It’s been two years since drum legend Carmine Appice and his reformed Cactus — singer Ed Terry, guitarist Artie Dillon and bassist James Caputo — first unbarred the doors to the Temple Of Blues – Influences And Friends, a 15-track slab of headbanging, hip-swinging heavy blues rock whose subtitle roped in a host of special guests, all of whom held the band very close to their hearts.
Now the Temple opens again with its sequel, Temple Of Blues II, due out April 3 via Cleopatra Records. This time there’s an all-star aggregation that recalls Ted Nugent, Billy Sheehan, Ron “Bumblefoot” Thal, Dee Snider and Pat Travers from volume one, alongside an all-new wave of heavy hitters including Steve Morse (Deep Purple), Tracii Guns (L.A. Guns), Joe Lynn Turner (Rainbow, Deep Purple), Rudy Sarzo (Ozzy Osbourne, Quiet Riot), Alex Skolnick (Testament) and a whole lot more.
The album’s second track, “The Little Red Rooster” (featuring Twisted Sister‘s Dee Snider on lead vocals and L.A. Guns‘ Tracii Guns on guitar) is out today. With a little help from A.I., a Western-themed video was created and edited by Dominic Esposito/Deville Films and co-directed by Carmine Appice. Watch it below.
Vinyl and CD pre-orders for Temple Of Blues II are available now here, while pre-orders on all digital outlets are available here.
“It was great working on ‘The Little Red Rooster’ with Dee and Tracii,” says Appice. “I arranged it with the drums first, then sent it to Artie Dillion and Ed Terry for their feedback. We created the demo with Ed‘s amazing vocals for Tracii, Dee, and James Haslip, who finished the song. Ed was gracious, sitting on the sidelines for this one so Dee could sing the lead vocals. It was such an honor to have Dee on the song and to have him make an appearance in the video, especially since he’s retired now. The song rocks!”
“Cactus! The name conjures such amazing memories for me,” exclaims Dee Snider. “An inspiration for the rock I would play in the years to come. Can you imagine what it was like to ‘get the call’ that your heroes want you to rock with them? Mind-blowing! And now to be asked for the second time!? What a treat to dig into a blues classic like ‘The Little Red Rooster’ with Cactus!!! Hell yeah!!”
“The Little Red Rooster” is the follow-up to the first single, “Back Door Man” (featuring MR. BIG bassist Billy Sheehan and guitarists Eric Gales and Artie Dillon), which was released February 18. As Carmine enthuses about the track, “When we finished ‘Back Door Man’ and listened to the whole mix, it blew me away. Billy and Eric are amazing together on top of my drums.”
Rock & Roll Hall of Fame inductee and Grammy Award-winning guitarist Peter Frampton will release Carry the Light, his first album of all-new rock material in 16 years, on May 15 via UMe.
Co-written and produced with his son Julian Frampton, the collection features guest appearances from Sheryl Crow, Bill Evans, H.E.R., Tom Morello, Graham Nash, and Benmont Tench.
“The Carry the Light album is the first new music from me in 16 years. It was one of my most enjoyable projects ever. I got to work with my son Julian—writing and producing together. A first of many for us, I’m sure,” Frampton said.
In advance of the album, Frampton has shared the new track “Buried Treasure,” featuring keyboardist Benmont Tench of Tom Petty & The Heartbreakers. A tribute to the late Tom Petty, the track honors the SiriusXM radio show of the same name that Petty curated and hosted for 15 years, with lyrics crafted entirely from Petty’s song titles. Frampton personally sought out Tench to add his signature style to the Petty homage.
For Frampton, Carry the Light is a reflection of the present, rooted in the challenges, changes, and connections that have defined recent years. The title itself is a statement of purpose; to Frampton, the light represents wisdom, something to be carried forward. At its core, the album is a deeply personal document, one that Frampton credits in large part to the experience of making it alongside his son.
“This may be the best album Peter’s ever made,” said engineer and co-producer Chuck Ainlay (Mark Knopfler, Miranda Lambert, George Strait). “The songs are just so poignant, and his voice has matured in a way that really delivers what he’s trying to get across.’”
Frampton is surrounded on Carry The Light by an all-star supporting cast: Sheryl Crow is Frampton’s vocal foil on “Breaking the Mold,” Bill Evans adds saxophone to both “Can You Take Me There” and “Tinderbox,” H.E.R. trades guitar lines on the instrumental “Islamorada,” TomMorello brings his signature intensity to the protest song “Lions at the Gate,” GrahamNash lends harmonies to “I’m Sorry Elle,” BenmontTench contributes keyboards to “Buried Treasure.” Everyone asked to participate in Carry the Light gladly heeded the call to lend their support and create new material with an artist who’s been dispersing endless goodwill and great music across the globe for more than six decades and counting.
