Black Sabbath guitarist Tony Iommi is preparing to give fans their first substantial update on his long-awaited solo album.
The legendary guitarist is scheduled to discuss the project during a YouTube livestream on Wednesday, July 29. The broadcast will begin at 7:30 a.m. PDT, 10:30 a.m. EDT and 3:30 p.m. BST.
While details about the record have remained under wraps, the upcoming livestream is expected to provide the first official information about the album, which has been in development for an extended period.
Ahead of the announcement, a brief teaser for Tony Iommi‘s upcoming music video has also been released, offering fans an early glimpse of what is on the way.
For followers of Black Sabbath and Tony Iommi‘s solo work, the July 29 livestream should provide the first real look at the guitarist’s next studio release after years of anticipation.
A GoFundMe campaign has been launched to support former Savatage bassist Keith Collins, who has been diagnosed with dementia and now requires financial assistance for daily living expenses and legal costs.
Dementia is a condition that affects memory, reasoning, thinking and behavior, gradually interfering with a person’s ability to carry out everyday activities. As the disease progresses, many patients become increasingly dependent on others for care and support.
The fundraiser was organized by Glenn Dillman, Keith Collins‘ former bandmate in Krunch, who highlighted Collins‘ long-standing contributions to the Tampa Bay metal scene and explained why help is now urgently needed.
Glenn Dillman wrote: “Keith Collins has been a driving force in the Tampa Bay music scene for decades. As the original bass player in Savatage, founder of Keith CollinsKrunch, and co-host of ‘The Pit’ radio show on 98rock, Keith helped shape the rise of heavy metal music locally and worldwide. He also published The Spike music magazine and created the Tampa Bay Metal Awards, always working to support and uplift fellow musicians. Keith’s passion and dedication have left a lasting impact on countless lives, including mine as one of his bandmates.
“Now, Keith is facing a difficult chapter. He is suffering from dementia and, due to circumstances early in his life, is unable to qualify for social security benefits that could help with his worsening condition. Without an income, Keith needs help with daily living expenses and, most importantly, legal assistance to establish his identity so he can finally access the benefits he deserves. This support is crucial for his well-being and peace of mind.
“Any help you can give will make a real difference for Keith during this challenging time. Your generosity will not only provide for his immediate needs but also help secure his future. Thank you for supporting someone who has given so much to the music community and to those around him.”
Keith Collins played bass in Savatage between 1981 and 1985, beginning with the group’s earlier incarnation, Avatar. During his time with the band, he appeared on the first three releases: Sirens, The Dungeons Are Calling and Power Of The Night.
For many fans of early Savatage, Collins‘ work remains part of the band’s formative years. The GoFundMe campaign aims to help him meet immediate financial needs while also covering the legal process required to establish his identity and gain access to the benefits he is seeking.
Cult icon, actress, designer, and longtime horror favorite Sheri Moon Zombie expands her creative universe today with the release of her debut single and music video, “I Love My Robot.” Helmed by acclaimed producer Zeuss and accompanied by a video directed by Rob Zombie, the track blends retro sci-fi, playful camp, and infectious hooks into an irresistibly offbeat anthem that is unmistakably Sheri.
Equal parts tongue-in-cheek and surprisingly timely, “I Love My Robot” offers a witty take on life in an increasingly algorithm-driven world. Beneath its infectious energy and B-movie charm, the song celebrates imagination, individuality, and the simple joy of thinking for yourself. It’s a playful reminder that while technology may make life easier, nothing can replace genuine creativity or human connection.
Coinciding with today’s release, Nuclear Blast has launched pre-orders for an exclusive 12-inch picture disc featuring “I Love My Robot” on Side A and Rob Zombie‘s “Sir Lord Acid Wolfman” on Side B. Limited to just 600 copies worldwide (500 US / 100 EU), the one-time pressing is scheduled for release on October 30, making it an essential collector’s item for fans of the Zombie universe.
The release also arrives ahead of Rob Zombie’s North American summer tour with MarilynManson in support of his latest studio album, The Great Satan, further celebrating a creatively prolific year for the Zombie camp.
Pre-order 12-inch picture disc and stream “I Love My Robot” here.
After spending more than a decade away from the metal scene, former Bury Your Dead guitarist Eric Ellis has launched a new project. Performing under the name Ellis, he has released the music video for the band’s debut single, “Manners,” marking his return to heavy music.
The new project combines hardcore, metalcore, and groove-oriented riffs, reflecting both Ellis‘ musical background and the experiences that have shaped his life over the past several years.
