Motorbooks has announced Rush And 2112: 50 Years (The Great Albums), a deluxe, slip-cased and heavily illustrated book celebrating the album that reshaped Rush and elevated the band from cult status to one of the most respected and influential names in rock music. The book is scheduled for release on March 10, 2026, arriving just weeks ahead of the 50th anniversary of 2112.
Originally released on April 1, 1976, 2112 landed at a turning point for the Toronto trio. After their second and third albums received mixed reactions, Rush—Geddy Lee, Alex Lifeson, and Neil Peart—took a creative risk and delivered a record that went against commercial expectations. That gamble paid off, solidifying their place in rock history. As author and rock historian DanielBukszpan explains, this was the moment when the band found their voice, transcended their influences, and became something distinct. The album’s success opened the door to a string of influential releases and fueled the band’s continued musical and lyrical growth.
Rush And 2112: 50 Years traces the full story behind the album through an in-depth look at how 2112 was created and why it is still regarded as the band’s defining work. The book features a track-by-track breakdown, including detailed insight into the iconic 20-minute 2112 suite, along with historical context surrounding the state of rock music in the mid-1970s and Rush’s evolution in the decades that followed.
The volume also includes rarely seen photography, from live performances to candid offstage moments and archival images, as well as interviews and commentary that shed light on the band’s creative process and lasting influence.
With more than 40 million records sold worldwide and a devoted global following, Rush’s impact on rock music and popular culture remains undeniable. This book captures the skill, innovation, and mindset that helped define the band’s legacy and continues to inspire musicians and fans across generations.
Rush And 2112: 50 Years stands as a definitive tribute to an album that changed the course of the band’s career and left a permanent mark on rock history, making it essential reading for longtime listeners and newcomers alike.
For more information or to pre-order a copy go to this location.
About the Author:
Daniel Bukszpan has worked as a freelance writer for more than 25 years, contributing to outlets including Fortune, CNBC, and Condé Nast Traveler. He is the author of The Encyclopedia of Heavy Metal, The Encyclopedia of New Wave, The Art of Brutal Legend, Woodstock: 50 Years of Peace and Music, Ozzy at 75, Iron Maiden at 50, and Rush at 50. He has also contributed to books such as AC/DC: High-Voltage Rock ’N’ Roll, Iron Maiden: The Ultimate Unauthorized History of the Beast, Metallica: The Complete Illustrated History, and Rush: The Illustrated History.
With their self-titled eighth studio album set to arrive worldwide in just two days, Alter Bridge have returned with the final track to be released ahead of the record’s official debut. “Scales Are Falling” is the latest preview from the long-running quartet made up of Myles Kennedy on vocals and guitar, Mark Tremonti on guitar and vocals, Brian Marshall on bass, and Scott Phillips on drums. The song centers on the moment when deception is exposed and the emotional weight that follows once the truth becomes impossible to ignore.
Myles Kennedy explains: “It’s when you realize the reality of a situation where you’ve been deceived. You see the truth and how harsh it is”.
Mark Tremonti adds: “I was excited for this one. It has an atmospheric vibe with a lot of peaks, valleys, and moods. I solo over the bridge, and Myles plays the outro”.
“Scales Are Falling” is now available across all digital streaming platforms. A new visualizer, created by Marcin Pospiech, whose past work includes Nine Inch Nails and Tool, was also released today and accompanies the track.
Now more than 20 years into their career, Alter Bridge continues to move forward without relying on past momentum. Known for their heavy riffs, strong melodies, and layered guitar work, the band will release their self-titled eighth studio album on January 9 through Napalm Records.
The upcoming album contains 12 new tracks that stand among the most focused and confident material the band has written. Songs like “Rue the Day”, “Disregarded”, and “What Are You Waiting For” sit comfortably alongside longtime fan favorites. “Trust in Me” showcases the vocal partnership between Kennedy and Tremonti, with Myles handling the verses and Mark taking over the chorus, a structure they flip on the heavier “Tested and Able”. “Hang by a Thread” is built with live performances in mind, while the closing track “Slave to Master” delivers a sweeping finale and holds the distinction of being the longest song the band has ever recorded.
The album’s first single, “Silent Divide”, continues to climb at Active Rock radio and is nearing six million views on YouTube. Longtime collaborator Michael Elvis Baskette once again produced the record, which was tracked over a two-month period this spring at the iconic 5150 Studios in California as well as Baskette’s studio in Florida.
Drumeo has recently shared a new studio video featuring drummer Matt Cameron, offering a detailed breakdown of “Spoonman”, the well-known track by Soundgarden. In the session, Cameron walks viewers through the rhythm and ideas behind the song, focusing on how the drum part came together and why it remains so recognizable decades later.
The track is widely seen as one of the singles that helped shape the grunge era. It was released in 1994 on Superunknown, an album that marked a major moment for the band. What many listeners may not realize is that the song’s signature groove did not start in a traditional rehearsal space, but was inspired by a real-life street performer whose unconventional approach left a lasting impression.
