SIBERIAN ORCHESTRA, AXEL RUDI PELL, among others) revisited his early years with Yngwie Malmsteen and the 40th anniversary of the classic album "Marching Out".
After first appearing on two tracks from Malmsteen's debut "Rising Force", Soto recalled how he joined Yngwie's band, the challenges of recording "Marching Out", and how he views those iconic performances today. As a special highlight, the episode features an exclusive track-by-track commentary, with Soto discussing all eight songs he recorded vocals for (the album also contains three instrumentals).
Reflecting on his early days with Malmsteen, Jeff said (as transcribed by BLABBERMOUTH.NET): "Well, I remember everything. There's a lot of things in my career that are they're going away. It's hard to remember unless somebody reminds me. But for some reason that beginning, I remember everything.
"Most people don't understand, the first album, when I sang only two songs, there was only two songs that Yngwie was gonna sing," Soto explained. "It was supposed to be a solo album. He was in ALCATRAZZ. They gave him a solo deal. There was no talk of a new band [called] RISING FORCE. 'Rising Force' was the name of the album; it was not the name of the band yet.
"When I joined the band officially — I remember the night he told me I'm officially in the band," Jeff added. "I was at his house, and I always went out to hang out at his house. The other Swedes lived in the house with him, Marcel [Jacob, bass] and the [Johansson] brothers [Anders and Jens]. And they were drinking in the kitchen and talking for two hours. And I'm sitting in the living room going, 'I thought this was celebration. I'm in the band and I'm alone.' And [they were constantly] speaking Swedish. So finally after two hours, Yngwie comes to me and goes, 'Listen. These guys, they told me. Now you're in the band and I'm supposed to record the vocals this weekend. Go home and listen to this. If you can sing this tomorrow in the studio, then we keep it on the record. If it doesn't sound good, I'm doing the vocals.' The other guys in the band knew, they don't want Yngwie to sing, so that's why, 'Hey, we've got a singer now. Let him sing.' So I was not supposed to be on the first album. It was only because, especially the song 'As Above, So Below', there's no way Yngwie could sing all that high stuff. And because I could do it easily when I was 18 years old, he allowed me to sing on that. But we were already working on 'Marching Out', the songs. I already sang the demo for 'I'll See The Light Tonight', I sang the demo for 'Soldier Without Faith'. I sang also 'I Am A Viking' and — there was one more; I can't remember. I already did four [songs], and so he already knew my voice. That's why the guys were, like, 'He should be on the first album.'"
Regarding the making of "Marching Out", Soto said: "We started the pre-production, and then we started recording the album in late 1984. I think we finished my last vocal — for some reason, I have a memory that we finished it on New Year's Eve, 'cause I remember we were singing, [we] finished, and then we went out to a New Year's Eve party. Now, as memory serves everybody else, in February [1985], he got nominated for a Grammy for the first album, 'cause the second album was supposed to be the first official band album. 'Marching Out' was supposed to be the first worldwide release. 'Rising Force' was only for Japan — solo album, instrumental. Then all of a sudden the news came in, Yngwie got nominated for a Grammy. 'Oh, oh. We can't release the band album yet. We have to wait for the Grammys to see if he wins. And then we have some momentum. Then we'll release 'Marching Out'.' By the time we released 'Marching Out', I already left the band. [Laughs]"
Asked what was like working on the music for "Marching Out" with Yngwie, Jeff said: "It was pretty easy. I mean, he had his set ideas. He knew what he wanted already, but again, he's can't sing what he wants me to sing. He can't sing that range. So he would rely on me, if he played it on the guitar or he sang an octave lower, to sing an octave higher so he can hear what it's gonna sound like. From there, I was able to throw in my ideas. I was able to bounce ideas off of him, not just only do what he wanted me to do. It wasn't, like, 'Sing this.' 'Okay.' 'Sing this.' 'Sing this. 'Okay.' I put my identity in everything, but we did it together."
Regarding how he looks back on his performances on the first two Yngwie albums today, Jeff said: "Well, I wish I could be as excited as the rest of the world when they tell me that's the best vocal work I've ever done or that was the beginning of where they discovered me. And it's so classic, it's so influential. I listen to it and I say, 'Arrghh.' I sound like a kid. I don't sound like I found my voice yet. And I remember distinctly, especially on the first two songs, on the first album, but even 'I'll See The Light Tonight' and some of the other songs, I remember thinking — I grew up listening to soul music, R&B music — 'I can't use that style for heavy metal.' But I don't have my style yet, so I'm thinking, 'Let me borrow some Bruce Dickinson, let me borrow some Rob Halford, let me borrow some Ronnie James Dio. This song I can do this like Bruce, I can do this like Ronnie.' I was copying others just to get through that so I sound more metal. Now when I listen, it sounds forced. It doesn't sound like I would sing it today. If I sang it 40 years ago today, I know how to do it now, because I didn't have this experience yet."
More than three years ago, Jeff claimed that Yngwie threatened to cancel his concert in May 2022 in Agoura Hills, California after finding out his former bandmate was in attendance. The following day, Malmsteen disputed Soto's account of what happened in Agoura Hills, writing on his Facebook page: "Kids, don't believe made up BS from people who are trying to stay relevant! He's not important for me to cancel my show to my fans. On the other hand I was told by my agent that he snuck in there without paying so the security threw him out. Certain people make up stories… turn up at my show, get kicked out by security because they snuck in the venue WITHOUT PAYING, then turn around make up a story to try and grab media attention… some people are sick. STOP stalking me and get help".
Eight years ago, Soto engaged in a war of words with Malmsteen over the fact that Yngwie claimed in an interview that he "always wrote everything," including the lyrics and melodies, and simply hired various vocalists to sing his material.
Back in 2017, Soto told the "US American Made Guitars" show that "it's false information" to suggest that he contributed nothing to Yngwie's early albums "because we co-wrote [some of] those songs together. I actually authored those songs," he said. "For him to say, 'I wrote every lyric, every melody,' it's absolute falsity. And he's speaking out of whatever anger or whatever throwaway conversation he might be having, but when it's put on text, it comes across as very crude and very arrogant. So, of course, I don't take that kind of stuff too personally."
The singer went on to say that faulty memory may be at least partly to blame for Yngwie's comments. "Yngwie's written so much of his own stuff, he's written so much on his own when it comes to lyrics and melodies through the years," he said. "Maybe the past eight albums… I don't even know how many albums he's put out, but for that many albums he's put out, clearly his memory is fogged on the albums that he wasn't doing all of that."
He continued: "Joe Lynn [Turner] was a very strong collaborator on the album ['Odyssey'] with he did with Yngwie, as was I, as were some of the other singers that were involved with him. Maybe later on that changed and the other guys were basically just used to sing his words. And I was as well on some songs. I mean, 'I Am A Viking', I didn't write one word or one melody on it. But the stuff that we did together, that's stuff that we did together. And there's some stuff I did on my own that's on there — he didn't add or remove one single thing from it. So, again, it's selective memory. It could be he doesn't wanna talk about me, he's got a bad taste in his mouth about me, so he's gonna do everything in his power to make sure that everybody knows how downplayed my role was in his life and his career."
In the days after Yngwie's original interview with Metal Wani was published on BLABBERMOUTH.NET, several of the guitarist's other former singers — including Joe Lynn Turner and Tim "Ripper" Owens — responded on social media, with Turner describing Malmsteen's statements as "the rantings of a megalomaniac desperately trying to justify his own insecurity." This was followed by a retort from a member of Yngwie's management team, who wrote on Malmsteen's Facebook page that the three vocalists "came out enraged, spitting insults and profanities" at the guitarist because "Yngwie said something that they didn't like." The management representative added: " It's very unfortunate that these past hired vocalists must resort to mudslinging and insults to elicit any kind of media attention towards them. Such classless, puerile words are ungentlemanly at best and absolutely disgraceful at worst." | +3 | |
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31 àâã 2025
GEOFF TATE's New Album To Be Produced By DISTURBED's JOHN MOYER
 DISTURBED bassist John Moyer has revealed that he is producing the new studio album from former QUEENSRŸCHE singer Geoff Tate.
John, who spent the last couple of weeks traveling in Europe with Geoff as part of Tate's Backstage Pass Travel company, took to his social media on Thursday (August 28) to write: "Well France and Italy it's been fun but it's time for me to go home.
"I am very honored to be producing Geoff Tate's new record. We got some great work done these past 2 and a half weeks. It's been a pleasure working with him and his guitar players Amaury [Altmayer] and Dario [Parente]. All of them are top level musicians and recording Geoff gave me goose bumps every time we tracked. His voice is fire and he's got some great performances on this record."
Back in 2013, Moyer filled in for bassist Rudy Sarzo on several dates with Tate's version of QUEENSRŸCHE as they played the band's classic album "Operation: Mindcrime" from start to finish. Moyer also played with Tate's OPERATION: MINDCRIME project, which released a trilogy of albums between 2015 and 2017.