Carry The Light will be released in a variety of formats, including CD, 180-gram yellow vinyl, and digitally in stereo, hi-res audio, and immersive Dolby Atmos® options. A special limited-edition vinyl, which will feature a premium cover treatment and be numbered, will be available exclusively via Peter Frampton’s official store, uDiscover Music, and Sound of Vinyl.
Death metal legends Deicide are set to bring their relentless, unapologetic brutality to venues and festival stages across North America. Joined by Rotting Christ & Immolation, the onslaught begins in Baton Rouge, Louisiana, on April 9 before bleeding through the states to Little Rock, Arkansas, on May 26.
Since their inception in 1987, Deicide has left a ferocious mark on the genre, and there are no intentions of slowing down. In over three decades, the band has released thirteen studio albums, their latest being 2024’s Banished By Sin, released via Reigning Phoenix Music, which is ingrained with thunderous aggression and power.
US-based progressive rock group Advent Horizon is set to return with a new studio album titled Falling Together. The follow-up to their critically acclaimed album, 2023 release A Cell to Call Home, will be released on May 15th, 2026, and is available for pre-order now.
Falling Together is a record about holding your beliefs under a microscope, and determining whether they are truly yours, or whether they were planted there by others when you were young and impressionable. Vocalist/guitarist/songwriter Rylee McDonald explains, “I’ve spent the past decade re-examining my upbringing and realized many of the ‘truths’ I was taught were carefully shaped beliefs. While rooted in my own experience, it revealed how we still divide ourselves by religion, politics, and class — an enduring ‘us vs. them.’ Falling Together is my attempt to capture those reflections in song.”
To coincide with the announcement, the band is pleased to share the first single from the album, “Past Life Parable,” along with a full band performance video, which you can watch below.
McDonald says about the track: “Stylistically, ‘Past Life Parable’ is a sort of bridge between our older music and the new direction that I’ve been wanting for some time to take this band in. It’s heavy at times, but it’s also a melody-driven rock song with an overall uplifting tone. The harmonized guitar/synth solo at the end is something I’m particularly proud of, and can’t wait to recreate live.”
Work on the new album traces back further than it might appear. Much of the material began taking shape during the sessions for A Cell To Call Home, when early ideas — including the expansive “In a Lone and Dreary World” — proved too large in scope to fit that record. Rather than force it into the previous release, the band set those songs aside and began shaping a follow-up built around the same musical DNA. By the time A Cell To Call Home arrived, roughly a third of the next album already existed, and the following year was spent refining and expanding it into a complete statement. The goal became clear: distill what makes the band distinct into something heavier, tighter, and more representative of their identity.
The writing ultimately unfolded in two distinct periods. Half of the material dates from 2018–2021, while the remainder was composed during the summer of 2024, when Rylee McDonald and drummer Mike Lofgreen spent Mondays working beside a remote mountain lake in northern Utah. The quiet surroundings and isolation shaped the tone of the newer material, with several key tracks emerging directly from those sessions.
Recording followed between January and May 2025 at Cold House Studios in Provo, Utah, co-produced by the band alongside engineer and mixer Zach Boorman. The album was mastered by Jens Bogren (Opeth, Haken, Leprous, BTBAM) and its visual presentation was completed with artwork by Travis Smith (Opeth, Devin Townsend, Lamb of God, Mastadon), helping bring the project’s sound and atmosphere fully into focus.
Masterplan have unleashed their new single and official video, “Through The Storm”, another taste of the upcoming new studio album, Metalmorphosis, set for release on June 26, 2026, via Frontiers Music Srl.
The band commented, “We absolutely love this one! It’s pure metal: straightforward, energetic, and fun in its own way. The song was inspired by our experience playing metal cruises last year, including one crazy show on deck during a storm with freezing wind and heavy waves. That wild energy is exactly what this track is about. The video captures that spirit perfectly – we’re just having fun, but even tough conditions can’t stop us from playing and enjoying what we do”.
Masterplan are also gearing up for their upcoming European tour, starting on April 12. For the full list of dates and/or to get tickets, check here.