Eric Ellis stepped away from the public eye after serving more than a decade in federal prison. Since regaining his freedom, he has focused on rebuilding his life by writing and recording new material, leading to the formation of Ellis.
The band’s live debut is set for August 1 at Hardlove in Jacksonville, Florida. Ellis will open the record release show for Southpaw FLHC, whose new album, The Standard, arrives July 31 through Spinefarm.
For longtime fans, the project marks the return of a guitarist whose work helped define an important era for Bury Your Dead. Rather than revisiting the past, Ellis signals the start of a new creative direction.
Eric Ellis played guitar on Bury Your Dead‘s breakthrough 2004 release, Cover Your Tracks, followed by 2006’s Beauty And The Breakdown and the band’s 2008 self-titled album. He exited the group in August 2008, citing “medical reasons” and “personality differences.”
In 2012, Ellis was sentenced to 20 years in federal prison after being convicted of conspiracy and violating the Racketeer Influenced and Corrupt Organizations (RICO) Act as a member of a violent gang based in Jacksonville, Florida.
With Ellis now underway and “Manners” introducing the band’s sound, Eric Ellis is moving forward with a new chapter centered on fresh music and returning to the stage.
Queen fans will get the chance to revisit one of the band’s most historic performances when Queen Budapest arrives in cinemas and IMAX worldwide on October 7 through Trafalgar Releasing.
The release celebrates 40 years since Queen performed at Budapest’s Népstadion on July 27, 1986, during The Magic Tour. The concert marked the first time a Western stadium rock band played behind the Iron Curtain, making it one of the defining live events of the decade.
The film has been restored in 4K from the original 35mm negatives by Sir Peter Jackson’s Park Road Post Production facility in New Zealand. The audio has also been remixed from the original multitrack recordings, giving the performance its best presentation to date.
Around 80,000 fans packed the stadium for the show, while another estimated 45,000 gathered outside to listen. Concertgoers also traveled from countries including Russia and Poland to witness the event. The production itself was a major undertaking, with 17 Hungarian cameramen using 17 cameras and roughly 25 miles of film—reportedly all the film stock available in the country at the time. Approval from the Hungarian government made the filming another first for a Communist state.
Looking back, the Budapest performance gained even greater significance. Queen played only five more concerts after that night, wrapping up their touring career with Freddie Mercury at Knebworth Park in England on August 9, 1986.
As the final professionally filmed live performance featuring Freddie Mercury, Queen Budapest captures the band in peak form. The setlist includes classics such as “We Will Rock You,” “We Are The Champions,” “A Kind Of Magic,” “Crazy Little Thing Called Love,” “Under Pressure,” “Who Wants To Live Forever,” “Hammer To Fall” and “Bohemian Rhapsody.” The concert also features a performance of the Hungarian folk song “Tavaszi Szél Vizet Áraszt,” while newly restored footage from “Radio Ga Ga” highlights the work completed for this release.
The concert continued reaching audiences after the tour ended. An edited version aired throughout the Communist Bloc in December 1986, including broadcasts in China, Poland, Czechoslovakia, East Germany, Yugoslavia and Mongolia. It was also screened in 59 Hungarian cinemas on New Year’s Day 1987, another milestone for a Western rock act.
For guitarist Brian May and drummer Roger Taylor, the Budapest show remains one of the band’s most meaningful performances.
Brian May comments: “For years, fans behind the Iron Curtain had been able to listen to Queen music only on illegal cassettes. It was a forbidden thing to listen to rock bands like us, so to see them play in a live show would have been unthinkable. This concert, when they could finally come and see us live in person and interact with us, was a huge emotional moment for them and also for us. It felt like a very big deal — you could feel that incredible energy. There will never be an event quite like that again. Perhaps the most memorable highlight of all was performing that beautiful Hungarian folk song, which Freddie and I had learned for the occasion. Not a dry eye!”
Roger Taylor adds: “We did love to think that the music could transcend the politics, the political barriers, and that was sort of part of our ethos, to actually bring the audience into the show and make them feel part of the show. I know Freddie tried to learn this folk song, but he had the words written phonetically on the back of his hand. When the audience just started singing, we realized, wow, music really can be a great cause.”
Discussing the restoration, Brian May continues: “Peter Jackson‘s team has done a magnificent job of restoring the original film footage, at the highest resolution ever; it’s pristine and the quality is breathtaking. I think you’re going to love it. For the sound, we’ve been able to do some top-quality restoration work as well. Now, in IMAX and movie theatres, it’s going to be definitively the most real experience ever of us, Queen, in our glory days. I think people will get lost in it and even forget they’re watching a film.”