During the breakdown, Cameron explains how that raw, percussive influence informed the feel of the song. He discusses the creative decisions that went into crafting the drum part and reflects on why “Spoonman” continues to stand out as one of the most memorable grooves of the 90s, even years after its release.
Organizers from the cruise festival have confirmed that Jag Panzer and Ad Infinitum are the newest acts added to the lineup for the 2026 edition of 70000 Tons Of Metal, The Original, The World’s Biggest Heavy Metal Cruise. The announcement brings the festival even closer to a full roster as anticipation continues to build for next year’s sailing.
With 53 of the 60 bands already revealed and tickets currently on sale, metal fans from more than 80 nations are expected to be part of the event. Attendees are encouraged to prepare early so they don’t miss what is being promoted as a once-in-a-lifetime experience aboard the massive floating festival in the Caribbean, where fans are invited to join what organizers call The United Nations Of Heavy Metal At Sea.
The currently announced lineup for the 2026 sailing includes Ad Infinitum, Amorphis, Anthrax, Arkona, Beast In Black, Bloodred Hourglass, Cemetery Skyline, Darkane, Dark Tranquillity, Dodheimsgard, Dragonland, Dust Bolt, Eluveitie, Ereb Altor, Firewind, Gama Bomb, Groza, Haggard, Harakiri For The Sky, Heathen, Hiraes, Hirax, Hour Of Penance, Ignea, Illdisposed, Illumishade, In Mourning, Insomnium, Izegrim, Jag Panzer, Kamelot, Kanonenfieber, Orden Ogan, Paradise Lost, Persefone, Rhapsody Of Fire, Royal Hunt, Satan, Saturnus, Seven Spires, Skeletal Remains, Skyclad, Soen, Soilwork, Suidakra, Tribulation, Tyr, Vader, VBO (Vice Business Only), Vio-Lence, Wind Rose, Wolf, and Xandria.
Seven additional acts are still set to be announced, leaving room for more surprises as the cruise approaches.
Tickets for the 70000 Tons Of Metal 2026 cruise, which features an international lineup of metal bands and exclusive onboard performances, are available now through the event’s official website.
On Rick Rubin’s “Tetragrammaton,” Daron Malakian went deep on what he listens for in metal: riffs, mood, aggression, atmosphere, and how that shaped his own playing and writing. Then he got into the memory that still gives him a jolt: stepping in with Metallica when James Hetfield got hurt.
“When I was 12 or 13, at that point I had been playing the guitar for a year,” he said. “I was with these guys in my school that, in their dad’s garage, we would play Metallica covers. That’s pretty much all we’d play — a bunch of Metallica covers. And a big part of how I learned how to play the guitar was playing either Black Sabbath, Metallica, Iron Maiden, sometimes Slayer,” he added (via Blabbermouth).
“My friends really didn’t get Slayer, but they loved Metallica. But I loved Slayer, and I would fight with them over it. [Laughs]. But we would play these Metallica covers, so I knew all these Metallica covers,” he said. “When I got older, I knew them, and so we were on tour with Metallica on the “Summer Sanitarium” tour.”
“I met Metallica on stage, playing with them. I never met them before,” Malakian remembered. “We’re the first band. Nobody knows us. It’s 1999, maybe, at this point. [System Of A Down‘s] Toxicity‘s [See image gallery at www.sonicperspectives.com] is not out yet. We’re on our first album. And we are on the “Summer Sanitarium” tour,” he continues. “It’s us, a band called Powerman 5000, Kid Rock was on there, I think Korn was on there, and Metallica. It was, like, five bands on the bill. We were the first band that opened up [when people are walking in]. Nobody knows who System Of A Down is at this point.”
“And so we’re on that tour, and James Hetfield, along the way, gets injured,” he recalled. “I don’t know. They told me he was going water skiing or something, and he got injured. So they didn’t cancel the show. So all the opening bands played, and then Metallica still went on stage. And [then-Metallica bassist] Jason Newsted was singing. And then they brought the guys from Korn on, and they kind of played like this Cheech & Chong cover song or something. They didn’t know what to do, because James wasn’t there.”
“And I turned to my tech, and I go, ‘Listen, man. I go, ‘Go tell their tech that I know a lot of their shit,’ ’cause I’ve learned it playing it in this garage with these other guys. I go, ‘I know a lot of their shit from, you could say, …And Justice For All and back.’ Next thing you know, my tech goes and talks to their guitar tech, and then my tech comes back to me,” he added. “He’s, like, ‘All right, come with me.’ [I’d] never met Metallica before,” Malakian continued.
“And I’m telling you, Metallica was the first concert I ever went to in my life,” he said. “I was a huge Metallica fan. Faith No More opened up for them. Justice For All tour. So next thing you know, I go on the other side of the stage,” he added. “I get handed a Les Paul; I think it was one of [Metallica guitarist] Kirk Hammett‘s Les Pauls. And they’re, like, ‘All right. Go.’”