Geoff recently announced that he was working on the third and final chapter in the "Operation: Mindcrime" album series.
"'Operation: Mindcrime III' is the story from the lead character Dr. X — it's from his perspective," Tate explained to WDR Rockpalast. "'Mindcrime I' and 'Mindcrime II' were really from the character Nikki's perspective. And so that's what we know. But with the new album, we see why we know what we know and what was the inspiration for Dr. X to create 'Operation: Mindcrime' in the first place, which is pretty exciting, pretty intense."
Originally released in May 1988, QUEENSRŸCHE's third studio album, "Operation: Mindcrime" took the quintet to an entirely new level. The concept, revealed through the songs, revolves around the character of Nikki, a recovering drug addict disillusioned with a corrupt society. Drawn into a cult-like revolutionary group headed by Dr. X (voiced by the late and beloved British actor Anthony Valentine),Nikki is manipulated to assassinate political leaders until his friendship with nun Sister Mary finally opens his eyes to the truth. Regarded as one of the greatest concept metal albums of all time, "Operation: Mindcrime" was certified platinum in 1991 in the U.S. and was ranked in the "Top 100 Metal Albums Of All Time" by both Kerrang! and Billboard magazines. Rolling Stone included it on a similar list, noting that "nearly 30 years after its initial release, 'Mindcrime' feels eerily relevant."
The original "Operation: Mindcrime" album weaved themes of religion, drug abuse and underground, radical politics. By contrast, 2006's "Operation: Mindcrime II" was regarded as an unnecessary sequel that many felt cheapened the original album, despite being a decent record in its own right.
Tate previously discussed his plans for "Operation: Mindcrime III" in a November 2024 interview with "Rock Of Nations With Dave Kinchen And Shane McEachern". Speaking about the musical direction of his new solo material, Geoff said: "I would say it has more of an early QUEENSRŸCHE feel. [The new songs are] super heavy, and some of 'em are incredibly technical. They're like algebra. [Laughs] You need a calculator when you're listening to the song. [Laughs] And, of course, some of them are very emotional. It's the last chapter in the 'Mindcrime' series. So it's following the exploits of Dr. X and Nikki and Sister Mary, and picks up at a particular point in their story and kind of does the microscope of what is happening at that particular time with them. And I am just in love with it. I am so happy with everything so far, and I can't wait for people to hear it."
Asked if there will once again be "some of those political interplays" within the lyrical themes on "Operation: Mindcrime III", Tate said: "Oh, I think so. Yeah, I think that people will be able to detect little bits of what's happening around them. And it's an interesting time right now — very interesting. Especially next week [after the 2024 U.S. presidential election], it's gonna be really interesting [laughs] what happens. So, we'll see."
Pressed about whether "a familiar voice" will play Dr. X on "Operation: Mindcrime III", Geoff said: "I can't tell you, actually. But thanks for asking. [Laughs]"
In a 2016 interview with East Valley Tribune, Tate said that he looked back fondly on "Operation: Mindcrime II". "I haven't listened to that album since I recorded it," he admitted. "However, it was a new story. Overall, it went down well live with the audience. I have no complaints or regrets about it."
During QUEENSRŸCHE's 2012 legal battle with Tate over the rights to the band's name, guitarist Michael Wilton submitted a sworn declaration in which he said the idea to make "Operation: Mindcrime II" was first brought to the table by Geoff's wife and QUEENSRŸCHE's then-manager Susan Tate. "The band was hesitant and did not want to lessen the original," the guitarist claimed. "But Susan Tate and Geoff Tate hired a budget producer and took control without really any other input. Scott Rockenfield [drums], Eddie Jackson [bass] and I were squeezed out of having any input in the musical direction or business decisions, thus the project suffered. During the initial writing phase, I would show up to bring my input to the creative process only to find that the producer, the new guitar player (who were both staying with the Tates at the time),along with Geoff Tate had been up late the night before or up early that morning and had written the songs without me. I was then told my ideas were not needed as the songs were now done. I could, however, 'bring my own style' in during the recording after learning to play what they wrote for me. In frustration, I gave up on the writing process knowing that I would at least get to make changes in the studio to bring back the QUEENSRŸCHE sound into these songs that we were known for. The final straw was when they refused to let me to be a part of the final recordings and mixes. I was shut out and they had the nerve to replace some of my parts on my songs. They denied me flying to San Francisco to be a part of my band, telling me that everything was ready to go and I was not needed. Had the communication been better, and had I been aware that parts needed to be recorded or rewritten, I would have been there. It was not until years later that I even became aware of the issues during the final recording and mixing of 'Operation: Mindcrime II'. It was all under the control of Geoff and Susan Tate. Call it delusions of grandeur, but they were convinced that this was going to sell three times more than the original, and to date (six years later) this album has sold fewer than 150,000 copies. The original album sold over 500,000 copies within a year."
In April 2014, Tate and QUEENSRŸCHE announced that a settlement had been reached after a nearly two-year legal battle where the singer sued over the rights to the QUEENSRŸCHE name after being fired in 2012. Wilton, Rockenfield and Jackson responded with a countersuit. The settlement included an agreement that Wilton, Rockenfield and Jackson would continue as QUEENSRŸCHE, while Tate would have the sole right to perform "Operation: Mindcrime" and "Operation: Mindcrime II" in their entirety live.
Tate's replacement, Todd La Torre, has released four albums thus far with QUEENSRŸCHE: 2013's "Queensrÿche", 2015's "Condition Hüman", 2019's "The Verdict" and 2022's "Digital Noise Alliance".
Well France and Italy it’s been fun but it’s time for me to go home.I am very honored to be producing Geoff Tate’s new...
Posted by John Moyer on Friday, August 29, 2025 | +2 | |
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30 àâã 2025
MIKE PORTNOY Believes SKID ROW Should Reunite With SEBASTIAN BACH: 'Do It For The Fans'
 In a new interview with Meltdown of Detroit's WRIF radio station, DREAM THEATER drummer Mike Portnoy spoke about what it has been like for him to be touring with the band once again after a 13-year absence. The progressive metal legends played their first concert with Portnoy in 14 years on October 20, 2024 at the O2 Arena in London, United Kingdom. The drummer, who co-founded DREAM THEATER, played on 10 of the band's 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. Portnoy returned to DREAM THEATER in October 2023 after being replaced by Mike Mangini, who played with DREAM THEATER across five studio albums and accompanying world tours. Portnoy told WRIF (as transcribed by BLABBERMOUTH.NET): "It's been incredible. Even though this is our first time coming through Detroit since I've been back in the band, it's been coming up on two years now for us [as a reunited band]. So, the reunion's kind of — it's been worked in. We spent the first year making our new album, 'Parasomnia', and then we spent the second year, starting this past October, we've been on the road since then and there's no letting up anytime soon. So we've already played almost a hundred shows at this point all around the world. And everywhere we play for the first time, there's just such an energy and excitement and emotion in the audience, people getting to see this lineup together again. So each and every place we go, it's just been overwhelming. The numbers have been great. It's been the biggest tour that DREAM THEATER's ever done. So, I really can't say enough of how exciting it's been. And there's still a lot of gas left in the tank. We have this whole U.S. tour, which is hitting a lot of markets we didn't get to hit the first time around. So we get to share that first experience with so many people. And then we do Australia and Asia after the New Year, next January, February and March. And then we have another European tour next spring. So, yeah, when all is said and done, it's gonna be about a year-and-a-half tour cycle, just getting around to everybody, and it's just been bigger and better than ever."
Portnoy, who was very "hands on" with DREAM THEATER's creative and business decisions before his exit from the group, was asked if his role in the band is like it was before. He responded: "I wouldn't say it's like before. When I left the band in 2010, I was a control freak and oversaw every aspect — every text, every email, every single aspect of the band, whether it be the merchandise, the fan clubs, the setlist, blah, blah, blah. I was a control freak, very much so. And it's not like that now. The years that I was gone, the band kind of redesigned their internal structure and how they work. [DREAM THEATER guitarist] John Petrucci ended up taking on a lot of responsibilities. He solely produces the albums now, whereas we used to do 'em together back then. And there was a lot of things, a lot of restructuring they had to do while I was gone. So now coming back to that after 13 years away, I have to be very respectful over what they had built all the years without me, and I'm not gonna come in here and just assume that it's gonna be exactly how it was when I left, 'cause it's not gonna be. And John and I had a conversation even before we solidified me coming back, we just laid out the conversation, like… He was, like, 'Hey, are you gonna be okay not doing this? Are you gonna be okay sharing this?' And we had to kind of lay out all of those dynamics on how we would function internally. And it's okay. I'm actually happier now this way. I think it's a better band dynamic. It's a more true balance now than it was. So, it's kind of the best of both worlds. And there are a lot of areas that were given back to me, like writing the setlists, and with that comes programming the house music at the show and the intermission and all the kind of stuff that goes into the way the show is run, the concert presentation. So, luckily, that has always been my biggest passion. So that's one area that was kind of thrown back to me. And then sequencing the album order; that was always another big one for me. So, yeah, we talked about the ones that were important to share and the ones that were important to delegate and find a happy balance."