Tom Mackay, president of Sony Music Vision, said: “Queen Budapest represents a remarkable moment in both music and cultural history. The film not only documents an extraordinary performance, but also the connection between the band and an audience breaking through real barriers at the time. The restoration allows that moment to be experienced in a way that feels immediate and relevant for audiences today.”
Peter Jackson adds: “As long time fans of Queen we were thrilled when they asked Park Road Post to restore the Budapest concert footage. It has been a rare privilege to breathe new life into such an iconic moment in music history. We look forward to a whole new audience participating in the original band’s final live performance, captured on film. They will rock you!!!”
The restored film will make its world premiere at the Budapest Classics Film Marathon on September 15 before a U.K. premiere in London on September 30. The original negatives were digitized by Hungary’s National Film Institute FilmLab, while the film elements have been preserved by the NFI Film Archive since 1986.
Queen Budapest opens in cinemas and IMAX worldwide on October 7 for a limited engagement. A companion release follows on October 30 through Hollywood Records in North America and Legacy Recordings internationally. Alongside Blu-ray, DVD, CD and digital editions, the newly remixed soundtrack will also receive its first-ever release as a three-LP vinyl set.
Directed by János Zsombolyai, Queen Budapest serves as both a document of one of rock’s most important concerts and the final filmed record of Freddie Mercury leading Queen onstage.
More than five decades into their career, Queen remains one of rock’s biggest names. With worldwide album sales exceeding 300 million, enduring tracks including “Killer Queen,” “We Are The Champions,” “We Will Rock You,” “Another One Bites The Dust” and “Bohemian Rhapsody,” plus Greatest Hits standing as the U.K.’s best-selling album of all time, the band’s legacy continues to grow.
Their influence extends well beyond record sales. Landmark performances such as Live Aid and Wembley Stadium in 1986 helped define Queen as one of rock’s greatest live acts, while the 2018 film “Bohemian Rhapsody” introduced their story to another generation. Their music continues to inspire artists ranging from George Michael and Guns N’ Roses to Lady Gaga and the Foo Fighters.
Recognition from the Rock And Roll Hall Of Fame, the Brit Awards, the Grammy Awards and the Ivor Novello Awards reflects the band’s impact, but the lasting connection between Queen and their audience remains their strongest achievement. Thanks to Brian May and Roger Taylor, that legacy continues to reach new generations of rock and metal fans.
In a new interview with Brazil’s Heavy Talk, former Judas Priest and current KK’s Priest vocalist Tim “Ripper” Owens was asked whether he has to be more careful with his voice as he ages to keep hitting the high notes live. He responded (transcribed by Blabbermouth): “It’s still there. I think I sing as good now [as], if not better than, I ever have. I know I said in the press a while ago, and they ran with it, that I’ve been struggling with my voice. But when I say I’ve been struggling, that’s probably 75% for me, and it’s probably better than a lot of other people at 100%.
“But I try really hard. Every night, you just hope you can sing. But my high notes have been really great. And I just hope I can get up there and sing.”
Owens explained what he means when he says his voice has been struggling: “Today, I’ve been doing these warmups because my… When I said my voice is struggling, what I mean is I actually have to warm up for shows. I’ve never warmed up in my life, ever. Like Ronnie [James] Dio, he never warmed up. I didn’t warm up, but then I started struggling where it wasn’t warmed up, and that’s when I said that.
“Today I said, ‘You know what? I’m gonna not warm up. I’m just gonna go up and sing.’ So it worked out today. You guys were watching, so that’s scary. I could’ve sung like crap, and then you would’ve been there, filming it, probably.”
Speaking to Chile’s iRock.cl late last month about the importance of physical stamina on the road, Owens said: “Health-wise, I’m probably in the… Well, I haven’t been to the gym in a while ‘cause I’ve been on the road. But I go to the gym every day, and I lost weight and work out, and I’m probably healthier. But I just got some vocal issues. And as a singer, that happens. I mean, you can do any kind of remedy you want, but when you have vocal issues, you have vocal issues. So I’ve been trying to figure out how to sing with vocal issues, which is maybe not a bad thing.”