Grapow expressed his enthusiasm for the record – the first new songs since Novum Initium, released in 2013: “Metalmorphosis really captures what this album means to us: a transformation, but still true to the spirit of Masterplan. We’ve grown over the years, both as musicians and as people, and you can hear that in the new songs. Some ideas go back many years, and now they’ve finally come to life. It’s powerful, melodic, and emotional – classic Masterplan, but with a new energy”.
Masterplan stand among the most enduring and influential names in German power metal. Founded in 2001 by guitarist Roland Grapow and drummer Uli Kusch following their exit from Helloween, the band quickly established a distinctive identity built on strong melodies, technical precision, and an epic yet modern metal approach.
Their self-titled debut album, released in 2003, was met with widespread critical acclaim and immediate chart success, setting the standard for a career defined by consistency and evolution.
Over the years, Masterplan have released several highly regarded albums – including Aeronautics, MK II, Time To Be King, and Novum Initium – each showcasing refined songwriting and a powerful balance between classic power metal energy and progressive elements.
Their work earned them international recognition, extensive touring across Europe and beyond, and industry accolades that confirmed their status as a leading force in the genre.
After a prolonged hiatus from studio releases, Masterplan have re-emerged with renewed creative drive. The band recently signed a new worldwide deal with Frontiers Music SRL, marking a significant milestone and the beginning of a new chapter in their career.
This partnership sets the stage for their long-awaited return with a brand-new studio album, Metalmorphosis, representing both transformation and continuity: a heavier, more aggressive edge combined with the melodic sophistication that has always defined Masterplan’s sound.
With renewed focus, sharpened songwriting, and decades of experience behind them, Masterplan are poised to reaffirm their relevance and deliver one of the most anticipated power metal releases of the year.
Nearly five years on from a near-fatal medical emergency, Judas Priest guitarist Richie Faulkner is still doing physiotherapy three times a day every time the band goes out on the road — and he has now opened up in full about the extent of the neurological damage he sustained in the aftermath of his 2021 aortic aneurysm.
Speaking to Charlie Kendall’s Metalshop, Faulkner addressed what it takes to keep himself functional on a Priest tour (transcribed by Blabbermouth). “I have to have a physio on the road with us,” he said. “We have a German guy called Bastian that comes out on the road with us, and I do physio with him every day, three times a day — morning, before the show, and after the show. And he works on my right side. Long story, some collateral damage from what happened affected my right side. So we’ve gotta keep the right side running and moving properly and stuff like that. So, yeah, it is a regime of, I’ve gotta watch my diet and physio every single day, and that’s just what it takes to keep it moving for me. And that’s just life. Consider myself very grateful. There are a lot of people out there with a lot worse than I have, and they have to deal with a lot of things every day. I’m still able to do what I do. I have to work at it, but that’s fine. I consider myself very grateful.”
Faulkner collapsed after Judas Priest‘s set at the Louder Than Life festival in Louisville, Kentucky, in September 2021. It took surgeons at UofL Health’s Rudd Heart and Lung Center approximately ten hours to complete his first operation — an aortic valve and ascending aorta replacement with hemiarch replacement. What emerged in a candid April 2025 interview with Premier Guitar, and what Faulkner has continued to elaborate on since, is that the physical fallout extended well beyond his heart.
Roughly a month after the initial surgery, while walking the family dog near his home outside Nashville, Faulkner suffered what doctors later confirmed was a stroke. A second open-heart surgery followed when a leak was discovered. And through all of it, something was going wrong with his right hand — the picking hand. The connection only became clear after tests revealed damage to the left side of his brain.
“I haven’t felt comfortable up until this point — and I’ll tell you why — explaining what happened,” he said. “So long story short, we went into the hospital — this was a month after the surgery — we went back in, and it was the last thing I wanted to do. ‘Fuck hospitals.’ They saved my life, but I’ve had enough of them for a month. So I’m back in there. And they basically said, what I think it was, was a TIA, which means transient ischaemic attack, which is a TIA. It’s a small stroke. So they’re sure it’s that. They put me on some medication. Turned out later on, it was an actual stroke. So Mariah thinks I had one in the ambulance on the way to the hospital. I don’t remember. I don’t recall anything. I remember small ones happening after the event. I was in the bathroom — it kind of went fuzzy, and I sort of fell over. I think they were the TIAs, the mini ones. And the hospital said is when you have those, the danger is that there’s a big one coming or a normal stroke coming. So that seems to be what happened — when we were out walking the dog, that’s what happened. And it was obvious — Mariah said, ‘Your face went, you couldn’t talk.’ It was like a weight was pulling me down. I was gonna fall over if she wasn’t holding me up.”