After Meltdown noted that he learned over the years that it's best to just do things himself when he wants something done right, Mike said: "That was my old mentality, 'cause the first 15 years of the band, we went through everything as a quote-unquote democracy. But all that meant was we would just fight and bicker until I would beat everybody down. [Laughs] So there was a point about 15 years in, about 1999, 2000, when we made the '[Metropolis Pt. 2:] Scenes From A Memory' album, we decided we're gonna go do away with this fake democracy. And myself and John, we're gonna run the ship. We were gonna co-produce the albums, we were gonna make the business decisions together. And so once we kind of got into that way of running the show, it went a lot smoother. And there was a lot of things that I had freedom to just make decisions on, on my own. I didn't have to go back to the band to discuss and bicker and argue, and it did run much better that way. But then I also see how that could cause a little resentments too, when one guy is making a lot of decisions without the discussion or inclusion of other bandmembers. So I think the way we do it now is, like I said, it's the best of both worlds, and it's a very smooth way of running. And we're much older, we're all in our late fifties and sixties where we're a lot more mature. We don't wanna fight and bicker over what is gonna be the third song on the B-side of the album. A lot of people realize you pick and choose your fights and you pick and choose your battles and not everything is worth fighting over. And it's a much more calmer headspace, more serene way of doing things at this point in our career."
Asked if he thinks there are other bands out there who should follow DREAM THEATER's example and reunite their classic lineups while they still can, Portnoy said: "Yeah. I recommend this to anybody that's on the fence about reuniting with their band, because it's the best thing we ever did. And a lot of people ask me if I have any regrets about leaving DREAM THEATER. I would say my only regret is that it took so long to come back together. I wish it had come back together sooner. So you see [PINK FLOYD's] Roger Waters bickering with David Gilmour or SKID ROW bickering with Sebastian Bach. And all I could say is, guys, you're older and wiser. Do it for the fans, if anything else. I'm so glad that I came back to DREAM THEATER and we ride off into the sunset together. This is the way it was supposed to have been. I couldn't have written it any better. And it would've been one of the biggest regrets of my life if we hadn't reunited. And I look at bands like Sebastian and SKID ROW, or whatever — there's probably a big list that we can name — and you know what? Time does heal all wounds. And I would recommend this to anybody. It's better to be riding off into the sunset together and rekindling a friendship and a love that certainly had to have been there at one point for any of these bands — Roger Waters and PINK FLOYD. It's there somewhere deep down. And it's better to ride off into the sunset together than to be apart and having those deep-seated resentments. Life is just too short for that kind of stuff."
DREAM THEATER kicked off the spring/summer 2025 leg of its "40th Anniversary European Tour" on June 3 at Logomo in Turku, Finland.
DREAM THEATER's summer/fall 2025 "An Evening With Dream Theater" U.S. tour is scheduled for 30 cities across the United States, kicking off September 5 in Reading, Pennsylvania and running through October 25, when it wraps in Long Island, New York. The tour will make stops in Orlando, Floria; Detroit, Michigan; Kansas City, Missouri and Providence, Rhode Island, among others. DREAM THEATER will be performing its latest album in its entirety as well as classics and fan favorites from the band's catalog in what promises to be an unforgettable evening of music.
"Parasomnia" came out on February 7, 2025 via InsideOut Music. The LP marked DREAM THEATER's first release with Portnoy since 2009's "Black Clouds & Silver Linings".
"Parasomnia" was produced by guitarist John Petrucci, engineered by James "Jimmy T" Meslin, and mixed by Andy Sneap. Hugh Syme returned once again to lend his creative vision to the cover art.
"Parasomnia" is an eight-song, 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 at in the top 10 of Billboard's Top Hard Rock Albums, Top Rock Albums and Independent Albums charts. Six songs on "Parasomnia" are over seven minutes and the closing epic "The Shadow Man Incident" clocks in at nearly 20 minutes.
The North American leg of DREAM THEATER's 40th-anniversary tour kicked off on February 7 at The Met in Philadelphia, Pennsylvania. The trek was "An Evening With Dream Theater" and was the first tour of North America since Portnoy's return to the lineup, joining Petrucci, singer James LaBrie, bassist John Myung and keyboardist Jordan Rudess. The tour concluded on March 22 in New York City.
Portnoy, Petrucci and Myung started DREAM THEATER as MAJESTY in 1985, after meeting at the Berklee College Of Music in Boston. LaBrie came on board in 1991, while Rudess joined in 1999.
Prior to Portnoy's return to DREAM THEATER, the drummer and Petrucci worked together on the latter's 2020 solo album, "Terminal Velocity", and toured together. Portnoy and Petrucci also joined Rudess and bassist Tony Levin for a third studio album as LIQUID TENSION EXPERIMENT in 2021.
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30 àâã 2025
BASTARD SKULL To Drop Debut Album And More Dread EP Under Wormholedeath Banner
 Ferocious, uncompromising, and carved straight from the steel heart of classic thrash – Bastard Skull has officially inked a deal with Wormholedeath, marking the start of a new chapter for the East Coast-based metal juggernaut.
The band’s self-titled debut album, Bastard Skull, will be unleashed as a deluxe physical CD edition including three tracks from the More Dread EP. Classic thrash purists and new fans alike can also experience digital streaming with standalone releases:
– Bastard Skull LP drops on October 17
– More Dread EP follows on November 11
– CD Deluxe Edition – TBA
Born from a chance reunion at a Mercyful Fate show in Brooklyn on November 13, 2022, Bastard Skull unites a crew of seasoned veterans with deep roots in the thrash underground. The spontaneous spark between John Blicharz (Annunanki, Blood Feast, Dusk) and Tom Lorenzo (Blood Feast, Without End) lit the fuse. Joined shortly after by George Kostadimas and Mark Mari (Sneak Attack), Bastard Skull formed like a sonic supernova, driven by decades of pure metal instinct.
The band tracked both the LP and EP at Band Mother Recording with none other than Michael Sabatini (Attacker) behind the board. The final mastering touch came courtesy of legendary engineer Alan Douches (West West Side Music), whose resume reads like a metal hall of fame: Aerosmith, Obituary, Nile, The Ramones, Dying Fetus, and beyond.
Bastard Skull and WormHoleDeath now stand united in a shared mission: to tear through boundaries and bring unfiltered thrash metal to fans around the globe. Get ready.
Their lyric video for the title track, “Bastard Skull”, can be found below.
Pre-save the Bastard Skull album here, and pre-save the More Dread EP here.
Tracklisting:
“Bastard Skull”
“After The Plague”
“Time is the Destroyer”
“Beyond The Fray”
“Iconoclast”
“The Last Death”
“Catch Kill Release”
“Chaos Order”
Bonus tracks:
“More Dread”
“Impalement”
“Raw Nerve” | 0 | |
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30 àâã 2025
DOWNSWING Signs To MNRK; And Everything Was Dark Album Due In October; “For What It’s Worth” Music Video Streaming
 arkness isn’t merely a theme for Downswing – it’s the environment they’ve learned to endure.
The Albany, New York outfit cultivates a heavy atmosphere and melodic depth, stripping away emotional armour and calloused defences to reveal something raw and defiantly honest. The band’s new album, And Everything Was Dark, serves as both a mission statement and a bold leap forward. It arrives October 24 via MNRK, the band’s new label home. Pre-order it here.
Today, the band shares the video for first single, “For What It’s Worth” (Feat. Travis Moseley of Colorblind). Watch it below. The song is a bleak outburst of betrayal, confusion, and emotional fallout.
“As a collective going into the studio, we knew that ‘For What It’s Worth’ was a heavy favorite,” says vocalist Harrison Seanor. “Right from the opening riff, it just has that energy, that drive. It’s hard not to bang your head.”
Since 2016, Downswing have steadily evolved into a powerhouse of modern metal and groove. The group’s current incarnation emphasizes big choruses, bigger breakdowns, atmosphere, and emotion. “This is the first time it feels like we’re doing exactly what we want,” says Seanor, who joined the band in 2020. “We’re not chasing any specific trend or scene. We’re Downswing.”
Downswing are comprised of Seanor, guitarist Anthony Salvaggio, bassist Chris Arnold, and drummer Nick Manzella. Created with a focus on clarity and impact, And Everything Was Dark builds on the sonic foundation of their earlier work while boldly venturing into new territory. Gargantuan riffs and breakdowns intertwine with massive hooks, textures, and lyrics that resonate deeper than ever before. Downswing formed in 2018 and quickly made waves with their unique blend of metallic hardcore aggression and groove-driven heaviness. Early releases, such as the Dark Side Of The Mind EP (2017) and Good Intentions (2020), cultivated a dedicated following in the underground and earned the band a reputation for high intensity.