Owens continued: “Because I don’t cheat when I sing, I sing everything how I’m supposed to sing it. I don’t change the versions. I don’t dodge high notes. But now that I’ve had some vocal issues, I’m trying to learn how to not do that. I don’t do it that often because I just… Sometimes I go for that note, and something might not come out, but God, gosh darn it, I’m trying to hit that note. But I’m learning how to maybe tame it back a little bit. Maybe I can find ways to save myself ‘cause [I’m] not getting any younger.”
Asked if the pre-show excitement remains the same now as earlier in his career, Owens told iRock.cl: “Well, I still do. I still get a little nervous. Not nervous to step on stage, but nervous ‘cause I wanna sing good. I get quiet, and I pace. I never used to warm up — ever in my life, I never warmed up — but I have to warm up since my voice has been doing this. And I get nervous thinking I’m not gonna sing good. I’ve always been like that.
“But I still look forward to the show, and I love to walk out on the stage. I love to see the facial reactions of the people. That’s why I can’t stop singing the high notes. I don’t even love singing high notes and high stuff, but I love to watch the people’s reaction [and see them] smile. I watch guys and girls smile during the show when I sing, when I hit notes and I sing, and they just smile, and that’s what makes you excited about going out there.”
Owens added: “I’m a pretty quiet guy off the stage, but when I walk on stage… People used to call me ‘Clark Kent’ because I would be off the stage and be quiet, and I used to wear a suit at work, and I’d be normal, and then they watched me go on stage, and, like, ‘What the heck is this? What is this guy?’
“But you feed off the fans. When the fans aren’t very good, and they’re sitting down on their butts, and they’re eating food, it’s hard to get into the show. But when they’re just [going crazy], it’s great.”
In an October 2023 interview with The Metal Mixtape, Owens addressed the importance of reproducing studio vocals live — remarks that Blabbermouth published under the headline “TIM ‘RIPPER’ OWENS Is ‘Sick’ Of Watching Singers Who Change Their Songs To Accommodate Their Aging Voices.” Owens had said: “Everything you hear on this record I can sing live. I’m so sick of watching singers — I know they can do it, but they change their songs; they lower it, they make new melodies, and they hit a high note for a second. And it’s, like, ‘Dude, sing what you wrote. Sing what you wrote.’ I understand it gets tougher. But I can sing ‘Sermons Of The Sinner’. And these KK’s Priest songs are harder to sing than the classic Priest songs, except maybe ‘Metal Meltdown.’”
Owens elaborated: “I pride myself on whatever I did in the studio, I can do live. I mean, listen, we open out of the gate with ‘Hellfire Thunderbolt’, and if anybody’s heard it from these concerts, it goes ‘Hellfire Thunderbolt’ into ‘One More Shot At Glory’, and they sound like the record — I mean, close to the record. And that’s the other thing about doing these vocals — one minute I want it to be aggressive, one minute I want it to be high and clean, I want it to be soft and beautiful, but I can do all that live.”
Reflecting on the difference in difficulty between his solo material and the KK’s Priest catalog, Owens said: “I record everything at the top of my ability, and I always struggle with my material. Like when I tour solo, it’s pretty easy. But when my rest comes [is] when I get to sing the classic Priest songs, and I imagine it’s the same even with Rob [Halford], when he gets to sing ‘Breaking The Law’ and ‘Metal Gods’. I mean, those things are — anybody could sing them, it’s so easy and it’s a break. But this tour, you open up with ‘Hellfire Thunderbolt’, ‘One More Shot At Glory’, ‘The Ripper’… I mean, man, they sound great live.”
After Blabbermouth published those October 2023 comments, Owens took to social media to clarify that his remarks were directed at all singers who fail to reproduce what they record live, regardless of age. He wrote: “Actually it was all singers who can’t sing what they record! That’s what I don’t like. Any age [,] any singer.”
Owens joined Judas Priest in 1996 and recorded two studio albums with the band — 1997’s Jugulator and 2001’s Demolition — before the band reunited with Rob Halford in 2003. He has since fronted KK’s Priest, the project led by co-founding Judas Priest guitarist K.K. Downing, with whom he recorded Sermons Of The Sinner (2021) and The Sinner Rides Again (2023).
David Lee Roth has canceled most of his remaining summer tour dates, scrapping shows in Dillon, Colorado; Clear Lake, Iowa; Louisville, Kentucky; and East Moline, Illinois. Only his previously scheduled August 7 appearance at the Sturgis Buffalo Chip in Sturgis, South Dakota remains on the calendar, per Roth’s official website. No reason was given for the cancellations, though reports of empty seats at multiple June and July dates have fueled speculation that low ticket sales played a role.