The right-hand problems that followed sent him in circles. He changed his picks. He took his rings off. He assumed it was something minor. It was only when he noticed the same issue in his right foot that the picture started to come together. “I was brushing my teeth one morning, and I thought, ‘Something’s wrong with the right hand. Something’s different,’” he recalled. “And the right foot, the right leg. So we went back in. We’d done some tests. They found some damage on the left side of the brain, which affects the right side. Now, fortunately, I don’t play guitar with my foot, so that’s fine. I can get away with that. But my hand, obviously, that’s our engine room.”
The damage has made rhythm work — the foundation of what Faulkner does in Priest — unpredictable night to night. “When we play with Priest, we go out… I mean, you go out, and you think, ‘How is it gonna be tonight?’” He said. “And it’s not so much the solo stuff because the solo stuff you can kind of adapt. It’s the rhythm — the coordinated rhythm patterns and stuff like that. It’s gotta be locked in. And I felt that in a band like Priest, it’s gotta be world-class stuff, and I don’t feel world-class. I went out there every night. I feel like a fraud because people don’t know — maybe. But one day they’re gonna find out. Someone’s gonna find out, someone’s gonna say he’s not playing that the same. [Priest‘s latest album, 2024’s] Invincible Shield, we came to record the guitars [at my home studio], and I couldn’t play what was on the demos from a year before. And we went out with [my side project], Elegant Weapons, in 2023, playing with the band. It’s, like, ‘I can’t do that. What’s going on?’ And the more I practiced, the worse it got. When you practice, you hopefully get better. It was getting worse.”
He described the emotional toll of performing under those conditions with brutal honesty. “I go out every night thinking… Sometimes I come off stage, and I call home, and I say, ‘I can’t fucking do it. I can’t do it. I can’t do it.’ There’s stuff that I used to play — I used to think something, and it would come out. And now I’m up there struggling to play like a rhythm pattern. ‘I can’t do it. I can’t. I’m gonna quit. I can’t do it.’ And then you have a good one. So who wants that? But that’s the way it is. That’s the truth. So that’s what I struggle with. That’s the collateral damage.”
Part of what kept him from disclosing any of this sooner was fear — specifically, the fear of what it might cost him professionally. “There’s a lot of fear from my side about being found out,” he admitted. “I feel like I’ve got a lot of trust from the fanbase, from the guitar companies, the string companies. They back you. They put their bets on you, and I don’t want anyone to know, because as soon as they know, they’re gonna lose faith, they’re gonna bail out. I’m not gonna be appealing to them anymore, or I’m gonna let the fans down.”
He cited two reasons for finally speaking out. The first was personal relief. The second was the hope that other musicians dealing with hidden struggles might feel less alone. “I know there are a lot of people out there that play, they sing, whatever they do, and they feel like they’re not good enough or that we don’t have these issues as well, and it affects your mental health,” he said. “And I want them to know that they’re not alone. All of us, probably more people than we are all aware of, struggle with something somewhere.”
As for Judas Priest heading back out on the road, Faulkner said the band remains in good shape collectively. “Everyone’s healthy. So why not? They love what they do. So why not?” He added that vocalist Rob Halford‘s own attitude sets the tone: “He says if he can do it, why not do it? Why not carry on? And he’s doing great.”
Faulkner joined Judas Priest in 2011 as the replacement for founding guitarist K.K. Downing. He and his partner, Mariah Lynch — daughter of former Dokken guitarist George Lynch — have a daughter, Daisy Mae, born in July 2020.
Phil Campbell, the Welsh guitarist who spent 31 years as the riff backbone of Motörhead, died today (March 14, 2026). He was 64.
The news broke via a statement posted to the social media pages of Phil Campbell and the Bastard Sons, the band he led alongside his sons Todd, Dane, and Tyla. Campbell had quietly been receiving medical care for some time — in February 2026, the group called off a run of dates across Australia and Europe at the advice of doctors. “We sincerely apologize for the inconvenience this is likely to cause our fans,” the band wrote at the time, “but Phil‘s health will always be our number one priority.”
The family’s announcement Saturday confirmed the worst. “It is with great sadness that we announce the passing of our beloved father, Philip Anthony Campbell, who passed away peacefully last night following a long and courageous battle in intensive care after a complex major operation. Phil was a devoted husband, a wonderful father, and a proud and loving grandfather, known affectionately as ‘Bampi.’ He was deeply loved by all who knew him and will be missed immensely. His legacy, music, and the memories he created with so many will live on forever. We kindly ask that our family’s privacy be respected during this incredibly difficult time.”