Tracklisting:
“No God To Me”
“Emptiness Remains”
“Drowned Out”
“Thanks For Nothing”
“In A Daze”
“For What It’s Worth” (Feat. Travis Moseley)
“Stand By…”
“Serpent”
“Letting Go” (Feat. Elijah Witt)
“Too Little Too Late” (Feat. Chris Roetter)
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30 àâã 2025
DISTRAUGHT Unleash “Extermination Of Mother Nature” Music Video
 Brazilian thrash metal warhorses, Distraught, are back swinging harder than ever, channeling over three decades of rage, grit and social consciousness into their brand-new music video, “Extermination Of Mother Nature”.
Lifted from the band’s latest EP, inVolution, the track is a furious and unrelenting blast that rips through the political negligence and corporate greed responsible for the catastrophic floods that devastated Rio Grande do Sul in 2024 – a disaster that swallowed entire cities, displaced thousands and claimed countless lives.
“This isn’t just a song about a flood. It’s a direct indictment”, says frontman and founding member André Meyer. “Water is supposed to represent life — here it became a weapon of destruction, washing away homes, dreams and broken promises.”
Shot at the historic Lower Platform of the Charqueadas Pier (RS) – once a hub for coal transport in the 1950s and now a haunting monument to neglect — the video amplifies the band’s message with striking, desolate imagery.
Watch the video below:
inVolution is a conceptual EP with five brutal cuts, each representing a natural element — Earth, Water, Air, Fire, and Aether — as the band tears through themes of environmental collapse, greed, denialism and moral decay.
With a legacy forged over 35 years, six full-length albums, two live releases and a trail of hard-hitting singles and covers, Distraught stands tall as one of the enduring pillars of Brazilian heavy music. Uncompromising, politically charged and heavier than ever, the band channels decades of rage and reflection into their latest opus, inVolution – more than just a new release, it’s a searing call to awareness through art and aggression. Fronted by André Meyer (vocals) and completed by Ricardo Silveira and Everton Acosta (guitars), Alan Holz (bass) and Thiago Caurio (drums), the band continues to redefine the boundaries of South American thrash.
“Metal isn’t just about attitude — it’s also about awareness”, says founding vocalist André Meyer. “’inVolution’ is a warning about the abyss of human deconstruction we’re headed toward. And it might be closer than we think if nothing changes.”
Stream the EP here.
The band is currently considering a physical release for inVolution and invites labels worldwide to join forces in spreading their latest statement of intent. | +1 | |
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30 àâã 2025
CREMATORY – Vinyl Reissues Of Act Seven, Believe, Revolution Albums Coming In October
 Following the release of their Destination album (released in May via ROAR), German gothic metal pioneers, Crematory, continue their legacy of darkness and power with a special series of reissues, unleashed through ROAR – A Division of Reigning Phoenix Music.
Today, the band proudly re-releases limited vinyl editions of the albums Illusions (1995), Das Deutsche Album (1996) and Awake (1997).
In the mid-1990s, Crematory emerged as a leading force in the German gothic metal scene. Formed in 1991, the band fused death metal roots with darkwave and gothic influences, creating a unique sound marked by growled vocals, melodic keyboards, and melancholic themes. By the time “Illusions” was released in 1995, Crematory had refined their identity, gaining international attention with emotionally charged songs and powerful live performances. Their work during this era helped shape the sound of European gothic metal, and alongside 90s cult acts such as Type O Negative, Tiamat, Moonspell, The Gathering and Paradise Lost, Crematory became one of the most successful representatives of their genre.
Each release comes as a collector’s edition and in digital formats – remastered by Crematory guitarist and producer Rolf Munkes – carefully reissued to bring these milestones of gothic and death metal back to the turntable where they belong. Order now:
On October 17, Crematory will continue their reissue campaign with three more fan favorites, once again via ROAR.
Act Seven (1999) – A cornerstone in the band’s catalogue, blending gothic melancholy with thunderous riffs, showing Crematory at the height of their creative force! Believe (2000), the band’s dark yet melodic masterpiece that pushed boundaries with its fusion of electronic elements and gothic metal intensity, marking a bold step into a new millennium. Same like Revolution (2004): True to its name, this album saw Crematory embrace evolution with modern touches while staying deeply rooted in their trademark gothic sound.
This marks a unique chance for fans and collectors to own these defining records in exclusive vinyl form as well as digital — a celebration of more than three decades of relentless gothic metal spirit.
For Crematory, the fire still burns. For the fans, the classics live again. Collect them. Spin them. Keep the legacy alive. Pre-order via the links below. | +1 | |
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30 àâã 2025
NEAL MORSE To Release Never Been Down This Road Album In October; “Reach Deep” Visualizer Streaming
 Acclaimed multi-instrumentalist and progressive rock visionary, Neal Morse, returns to his singer-songwriter roots with the heartfelt and introspective new solo album, Never Been Down This Road.
Available on October 31, you can pre-order the album here. A visualizer for the single “Reach Deep” can be found below.
Known for his work on recent prog-rock masterpieces including No Hill For A Climber (with Neal Morse & The Resonance) and Deep Water (with Cosmic Cathedral), Morse now offers fans a more personal collection, rich with storytelling, emotion, and spiritual depth.
Written in the quiet early hours at the grand piano in his studio – a daily practice for Morse – Never Been Down This Road captures the spontaneous magic of inspiration as it comes. The result is an album that blends deeply personal reflections with narratives of people he has encountered and songs came from day to day inspiration, spanning genres from folk and pop to worship and soul.
Following in the tradition of 2024’s Late Bloomer, this new release showcases Morse’s solo artistry in full. With the exception of saxophone and backing vocals, all instruments and vocals were performed by Morse himself, further emphasizing the album’s raw, intimate nature.
“Never Been Down This Road feels like a journey through my heart, my memories, and sometimes the hearts of characters I’ve imagined,” says Morse. “It’s a quieter kind of album—less about the epic, more about the honest moment. I hope people connect with it the way I have.”
Tracklisting:
“Leavin’ California”
“New Man”
“Reach Deep”
“Open Up Again”
“Never Been Down This Road”
“The Most Important Person”
“The Heart Always Known”
“Breathe The Air” | +2 | |
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30 àâã 2025
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30 àâã 2025
HEAVY PETTIN To Release Rock Generation Album In October; Title Track Single And Video Out Now
 The Scottish rock warriors, Heavy Pettin, release the title track and video from the brand-new studio album, Rock Generation, which is set for release on on October 24 via Silver Lining Music. Pre-orders available now, here.
Vocalist and founding member, Stephen “Hamie” Hayman comments: “Heavy Pettin are back!!!! Rock Generation is a celebration for all rock fans around the world… Made to ROCK ur Soul.”
A music video for the first single, “Rock Generation”, by Bernhard Kellerer at Rocktopia Ltd., can be found below
Back in the ‘80s, Scottish rock ‘n’ roll warriors Heavy Pettin strode stages worldwide whilst their debut album, 1983’s Lettin Loose, threatened to break the rock world apart. They were seen as the natural ascendants to rock’s highest echelons, touring internationally alongside the likes of Ozzy Osbourne and Motley Crüe as wild Glaswegian whippersnappers. Then life happened and Heavy Pettin went on a triple decade hiatus.
Listening to Heavy Pettin’s first new studio album since 1989 – Rock Generation – feels more like a 30 week’ hiatus augmented by a supreme confidence. Led by founding frontman Stephen “Hamie” Hayman, featuring Dave “Davo” Aitken and Richie “St. James” Dews on guitars and backing vocals, plus David “Boycee” Boyce on bass and Mick “The Wizard” Ivory on drums, Rock Generation is a sonically-superb, classic song-strong rock ‘n’ roll return to that glorious slipstream between Def Leppard, Whitesnake and Thin Lizzy. The ten cuts bristle with full-frontal attitude and powerful melodies. Take the title track, with its hip swinging anthemic swagger, there’s “Oblivion” with guest vocals from Roni Lee which carries a true Celtic swing in its groove plus an addictive singalong chorus, while “X-Rated” fuses the attitude of Glasgow’s Sauchiehall Street with the punch and panache of the Sunset Strip.
Made in Glasgow at Morsecode Studios and produced with a timeless sheen by Ciarán O’Shea, make no mistake, Rock Generation is only interested in bringing you on a thrill-ride through the carefree sweat and leather landscape of cut-loose heavy rock ‘n’ roll. It’s a mission which will demand -and receive- your willing acquiescence.
Rock Generation will be available as a vinyl, CD, and on digital formats.