Roth’s current tour, promoted under the banner “Don’t Love Me, Rent Me,” launched April 16 at Spokane Live! at Spokane Tribe Casino in Airway Heights, Washington. His current backing band consists of Al Estrada on guitar, Sean McNabb on bass, Francis Valentino on drums and Danny Wagner on keyboards. McNabb joined as bassist, replacing Ryan Wheeler.
Later the same day, Sammy Hagar — the singer who replaced Roth in Van Halen — shared a video message on social media addressing the cancellations (transcribed by Blabbermouth). Hagar said: “Hey, Dave. Sammy here. I just got a call from [ex-Van Halen and current bassist for Hagar’s solo band] Michael Anthony…about your tour getting canceled. And I wanna say from the bottom of my heart, I’m sorry. I hope you’re well. I hope there’s not a physical problem.”
“Honestly, Mike and I love the fact that you’ve been out there doing it, supporting the greatest band in the world that we were both part of,” Sammy continued. “And, yeah, I’m really sorry. That’s f***ed up. Supporting what we did in this band to keep this music alive You and I, Mikey, Al [Alex Van Halen], Ed [Van Halen] cannot be replaced. So, when you’re ready to carry on, you go, brother. Mike and I support you.”
Hagar then extended an invitation for Roth to join him and Anthony at their upcoming Las Vegas residency in September. “Come on, join us. Sing a couple of songs, M.C. the damn show. Come out and just do what the f**k you do [laughs], which is pretty damn entertaining. Anyway, hope you’re well. I really do. God bless, brother.”
Roth, 71, originally departed Van Halen following the commercial peak of the band’s 1984 album to pursue a solo career, returning for a brief stint in 1996 before rejoining as the band’s frontman in 2007 — a run that effectively ended when Van Halen ceased touring in 2015. In January 2021, Roth publicly announced his retirement, citing planned farewell shows at the House of Blues at Mandalay Bay in Las Vegas; that residency was subsequently canceled due to COVID. He reversed the decision in 2025, making his return to the concert stage at the M3 Rock Festival in Columbia, Maryland on May 3, 2025. His 2025 summer U.S. tour concluded September 14 in Napa, California.
Beartooth will release its new album, Pure Ecstasy, on August 28 through Fearless Records. Written, recorded, and largely produced by frontman Caleb Shomo, the record sees the band expanding its sound while keeping the heavy riffs, massive choruses, and emotional intensity that have defined its career.
Although Caleb Shomo remains the main creative force behind Beartooth, the album includes several collaborations with Jordan Fish of Bring Me The Horizon, Halsey, and Good Charlotte, adding new layers and textures to the band’s latest material.
The band has also released a new single, “Eyes Closed”, a track focused on the feeling of being overwhelmed by sudden change and uncertainty. Built around crushing guitar work, Shomo‘s powerful screams, and a more vulnerable vocal performance, the song explores fear while capturing the drive to keep moving forward.
Shomo said: “There are so many fun riffs to play on ‘Eyes Closed’. It felt incredible to scream it out and let go. The song was written from the ground up with Jordan, and the moment it was a demo, we knew we had something special.”
“Eyes Closed” follows the previously released tracks “Free” and the title track, giving fans another preview of an album that balances the band’s arena-sized sound with more personal songwriting. Beartooth has also shared the song “Bullshit”.
The band will support Pure Ecstasy with a worldwide tour beginning September 17 in Europe. The North American leg launches November 11 in Boston, with stops including New York City’s Hammerstein Ballroom on November 12 and the Hollywood Palladium in Los Angeles on December 18. Don Broco, Magnolia Park, and Windwaker will provide support on all dates.
Following the success of 2023’s The Surface, which reached No. 1 on Billboard’s Alternative and Hard Music charts and delivered the No. 1 rock radio singles “Might Love Myself” and “I Was Alive”, Beartooth enters a new phase with Pure Ecstasy. The album continues that momentum while pushing into more ambitious territory, with Shomo examining both the darker and brighter sides of his life.
The title track sets the tone for the record, while Shomo describes “Free” as “the most honest depiction of my soul I will most likely ever make.”
That level of honesty has remained central to Beartooth since the project’s beginnings in Shomo‘s Ohio basement in 2013. The band has turned themes of anxiety, depression, anger, and self-destruction into songs that have connected with listeners around the world, leading to gold and platinum certifications, more than 1.3 billion streams, sold-out tours, and a recent arena run supporting Bad Omens.