Born Philip Anthony Campbell on May 7, 1961, in Pontypridd, near Cardiff, Wales, he picked up a guitar at age 10 and was performing with cabaret and pub bands around South Wales by the time he was 13. He co-founded NWOBHM outfit Persian Risk in 1979, cutting his teeth on the circuit before his life changed completely in 1984. When Motörhead held auditions for a new guitarist following Brian Robertson‘s exit, Campbell threw his name in. Lemmy Kilmister had only intended to take on one player — but the chemistry between Campbell and fellow auditionee Michael“Würzel” Burston was impossible to ignore. Lemmy kept them both.
Campbell made his studio debut with the band on 1986’s Orgasmatron. Looking back on that record, he was typically candid: “I thought the songs were pretty good but to be honest, me and Lem were never really happy with the production at the end. The production was a bit strange for the time, I don’t think it quite worked. I’d love to remix that, get my son to remix it actually. Maybe one day we can get that done? But lots of people like the album so who am I to say.”
When Würzel departed in 1995, Campbell became Motörhead‘s sole guitarist — a role he held for another two decades, across 16 studio albums in total, right up through 2015’s Bad Magic. During that run, the band won their first Grammy Award in 2005 for Best Metal Performance, awarded for their cover of Metallica‘s “Whiplash.” Campbell consistently credited the band’s endurance to something simpler than talent or ambition. “We believed in each other,” he said. “We wrote the music for ourselves, we didn’t write for fans or record companies. It was all music that got us off — it floated our boat and that’s what made it all fun. Regardless of all the other things going on, we could pick up our instruments, crank it up and be away in another world. None of us were qualified to do anything else, anyway, so it definitely helped!”
The death of Lemmy Kilmister in December 2015 brought Motörhead to an abrupt close. Campbell channeled his grief into something close to home — literally. He launched Phil Campbell and the Bastard Sons with his three sons in 2016, and drew the comparison to his old band without hesitation. “We’re a party band,” he told Louder Sound once. “Same as Motörhead. We were a party band of sorts as well. People just used to come and get drunk and have a good time.”
The band released a self-titled debut EP in 2016, followed by full-lengths The Age of Absurdity (2018) and Kings of the Asylum (2023), the latter through Nuclear Blast Records. On the side, Campbell released his first solo album, Old Lions Still Roar, in 2019, featuring guest appearances from Rob Halford, Dee Snider and Alice Cooper, among others. At the time of his death, he was working on new material alongside Julian Jenkins, vocalist for hard rock outfit Fury. He is survived by his wife Gaynor and their three sons.
The connection between Campbell and Motörhead‘s founding frontman ran deeper than 31 years of band membership. It stretched all the way back to a Hawkwind show that a 12-year-old Campbell attended in Wales — where he managed to get Lemmy‘s autograph. Years later, that same kid would become the cornerstone of Lemmy‘s band. He kept it going long after Lemmy was gone, and he only stopped when his body gave out.
Today, acclaimed singer-songwriter Michael Sweet, best known as the frontman for the multi-platinum rock band Stryper, is proud to release his new single “Again”, the third single from his upcoming solo album, The Master Plan. His most personal and spiritually resonant solo album yet is set for release on April 3, 2026, via Frontiers Music Srl.
“We’ve all lost someone,” says Sweet about the new single. “We all feel pain from that loss. I wrote this song to help people to heal.”
With its heartfelt lyrics and spiritual sincerity, The Master Plan is designed to inspire peace, faith, and encouragement — music that comforts the weary, uplifts the spirit, and celebrates the profound love at the center of Sweet‘s faith journey.
Co-produced by Sweet and Jeff Savage (TobyMac, Jars of Clay, Natalie Imbruglia), this deeply worship‑inspired record marks a bold departure from his previous solo work — blending heartfelt devotion with fresh musical textures and melodic depth unlike anything he has done before. Sweet‘s unmistakable voice leads a tapestry of heartfelt worship, inviting listeners to reflect, celebrate and draw closer to the timeless truths at the heart of his message. With sweeping arrangements and a sincere spiritual core, the album offers both comfort and inspiration for moments of prayer, praise and quiet contemplation.