Tracklisting:
“Rock Generation”
“Faith Healer (Kill My Demons)”
“Brother Sister”
“Oblivion”
“Mother Earth”
“X – Rated”
“Bullets and Pills”
“Line In The Sand”
“Live UR Best Life”
“This Life” | 0 | |
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30 àâã 2025
SICK OF IT ALL Has 'A Bunch Of Songs' For Next Studio Album: 'We're Planning To Get Together And Start Working On That'
 SICK OF IT ALL bassist Craig Setari was interviewed by "Reckless" Rexx Ruger for a new episode of the Pod Scum podcast. Asked what his initial reaction was when SICK OF IT ALL vocalist Lou Koller went public in late June 2024 with the news that doctors discovered a cancerous tumor in his esophagus, Craig said (as transcribed by BLABBERMOUTH.NET): "Well, first and foremost, Lou's my friend, and we're like four brothers [in SICK OF IT ALL]. So the first concern was for his health. Everything else is secondary. So he was like saying, 'I'm sorry we can't do this tour. I know you guys need to tour and pay your bills.' And we were, like, 'Just get better. Just give this your all.' So, really, what it comes down to is him being healthy. The band is secondary, as much as it's weird for me to say that, 'cause all four of us are so wrapped up in this band and this music for our entire teenage and adult lives. But ultimately he has to do well and get better, which he's doing."
Craig continued: "Lou's a unique individual in that he'll complain about a sandwich he gets from the deli and he'll, like, chew your ear off. You'll be, like, 'All right already. I know you don't like the sandwich.' He'll annoy you about something that's insignificant and be in a grouchy mood, but you tell him, 'Hey, you got this situation, and it could be' — I don't even wanna say the words, but it could be very serious. He's, like, 'Yeah, don't worry. I'll take care of it. I'm gonna handle it.' So when real stuff happens, he steps up. He's tough as nails. He'll complain about little things that don't mean anything. And I guess in retrospect that that's a good way to be."
Asked if the interpersonal relationships between the members of SICK OF IT ALL are complicated by the fact that there are two brothers in the band, Lou and guitarist Pete Koller, Craig said: "Well, they're hardworking guys. They're the kind of guys, if you say to them, 'We have to climb this mountain now. It's life or death,' okay, they'll do it. So they put one foot in front of the other and just go. They were always like that. So even when there's a problem, we don't let it affect the bottom line, the band. So we argue and stuff and we've all had beefs with each other. But the bottom line is the machine keeps trudging forward. That's kind of the attitude… Two plus two is four, at the end of the day. Any kind of drama — like we were talking about earlier, Lou will complain about a sandwich or a parking spot, and he'll make way too big of a deal out of it, and you'll be, like, 'Oh, man, can you just stop already?' But when real stuff happens, he's, like, 'Yeah, okay, we're gonna do this now.' So he makes a ruffle out of little stuff. But when real stuff happens, those guys are tough."
Asked if SICK OF IT ALL has worked on any new music for the follow-up to the band's latest album, "Wake The Sleeping Dragon!", which was released in November 2018 via Century Media, Craig said: "Yeah, we have a bunch of songs. We're planning to get together and start working on that. Lou is right now cancer free. He gets another evaluation in roughly two to three months. He's gonna get six-month evaluations. But he responded very well to the treatment. And the plan is in 2026, somewhere in the warm weather of 2026, to potentially play some shows, if everything goes like it's been going. We're not gonna play as much as we did, obviously. It's gonna be selective. So, if you wanna see us, when you see we're playing, you come out and see us. Because we're not gonna be playing… We used to be like MOTÖRHEAD. We played down the block and here and there. Now we have to be more selective because this man has to conserve his energy after what he's been through. So, SICK OF IT ALL is still gonna be a full-time band, but I don't think we're gonna be playing every little show on Tuesday and Monday night like we used to. We're gonna pick our spots. And people, if you wanna see us play, you come out. We're gonna be a little more selective, like I said. But, yeah, I can't wait to get out there."
Craig continued: "Lou's doing well. He's just on the mend right now. He went through a lot, so it's gonna take him a good year. The doctor said a year, year and a half till you feel right again."
Asked about the possibility of European shows for SICK OF IT ALL in 2026, Craig said: "Well, we have to start easy. We're gonna start — the plan would be tentatively to start with some festivals in America. We're on hold for a few things for next year. And it would be weekend fly-in-type stuff — fly in, play this festival, come home. Fly, play this festival, come home. Maybe play two shows on the weekend, come home. So it would start out like that, and then we'd see how it builds up. I mean, Europe would be, hopefully, after some American festivals. Europe would be some festivals. As far as long tours in a van, not right away, but who knows? We've gotta build it back together, put it back together."
A benefit concert supporting Koller's battle with esophageal cancer was held on November 23, 2024 at Irving Plaza in New York City. The "I'm In The Fight With Lou" event featured performances by VISION OF DISORDER, LIFE OF AGONY and MUNICIPAL WASTE, as well as veteran New York hardcore acts KILLING TIME and CROWN OF THORNZ. Notably, it marked VISION OF DISORDER's first live appearance since 2018. It was also LIFE OF AGONY's first show since the band's singer Keith Caputo — who came out as transgender and assumed the name Mina Caputo in 2011 — announced that he had "cured" his gender dysphoria and was planning to "physically completely detransition" in 2025 before officially changing his name back to Keith Caputo.
After Lou went public in late June 2024 with the news that doctors discovered a cancerous tumor in his esophagus, his brother Pete set up a GoFundMe campaign to help cover some of the costs of his cancer treatment and assist with living expenses while the group is off the road and unable to tour. That campaign raised more than $300,000, with fellow artists AFI, RANCID and DROPKICK MURPHYS contributing $5,000 apiece, and bands such as SNAPCASE and HOT WATER MUSIC also making generous donations.
The long-running New York Hardcore band subsequently canceled its previously announced European tour dates.
When Lou first posted about the diagnosis on social media, he said: "[Doctors] found a tumor in my esophagus that goes into my stomach, and I'll have to be getting treatment all summer — and of course, with full support of the band. As soon as they heard it, they were, like, 'Forget the tour. Just get healthy.' … They're all behind me staying home and us staying home."
Koller ended the message by saying: "I'll hopefully beat this thing and see you at the end of the summer … or maybe the winter."
SICK OF IT ALL's European tour was supposed to kick off in the Czech Republic on July 4, 2024.
Press photo courtesy of Century Media Records / The Orchard | +1 | |
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30 àâã 2025
BREAKING BENJAMIN Drummer SHAUN FOIST To 'Step Away' From Touring
 BREAKING BENJAMIN drummer Shaun Foist has announced that he will "step away" from touring with the band to "focus on healing" in his ongoing battle with Hashimoto's disease.
Earlier today (Thursday, August 28),Shaun released the following statement via social media: "Friends, family, and most importantly, the fans I've battled Hashimoto's disease since 2017, facing fatigue, leg weakness, stiffness, weight changes, and overall drum playing control issues. During the [spring 2025] 'Awaken The Fallen' tour, I was experiencing extreme leg fatigue and complications, making drumming nearly impossible. We ran tests on my back that came out fine thankfully, but tests confirmed Hashimoto's had flared, pushing my thyroid into 'hyper' mode, causing weakness and weight loss.
"After speaking with my family and doctors, I've decided to step away from the road at this time to focus on healing.
"Please continue supporting the band and enjoying the shows.
"I care deeply about our legacy, and I don't want my health to affect performances.
"Thank you for the years of love and support. I will play drums again."
According to the Cleveland Clinic, Hashimoto's disease is a chronic autoimmune disease that affects the thyroid gland. It can cause lower-than-normal levels of thyroid hormone in the body. This affects several areas of the body and causes symptoms like fatigue, weight gain and constipation. Hashimoto's disease is treatable with medication.
Prior to joining the revamped lineup of BREAKING BENJAMIN, Foist spent 13 years immersing himself in all things drumming, including playing with PICTURE ME BROKEN, a band fronted by Gregg Allman's daughter Brooklyn Allman.
Foist has been laying down a heavy, meticulous groove on the road and in recording studios for numerous Midwest and East Coast rock bands for over 20 years. As the current drummer for BREAKING BENJAMIN, Shaun and the rest of his bandmates (under the direction of BREAKING BENJAMIN's frontman, founder and principal songwriter Benjamin Burnley) experienced a first-time thrill of a lifetime when the band's album "Dark Before Dawn" debuted at No. 1 on Billboard. The band's first single ("Failure") also held down the No. 1 spot on Rock Radio airplay nationwide for eight consecutive weeks.
With influences including Neil Peart, Tico Torres and John Bonham, Shaun continues to study and be inspired by the work of his contemporaries — and considers live performance and touring two essential keys in fully developing as an artist.
When not recording, touring or conducting drum clinics, Shaun enjoys passing his valuable insight and life experience on to his students via in-person and online classes.
We are thankful to @shaunwfoist for all the years of playing with us and being a part of the Breaking Benjamin family. The fall tour starts tomorrow and we are welcoming our friend @cassells to the stage.