With Pure Ecstasy, Beartooth takes a more collaborative approach than on previous releases. Early songwriting work with Skyler Accord of Issues, Twenty One Pilots, and Bilmuri helped shape some of the album’s early ideas, while working with Jordan Fish pushed Shomo toward a deeper and more exposed style of songwriting.
The recording process also involved a greater role from the rest of the band, including bassist Oshie Bichar, guitarists Zach Huston and Will Deely, and drummer Connor Denis. The album marks the first Beartooth release where Shomo did not handle every instrument himself, with Denis recording drums during sessions at NRG Recording Studios.
After years of turning personal struggles into heavy anthems, Pure Ecstasy explores what comes after that battle. The album focuses on the possibility of freedom, embracing growth without ignoring the challenges that came before.
Ministry has confirmed that its long run is coming to an end with the announcement of its final studio album, Hate To Go (Take Out Or Delivery). The band’s farewell record arrives on October 30 through Cleopatra Records, and the first preview is available now with the release of the single and video for “Burned Out”.
The video for “Burned Out” was directed by Joshua Bradford, formerly of Revolting Cocks.
After more than four decades at the forefront of industrial music, founder Al Jourgensen says the time has come to close the book on Ministry.
Reflecting on the decision, Jourgensen said: “I’m fucking done. I’m proud of what I’ve accomplished. I’m amazed at the path that it’s taken, from With Sympathy to where we’re at today, and all points in between. It’s been quite a ride, but I’m completely at peace with the fact that it’s done. It’s time to herd goats.”
Hate To Go (Take Out Or Delivery) marks Ministry’s 17th studio album and includes one final collaboration with longtime member Paul Barker, who appears on the closing track, “We’re Still Here”. The album also features contributions from current band members Monte Pittman, CesarSoto, Paul D’Amour, John Bechdel, and Pepe Clarke Magaña.
The album will be released in multiple formats, including:
Green & Black Splatter LP
Silver & Black Splatter LP
Coke Bottle Green LP
Box Set: Green Splatter LP, Picture LP, 7-inch, CD
Box Set: Purple Marble LP, Picture LP, 7-inch, CD
Following the album’s release, Ministry will embark on an international farewell tour in 2027. The European leg, dubbed the “Goodbye Europe” tour, will feature Die Krupps as special guests before a full U.S. farewell run, which will be announced later. European VIP packages will include meet-and-greets with Jourgensen, a photo opportunity, a commemorative laminate, a silk-screen poster, and a final European tour coin.
Before then, Ministry still has several U.S. performances scheduled for 2026, including shows at Chicago’s Salt Shed, Colorado’s Red Rocks Amphitheatre, and festival appearances at Louder Than Life and Sick New World Texas.
Founded in Chicago in 1981, Ministry began with a synth-pop sound heard on With Sympathy before evolving into one of industrial metal’s defining acts through albums including Twitch, The Land Of Rape And Honey, The Mind Is A Terrible Thing To Taste and Psalm 69: The Way To Succeed And The Way To Suck Eggs. The band later returned from a hiatus with AmeriKKKant, followed by Moral Hygiene, Hopiumforthemasses and the 2025 retrospective release The Squirrely Years Revisited, setting the stage for what will now be its final studio statement.
Avenged Sevenfold has unexpectedly released a new four-track EP, Statica, marking the band’s first new collection of songs since 2023’s Life Is But A Dream….
The EP features four tracks: “Lights”, “Statica”, “Rejoice” and “Ashes”. It also follows the standalone single “Magic”, which arrived in December as part of the Black Ops 7 Season 1 update for Call Of Duty.
Running 18 minutes and 7 seconds, Statica finds Avenged Sevenfold continuing to push beyond traditional metal boundaries. Across the four songs, the band incorporates robotic vocal effects, science-fiction-inspired synthesizers, and electronic dance elements into its sound.
So far, Avenged Sevenfold has not issued an official statement regarding the surprise release. Like its recent output, the EP has been released independently, continuing the band’s current approach to distributing new music.
Fans won’t have to wait long to hear whether any of the new material makes its way into the live set. Avenged Sevenfold will hit the road this summer alongside Good Charlotte for a 16-date North American tour promoted by Live Nation. The run begins on July 25 in Ridgedale, Missouri, and continues through cities including Chicago, Detroit, Toronto, Montreal, New York, Boston, Charlotte and Dallas before concluding on August 27 in Phoenix, Arizona.