For four decades, Sweet has fronted iconic rock band Stryper, renowned for its distinctive brand of “heavenly metal” and extraordinary crossover success. With over 10 million albums sold worldwide, the group ascended to prominence in the 1980s with Billboard Top 40 hits like “Calling on You,” “Honestly,” and “Always There for You,” and has maintained a global fanbase ever since. Stryper is the first band to ever have two songs in MTV’s Top 10 simultaneously with their hits “Free” and “Honestly.” Sweet also has a successful solo career, is a founding member of rock outfit Sweet & Lynch, and he served as the vocalist & guitarist for the legendary classic rock band Boston from 2007 to 2011.
Hard-hitting rock act Danko Jones are preparing to take their high-octane rock ‘n’ roll to venues across Latin America this May. This tour announcement follows the release of their critically-acclaimed, twelfth studio album Leo Rising. Canada’s Danko Jones will unleash their electrifying sound with setlists including songs from the new record. The band’s uplifting and energizing live shows are not to be missed.
Danko Jones comments on the forthcoming tour: “Even when we were on tour in Latin America last year, I was already itching to come back. Now that it’s official and we are coming back my 2026 year has been made! We can’t wait to play for everyone in Latin America. Let’s rock together!!!”
Latin America Tour Dates 2026:
21 May – São Paulo, Brazil – Fabrique Club 23 May – Buenos Aires, Argentina – Uniclub 24 May – Santiago, Chile – Club Ambar 27 May – Bogota, Colombia – Ace of spades club 29 May – Mexico City, Mexico – Foro Bizarro
Produced to perfection by longtime collaborator Eric Ratz, the trio’s new studio offering Leo Rising is a masterclass in sweat-soaked, no-nonsense rock. Packed with razor-sharp riffs, thunderous rhythms, and infectious hooks, the album reaffirms that Danko Jones are keeping rock alive by doing it better than anyone else.
John Calabrese laid down bass tracks from Finland, Rich Knox flew to Toronto to record drums, and Danko worked with producer Eric Ratz in the same city to capture vocals and guitars. Despite recording separately once again, the band’s chemistry is unmistakable. The result is pure Danko Jones: tight, loud, and built for the stage.
On duty since 1996, these unstoppable road-hogs have devoted their lives to rousing the people with blistering, no-bullshit, all-action rock. They have rallied a global army of rock-hungry fans, and blown them away with a steady stream of explosive, anthem-packed albums and an absurd number of live shows. From early underground smashes like We Sweat Blood [2003] and Sleep Is The Enemy [2006], to the band’s recent, triumphant triumvirate of A Rock Supreme [2019], Power Trio [2021] and Electric Sounds [2023], Danko Jones have been a relentless force for rock ‘n’ roll good, both in the studio and on the road. And they have absolutely no intention of stopping.
“You know what? I like the routine of recording, touring, writing, and repeat,” states singer and guitarist, Danko Jones himself. “I can do that till I’m dead! It may sound boring, but it’s so hard for a band to achieve. I don’t take this lightly. Also, it’s a page out of the Motörhead handbook so it works! Since Electric Sounds we’ve been touring and touring. We managed to play in Mexico and Greece for the first time, and we even played Prince Edward Island, a province in Canada we’d never been to before. Other than that, it’s been a life of gigs and writing more songs to play more gigs!”
Proving that their time was well-spent, Danko, bassist John Calabrese and drummer Rich Knox have conjured yet another blazing banquet of nourishing rock goodness on their 12th studio record Leo Rising, that is out now here.
San Francisco Bay Area thrash metal veterans Testament have announced the upcoming remastered reissue of their coveted 1989 album Practice What You Preach, due on May 8 via Nuclear Blast Records.
The Practice What You Preach (2026 Remaster) reissue was remastered by Justin Shturtz at Sterling Sound. It will be available digitally and on 180-gram vinyl on yellow and orange swirl with black splatter (limited to 1250 worldwide) and is packaged with brand new artwork from Bill Benson (who also designed the original cover art), a 20-page booklet showcasing old photos and documents provided by Testament singer Chuck Billy and guitarist Eric Peterson, and newly provided liner notes.
Pre-order the album here, and listen to the remastered audio for “Envy Life” below.
Commenting on the reissue, Billy says: “I am stoked about the remastered ‘Practice What You Preach’ release with Nuclear Blast. With new artwork and bigger sound than the original. Drop the needle and bang your head!!”
Practice What You Preach achieved near-gold status in the United States upon its release in 1989 and became Testament‘s first album to enter the Top 100 on the Billboard 200 chart.
Testament‘s latest album, Para Bellum, came out in October 2025 via Nuclear Blast. The LP was recorded with Juan Urteaga and mixed for the first time by Jens Bogren. Eliran Kantor once again painted the cover art.