🫶🏼
Posted by Breaking Benjamin on Thursday, August 28, 2025 | +1 | |
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30 àâã 2025
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30 àâã 2025
SEX PISTOLS' 'Never Mind The Bollocks' Available Now Via Rhino High Fidelity Vinyl Reissue Series
 "Never Mind The Bollocks, Here's The Sex Pistols", an album that rewired 20 years of rock in under 40 minutes, is available today from Rhino High Fidelity (Rhino Hi-Fi),the premium vinyl reissue series. Order here.
"Never Mind The Bollocks, Here's The Sex Pistols (Rhino High Fidelity)" was cut from the original master tapes by Kevin Gray and pressed on 180-gram black vinyl at Optimal in Germany. This release is limited to 5,000 individually numbered copies and available exclusively at Rhino.com and select Warner Music Group stores internationally.
Singer and main lyricist Johnny Rotten (John Lydon),guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock — later replaced by Sid Vicious — recorded the SEX PISTOLS' only studio album at Wessex Sound in London. Released in 1977, it debuted at No. 1 on the U.K. charts despite being banned by major retailers and causing widespread controversy. Bristling with broadsides like "Anarchy In The U.K.", "God Save The Queen", "Pretty Vacant" and "Holidays In The Sun", the album distilled rage and disillusionment into a single, unrelenting statement.
In the album's new liner notes, producer Chris Thomas recalls how the band found their recording approach almost by accident during an early session. "We put down a track, just rhythm guitar and drums, pretty much first-take, no mistakes. It was impossible to know if it was any good, so, being a bit stumped, I asked Steve if he would like to have a go at putting the bass part on."
Instead of playing a traditional bass line, he simply mirrored his guitar an octave lower — an unexpected move that snapped everything into focus. "It was an absolute 'Eureka!' moment," Thomas recalls. "The combination was so powerful, so simple. We bashed three more songs down, adding the bass and double-tracking the guitar in just a couple of hours. We were seriously in first-take territory."
Sadly, just months after the album came out, the band unraveled, breaking up in January 1978 during their U.S. tour. But the SEX PISTOLS' legacy far outlasted their time together. "Never Mind The Bollocks" has sold over a million copies in the U.S. alone, was inducted into the Grammy Hall Of Fame, and ranks high among the greatest albums of all time in lists by Rolling Stone, NME and Time. Nearly five decades later, the record remains a defining force in punk and a cultural lightning rod.
Rhino High Fidelity continues to tap into Warner Music's vast catalog, introducing reissues of seminal albums across genres—from rock and pop to jazz, soul, and beyond. Each title pairs uncompromising audio with archival-grade packaging, honoring the album's original intent in both sound and design.
"Never Mind The Bollocks, Here's The Sex Pistols (Rhino High Fidelity)" LP track listing:
Side One
01. Holidays In The Sun
02. Bodies
03. No Feelings
04. Liar
05. Problems
06. God Save The Queen
Side Two
01. Seventeen
02. Anarchy In The U.K.
03. Sub-Mission
04. Pretty Vacant
05. New York
06. EMI
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30 àâã 2025
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30 àâã 2025
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30 àâã 2025
SEBASTIAN BACH Blasts 'Vocal Experts' Who Criticize His Live Performances: 'You Have No Clue What The Hell It Is That I Do'
 In a recent interview with Australia's Spotlight Report, former SKID ROW frontman Sebastian Bach unleashed a hilarious, no-holds-barred rant over self-proclaimed "vocal experts" and "vocal instructors" on YouTube who have criticized his live performances, as captured in various videos on the platform. He said (as transcribed by BLABBERMOUTH.NET): "YouTube is so hilarious. I see videos of guys that call themselves vocal experts or vocal instructors or whatever, and these idiots watch a video of me on stage, like at Wembley Stadium, running around with no shirt on in hundred-degree weathers. And I'll do a note in my concert footage, and they'll sit in their chair and go, 'Ah, ah,' sitting in their chair, watching it on YouTube, thinking that's the same fucking thing as me running around on stage in the summertime. And I don't get to sit down and watch and go, 'See, I can do that.'"
Addressing his critics directly, Sebastian continued: "You can't do shit. And another thing is you don't just do one note of the song. The challenge is to sing the whole song 'I Remember You'. And then at the end there's a scream, and you'd better be ready for that. So spare me sitting there like this, going, 'Oh, see, I can do that.' No, you have no clue what the hell it is that I do. Sing the whole fucking song — then hit the scream at the end in a hundred-degree weather, on no sleep, jet lagged."
Bach added: "It just makes me laugh. It's just so funny that people think that they know how to get on a stage and rock for an hour and a half or two hours. It's a dying art, and you can't sit in your living room, in your air conditioning, watching it on YouTube, thinking you have a fucking clue about what it is to get up on that stage and do it every single night. It's not physically or mentally easy to do. And there's so many of these so-called vocal experts that I could kick 'em right in the balls. Because don't even think you know what it is that a guy like me does. I'm not saying this to you — I'm saying this to all the experts in their basement, in their air conditioning. It's really hilarious."
Sebastian previously blasted critics of his live performances this past January during an appearance on an episode of "The Jasta Show", the podcast hosted by HATEBREED frontman Jamey Jasta. He said at the time: "The Internet is so hilarious. You can relate to this. When you're doing show after show, night after night, some nights better than others. That's just the way it is. Unless you wanna use tapes — that's your only option to do everything perfect. We're human beings. So if you don't sing exactly like the record, you might read a comment like, 'Oh, he doesn't sound like the record.' And I'm, like, there's a difference between not being able to sound like the record and not giving a shit. I hate to break it to you, but if you're at some dumpy club on a Tuesday night in the middle of nowhere, and you're just not feeling it, you might not give your ultimate performance of your fucking life that night. Maybe you will, but maybe you fucking won't, because you're not inspired. Human beings are emotional people, and sometimes I feel like a nut, sometimes I don't."
Referencing JOURNEY frontman Arnel Pineda, who was panned for his performance with the band at the 2024 edition of Rock In Rio festival in in Rio De Janeiro, Brazil, Sebastian added: "Did you watch [Arnel's 2012] movie, 'Don't Stop Believin'', which details his rise? Well, there's a hilarious part in there where he does his first show with JOURNEY and he's running around like a madman and he's going crazy, jumping, and he comes on stage and they're all looking at him. They were, like, 'Dude, what the fuck was that?' That's the story of my life. And I'll tell you why. There's a saying, when you're making a record, you're playing for your audience. When you're doing a show, your audience is playing you. That is the most spot-on…
"I was thinking about this last night," he continued. "My job is to be as excited as I can be at the same time as being as calm as I can. How the fuck is that [possible]? Because if I'm too excited, I suck. I have to remember what I'm doing, because when I look at Arnel, he's just caught up in the crowd. He's in front of a hundred thousand people and he's in the pit, and he's, like, 'Look at this shit.' He's not making a record. He's jumping in the pit with the security guards.
"When you're making a record, you're standing in an air-conditioned room, and you can try it as many times as you feel like it and get it perfect," Bach explained. "That is not what a rock concert is. A rock concert is like going to battle. Well, to me — I don't know why it's like that, but I feel like it's a fight, it's like a fucking boxing match."
Sebastian Bach's latest album, "Child Within The Man", came out in May 2024 via Reigning Phoenix Music. The LP was recorded in Orlando, Florida; produced and mixed by Michael "Elvis" Baskette; engineered by Jef Moll, assistant engineered by Josh Saldate; and mastered by Robert Ludwig of Gateway Mastering. Bach wrote or co-wrote all the album's 11 tracks and sang all lead and backing vocals. "Child Within The Man" features guest appearances from John 5, Steve Stevens and Orianthi — who all co-wrote their respective tracks with Bach — and two tracks co-written with Myles Kennedy ("What Do I Got to Lose?" and "To Live Again"); Devin Bronson on guitars, Todd Kerns (bass) and Jeremy Coulson (drums) round out the players on the album.
"Child Within The Man" has yielded several singles/videos, all of which have impacted the rock charts: "Freedom", "What Do I Got To Lose?", "Everybody Bleeds", "(Hold On) To The Dream" and "Future Of Youth".
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30 àâã 2025
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30 àâã 2025
CHRIST AGONY Release Lyric Video For New Single “Nocturnal Dominion”
 Poland’s Christ Agony have released a lyric video for their new single. Find the clip for “Nocturnal Dominion” below.
After nine long years since the release of their last studio album, Christ Agony returns with the new album, Anthems.
And despite all that has been said and done, the mastermind Cezar is still standing. What’s more, Cezar has managed to pull himself out of the abyss of extreme life in favour of a more quiet, observational and mature attitude as an artist and a human being.
His return will not be met with universal applause – not even from the black metal scene. For anyone who has followed the turbulent career of Cezar and his pioneering band, which pushed the boundaries of the genre into new territory, this comes as no great surprise. With their ninth studio album, Anthems, Christ Agony once again presents a work that can compete with the trilogy of albums considered by many to be the pinnacle of the black metal pioneers’ earlier career: Unholyunion (1993), Daemoonseth Act II (1994) and Moonlight (1996).
Like a hellish steamroller, each track on Anthems crushes and crushes. The album features all the darkest elements that Christ Agony is known for: sharp, distinctive vocals, the weight of the guitars, moments of ecstasy and beauty captured in hellish soundscapes. And yet there are also subtle details that the musically experienced Cezar has always cleverly hidden in his sonic assault, such as acoustic guitars, uplifting vocal choruses, and a touch of melancholy.
Anthems connects Christ Agony to their glory days – not as a nostalgic reminiscence, but as a forward-looking continuation and next evolutionary step.
If there is one thing that distinguishes this album, it is the maturity that comes from experience and learning. Cezar’s diabolically catchy songs are heavier than ever and have not lost their edge. This may be due to the fact that this is the first Christ Agony album that Cezar has composed and produced for many years. Anthems makes Christ Agony enter the musical arena again. This album clearly has great musical strength and lyrical courage. Christ Agony has set another ambitious milestone with Anthems.
Anthems will be released on September 26 via Deformeathing Production.
Tracklisting:
“Empire Of Twilight”
“Throne Of Eternal Silence”
“Sanctuary Of Death”
“Rites Of The Black Sun”
“Dark Waters”
“Nocturnal Dominion” | +2 | |
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29 àâã 2025
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29 àâã 2025
SOULFLY Announces New Album 'Chama', Shares 'Storm The Gates' Single
 Extreme metal trailblazers SOULFLY will deliver their tribally fueled thirteenth album, "Chama", on October 24 via Nuclear Blast Records.
Today, SOULFLY offers fans the first taste from the album in the form of the lead single "Storm The Gates". A battle cry against control and greed, the track summons ancestral strength and unites the tribe in rebellion — heavy, primal, and unapologetically relentless. The lyric video, which was created by Costin Chioreanu, can be seen below.
SOULFLY frontman Max Cavalera comments: "Chama is the Brazilian word for flame. It also means a 'calling'. Respect to Alex Pereira for using 'Itsari' on his UFC walkouts.
"'Chama' is inspired by the energy of this moment. This record is the sound of SOULFLY's fire! I cannot wait to play these songs live for the Tribe! Chama!"
SOULFLY drummer Zyon Cavalera, who co-produced "Chama", states: "With each SOULFLY record I've played on, I can feel my evolution happening in real time. This record was no different as I got to handle a good amount of the production for the first time. Trying to take the band to places we have never been before was a blast and I look forward to more production work in the future!"
"Chama" track listing:
01. Indigenous Inquisition
02. Storm The Gates
03. Nihilist
04. No Pain = No Power
05. Ghenna
06. Black Hole Scum
07. Favela / Dystopia
08. Always Was, Always Will Be...
09. Soulfly XIII
10. Chama
"Chama" was recorded at the Platinum Underground Studio in Mesa, Arizona by John Aquilino. John has worked with Max and company multiple times before and is not only a talented engineer but a family friend. The album was produced by Zyon Cavalera and Arthur Rizk. The latter was also responsible for the mixing and mastering. Rizk has not only worked with the Cavalera family numerous times before, but has also helped to shape the world of heavy metal in the modern day. SOULFLY enlisted Carletta Parrish to create the album artwork. For the album, Igor Amadeus Cavalera (GO AHEAD & DIE, NAILBOMB, HEALING MAGIC) played bass and Mike De Leon played guitar. The album also features Dino Cazares (FEAR FACTORY) on one of the tracks.
SOULFLY's lineup on "Chama" is:
Max Cavalera - Vocals, Guitar
Igor Amadeus Cavalera - Bass
Zyon Cavalera - Drums
Mike De Leon – Guitar
SOULFLY played "Favela / Dystopia" live for the first time on July 8 at Maimunarnika in Sofia, Bulgaria.
In a recent interview with MetalUnderground.com, Max stated about the musical direction of the new SOULFLY material: "The record, it's cool. It feels to me [like it] has the adventurous spirit of the first record [1998's 'Soulfly']. Sonically, it's pretty different from the first record — it's more intricate and maybe even heavier, heavier grooves. But in terms of spirit and attitude, it's similar to the first record, which I think is cool that I got to figure out a way to put my mind back at that time and what made me create that record and use it again on a new record. It's pretty fun. It's kind of hard to do, but I think it was an exciting thing to tackle. It was kind of, like, 'Let's try to do this. Let's see if you can use your first album as somehow some kind of inspiration for your thirteenth record. [Laughs] And that was great, man. I love that. I love that kind of vibe that the record has."
Cavalera continued: "That's the cool thing about this record. It's kind of, in a way, a return to what me and fans of SOULFLY fell in love with SOULFLY for. And then throughout the years, many of the other records had a lot of different vibes in it. Some of them went more thrashy with stuff like 'Dark Ages' [2005], 'Omen' [2010], 'Conquer' [2008]. So, to me, making a record that sonically is inspired by the first thing that you did as a band, it was a challenge — there's a challenge in that — 'cause it's easier said than done. Because I don't wanna just copy that first record either. There's no point in doing that. I'm just using it as inspiration. It's really just full on for metal inspiration. The songs [themselves], they're gonna have their own personality and their own vibe. But, yeah, it's coming out quite interesting. I'm excited to hear what the fans are gonna think about this one."
This past May, SOULFLY recruited Chase Bryant (WARBRINGER) to play bass on the band's European tour, which kicked off on June 7 at the South Of Heaven festival in Maastricht, Netherlands.
A month earlier, SOULFLY parted ways with the band's longtime bassist Mike Leon.
Leon, formerly of HAVOK, joined SOULFLY in September 2015 as the replacement for STATIC-X bassist Tony Campos, who left SOULFLY in May of that year.
"Totem" came out in August 2022 via Nuclear Blast. The follow-up to 2018's "Ritual" was recorded at Platinum Underground in Mesa, Arizona by John Aquilino and Arthur Rizk with assistance from John Powers. Produced by Max Cavalera alongside Arthur Rizk (KREATOR, MUNICIPAL WASTE, CODE ORANGE),the LP boasts guest appearances from John Powers (ETERNAL CHAMPION),Chris Ulsh (POWER TRIP),and John Tardy (OBITUARY). Rizk was also responsible for playing lead guitar on the record. The artwork for the album was created by James Bousema.
In August 2021, SOULFLY parted ways with longtime guitarist Marc Rizzo due to personal differences. FEAR FACTORY's Dino Cazares played guitar for SOULFLY on the band's 2021 and 2022 run of shows.
Guitarist Mike DeLeon has been touring with SOULFLY for more than two years. Prior to hooking up with SOULFLY, DeLeon had been a member of PANTERA singer Philip Anselmo's solo band PHILIP H. ANSELMO & THE ILLEGALS, which he joined in 2015 as the replacement for Marzi Montazeri. More recently, Mike filled in for Zakk Wylde at the first rehearsal for the fall 2022 PANTERA shows.
In a November 2024 interview with Dave Rumbler of Metal-Roos, Max, who turned 56 years old earlier this month, said that he has no plans of slowing down in the coming years. "I was put on this planet to do this, and that's all I wanna do," he said. "It's all I know how to do and it's all I wanna do… Of course, we change as people as we get older, but I think there's some things in me, they are the same as they were when I was 15 years old — my passion for metal, how I feel about going on the stage and the goosebumps, the excitement is like a drug. You can't really get that anywhere else except on the stage. And those things don't change. And I love that.
"To me, I'm always looking forward to whatever tour we're doing, whatever album we're making," he continued. "There are challenges, but at the same time, they are great life opportunities. And I live life for the moment. I'm not one of those guys that — I don't live thinking 10 years from now. I live for right now for this, 'cause I don't know what's 10 years from now. I live the moment, and in the moment, this is what's going on right now. I grab it with both hands, man, and enjoy. And I try to teach that to my kids — enjoy the moment. It's a great thing. It's good to be alive. It's good to share this feeling with people around you. It's incredible. It's an incredible thing."
Photo credit: Jim Louvau
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29 àâã 2025
Ex-VENOM Members MANTAS And ABADDON Reunite In Legal Battle Against CRONOS Over VENOM Logo Copyright
 Jeff "Mantas" Dunn and Anthony "Abaddon" Bray, iconic co-founders of the pioneering black metal band VENOM, are reaching out to their loyal fans — the "Legions" — for support in a legal battle against former bandmate Conrad "Cronos" Lant. Since 2023, Mantas and Abaddon have fought to resolve two critical issues: securing recognition for their contributions to VENOM's legendary artwork and claiming their rightful share of merchandise profits from albums they co-wrote and performed, including "Welcome To Hell" (1981),"Black Metal" (1982),"At War With Satan" (1984) and "Possessed" (1985).
Now in their 60s, Mantas and Abaddon seek a fair resolution to ensure their families benefit from VENOM's enduring legacy, which helped define the black metal genre. "We're simply asking for what is rightfully ours," they said in a joint statement. "After decades of avoidable conflict, we want peace and closure."
Despite efforts to resolve the dispute amicably, the duo has been forced to pursue legal action, incurring significant personal and financial costs.
The legal battle intensified in June 2024, with Cronos suing Abaddon and Plastic Head Music Distribution Ltd, accusing the distributor of selling merchandise with Lant's copyrighted VENOM designs and Bray of approving the infringement through a licensing agreement. The dispute revolved around the fact that both parties were licensing and selling official VENOM merchandise featuring the contested designs.
Mantas and Abaddon express deep gratitude to Plastic Head for their support (including facilitating this crowdfunder) and to the Legions for their unwavering devotion. "It was the honor of a lifetime to create music that inspired a genre," they shared. "Your support has carried us through the best and hardest times."
After Abaddon's recent triumph over cancer, the pair pledge any surplus funds from their campaign to the MacMillan Cancer Charity.
The duo is calling on fans worldwide to help fund their legal fight. "If every fan bought us a pint, we could see this through," they said.
Contributions can be made at this location.
According to Law360.com, Lant testified in court that he joined VENOM in late 1979 and came up with the Satanic-themed designs used in the band's logo and album covers, which included goat heads, pentagrams and inverted crosses.
Bray filed a counterclaim for infringement against Lant and Lant's distributor, Razmataz.com Ltd., arguing that Bray was the real author of the works.
Because Lant was able to produce numerous sketches which demonstrated his design process and Bray was unable to do the same, Bray was deemed the owner of the original logo, while Lant was found to be the creator and copyright owner of all but one of the other artistic works in dispute.
Regarding the first VENOM logo used by the band — the version of the logo used on the album "Welcome To Hell", released by Neat Records in 1981, but that predated that release — High Court Recorder Amanda Michaels, who heard the case, wrote in her July 31, 2025 judgment, which has been obtained by BLABBERMOUTH.NET: "Mr Lant said that he had produced the logo soon after joining the band, whilst Mr Bray said that he had painted it himself onto a drum riser used for the band before Mr Lant joined it. Mr Bray's evidence was supported by Mr Dunn and Mr Ash [Stephen Ash, who was a friend of Bray's from 1977 and was involved in the early years of the band], both of whom agreed that the band had been called VENOM before Mr Lant joined it, and that VENOM['s first logo] was in use on the drum riser before he joined the band.
"The Defendants had no documentary support for the claim that the logo was designed by Mr Bray before autumn 1979," the judgment continued. "They initially relied on a photograph of the original vocalist [Clive] Archer standing on stage in front of a VENOM logo, saying this showed [the original] VENOM logo. Mr Bray said that this was taken at a birthday party and predated Mr Lant joining the band. However, the Defendants later conceded that the image had been cropped from a photograph which it was agreed had been taken at a performance in Newcastle in 1980 which showed Mr Lant on stage too, playing guitar. The logo in that complete photograph could be either version 1 or 2, so does not help to establish either side's case on VENOM Logo 1. On the other hand, there is a photograph of Mr Dunn standing before the drum riser on stage, and the logo on it appears to me to be VENOM Logo 1. The V is not shown in full, but the tops of the letter N, O and M are visible and are rounded rather than pointed, which means this was Logo 1. Mr Lant identified that photograph as being from a performance in about March 1980 in Newcastle. I think it likely that it is from the same gig as is shown in the larger photograph, but if it is not, it is from much the same time. Unfortunately, the fact that the band was using VENOM Logo 1 in early 1980 — which I do not think was really in issue — does not help me to resolve the question of who designed it.
"Mr Lant said that he started by redesigning the Sigil of Baphomet device, and the following week took some sketches of a new VENOM logo to rehearsals to show to the others," the judgment added. "He worked on the sketches and got Mr Bray's approval of them before reaching the final version, which was then put onto a drum riser. He believes that happened in late 1979 or early 1980. He disclosed some early sketches, which include some versions of the logo which are highly similar if not identical to VENOM Logo 1. However, the sketches are all undated and it is not possible to know the sequence in which they were drawn, or whether they were original works or copies of an existing form of the logo used as a baseline for design ideas. One such drawing shows a logo which is neither VENOM Logo 1 or 2 on a sketch of a ticket for a very early performance by the band. This does not help to establish dates or the sequence of design iterations. In the circumstances, it does not seem to me that Mr Lant's evidence that he drew VENOM Logo 1 as well as 2 is clearly supported by any documents. My finding that VENOM Logo 1 was in use on a drum riser in early 1980 cannot help me to resolve the issue of its authorship.
"Mr Lant's claim to authorship was contradicted by the evidence of Mr Bray, Mr Dunn and Mr Ash, all of whom were involved with the band prior to Mr Lant joining it. Both Mr Dunn and Mr Ash believe that Mr Bray was the author of VENOM Logo 1 and produced it before Mr Lant joined the band. Mr Ash said that he remembered helping to attach the signage with VENOM Logo 1 to the drum riser to do a show on Mr Bray's mother's lawn, when the band made so much noise that the neighbours called the police. Mr Dunn said that the version of the logo shown to him by Mr Lant at the rehearsal was VENOM Logo 2, not 1, and his willingness to accept that Mr Lant was the author of that version of the logo gives some weight to that evidence and his view that he did not draw VENOM Logo 1. On balance, I consider that I should accept the evidence for the Defendants on this point, the veracity of which was not challenged.
"Mr Dunn expressed the view in evidence that all of the artworks in issue were produced by the band and could be used by any member of the band. He thought that was made plain by the presence of copyright notices in the form '© Venom' on the albums and older merchandise, such as that produced by Razmataz in 1996. However, this was not either side's pleaded case. Also, in the 1990s the members of the band discussed entering into an agreement to share use of the band's artwork, but that did not happen. On the contrary, there is no suggestion that at any time Mr Lant authorised the Defendants to use his copyright works, or that Mr Bray authorised Mr Lant and Razmataz to use his works."
Nearly a decade ago, Dunn formed VENOM INC. with Bray and another former VENOM member, bassist/vocalist Tony "Demolition Man" Dolan.
Last December, approximately eight months after suffering his second heart attack, Dunn announced that he was leaving VENOM INC., explaining in a statement that his "health and wellbeing are of paramount importance to myself and my family," but adding that "there are also more personal issues which have influenced my decision."
Dunn suffered his first heart attack in May 2018 and underwent a double bypass surgery.
Mantas sat out VENOM INC.'s fall 2023 U.S. tour after revealing that his wife had been diagnosed with cancer. He was replaced on the trek by Mike Hickey, known for his work with VENOM, CARCASS, CATHEDRAL and CRONOS.
VENOM INC. is not to be confused with the Lant-fronted version of VENOM, which is continuing to tour and make albums under the VENOM moniker. Joining Cronos in that group are Rage (a.k.a. Stuart Dixon) on guitar and Danté (a.k.a. Danny Needham) on drums.
VENOM's classic lineup trio of Dunn, Lant and Bray recorded four studio LPs, "Welcome To Hell" (1981),"Black Metal" (1982),"At War With Satan" (1984) and "Possessed" (1985),and live album, "Eine Kleine Nachtmusik" (1986). Often cited by bands such as METALLICA, BEHEMOTH, CELTIC FROST and MAYHEM as major influences, they are one of the most revered bands of their generation. VENOM is still fronted by Cronos and headlines festivals all over the globe and continues to release new music while Dunn and Dolan had joined forces in the similarly named VENOM INC.
Abaddon was part of VENOM's classic lineup from 1978 to 1992. He then returned to the band in 1995 and stayed with them for four years before joining VENOM INC. alongside Dunn and Dolan. VENOM INC. released its debut album, "Avé", in August 2017. A year later, VENOM INC. revealed that it was recruiting Jeramie Kling of the Tampa-based melodic death metal band THE ABSENCE to fill in for Bray on a European tour while Abaddon stayed home to spend time with his newborn daughter.
Dunn, Bray and Dolan released three albums as VENOM between 1989 and 1992 — "Prime Evil" (1989),"Temples Of Ice" (1991) and "The Waste Lands" (1992).
In September 2022, Bray revealed that he had been diagnosed with lymphoma.
Japanese rock music promoter UPP-tone Music announced last month that Dunn and Bray will perform "VENOM classics" on November 30 at Shinjuku Antiknock, a legendary music venue in Tokyo, Japan, alongside some of Japan's finest black metal players: Masaki "Gezol" Tachi (SABBAT) on bass and vocals, Mirai Kawashima (SIGH) on vocals, Shinji "Samm" Tachi (METALUCIFER) on drums, and Noboru "Jero" Sakuma (ABIGAIL) on guitar. Support at the gig will come from SURVIVE and HELL FREEZES OVER. | +3 | |
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Alterium