“60,000 people. [Laughs] Yeah. 60,000 people,” he remembered. “I’m in my after show. I am wearing Lakers fucking sweats. I’m not even ready to get on stage. I’m wearing a white tank top and Lakers sweats, and I was just completely there, just watching Metallica. Next thing you know, I get handed a guitar, and they go, ‘Go.’”
“You gotta understand. Our band’s not big yet. I’m still a kid. I’m 22 years old,” Malakian continued. “I can’t even believe that we’re even allowed to open up for Metallica. So this is all new to me at this point in my life. And they put me out there, and I turn, and I’m, like, ‘Hey,’” he said. “It’s Lars [Ulrich, Metallica drummer], it’s Kirk, it’s Jason Newsted, who was the bass player at the time. They’re, like, ‘What do you know?’”
“I go, ‘I don’t know. “Master Of Puppets”. ‘Okay. Count it in,’” he said. “We’re playing fucking “Master Of Puppets’. I’m up there with Metallica playing “Master Of Puppets” in front of 60,000 people. And I’m, like, ‘Who’s gonna sing?’ I said, ‘Fuck it. I’ll go sing.’ And I sang,” he added. “And then there’s this thing that happened where in the middle of “Master Of Puppets”, it has this slow part.”
“Instead of going into that slow part, they went into “[Welcome Home] (Sanitarium)”,” he recalled. “And I didn’t know they were gonna do that. And we went in, and we did the middle part of “Sanitarium” and then came out of it and went back into “Master Of Puppets”. I mean, you would think we had rehearsed it, but we didn’t rehearse it. And I didn’t even know it was gonna happen. And it happened. And I’m up there, and I am playing Metallica with Metallica in front of an audience where I would’ve been in the fucking cheap seats just three years ago,” he explained.
“I got off stage. Next thing you know, they’re coming to me. They’re, like, ‘Hey, dude, James isn’t gonna be able to play for a few nights. They want you to come and play with them fucking everything,” he added.
“And next thing you know, Kirk Hammett‘s in front of me with a guitar and I go, ‘Hey, bro, I know all your old stuff, but I don’t really know the Load and the Reload and all that stuff,’” he said. “So Kirk‘s trying to teach me stuff off Load. And then next thing you know, they’re, like, ‘Hey, get your shit from your bus, ’cause you’re flying on the private jet with us now,’” Malakian continued.
“So the first plan was to have me play a whole set with them,” he explained. “And I was preparing for that, and I was relearning all the old stuff and trying to learn all the Load stuff. And so I flew with them and everything, and then they decided, ‘Hey, it would be a cooler thing if we invited different bandmembers from the different bands that were on the gig,’” he said. “So the next night I was up on stage with Metallica again.”
“And I knew I was supposed to play ‘One’. And I got there, and I was ready to play ‘One’, and I turned to — I forgot — maybe Jason or Kirk or someone, and I’m, like, ‘Who’s gonna sing?’ Because I had no idea. They turned to me, and they were, like, ‘Bob,’” Malakian said. “And I’m, like, ‘Who the fuck is Bob?’ And I see Kid Rock come up. And I didn’t know Kid Rock‘s name was Bob.”
“And so Kid Rock comes up, and he sings the first night, and we did ‘One’, and it’s really fucking cool because ‘One’ has the whole [middle section], and I’m thinking, ‘Dude, you’re playing this shit with fucking Metallica. You’re turning around, and it’s, like, Lars,” he said. “It was crazy. I’ll never forget it.”
“And even after that, their techs would come up to me in different tours and be, like, ‘Dude, don’t think we forgot what you did. You brought it that day. I don’t wanna say, like, ‘You saved the show,’ but they were kind of, like, ‘You fucking brought it. They were struggling. And then you got up, you did ‘Master Of Puppets’”.
“Yeah, man. That happened. Oh, man. I’ll never forget it,” Malakian finished. “Even though my band is where we’re at right now, it still brings goosebumps to my… that I had a chance to experience that at that point in my career.”
If you pictured Megadeth’s farewell tour turning into a rotating-cast reunion, old lineups swapping in and out every few songs, Dave Mustaine made it clear that isn’t the plan. He addressed the idea again recently, and the message is simple: keep the focus on the set, the band onstage now, and the fans hearing the songs the way they came to hear them.
In an interview with Guitar World, Mustaine got asked straight up about inviting former members to join the band during the upcoming final run. His first point: the door already opened for the right moment, with one of the most famous former members stepping back into the spotlight: “We’ve already done that with [former Megadeth guitarist] Marty [Friedman].”
From there, he widened it out to the bigger picture, because the band’s history is deep, and a full-on “everybody gets a turn” concept becomes a massive logistical mess fast: “And I mean, let’s look at the other people we’ve played with… there’s a lot of people. [Laughs] That would be a huge undertaking. I don’t think I want to do that. I’d rather keep doing what we’re doing and let the fans [experience] Megadeth music and be happy about it. It’s not ‘puppet show Megadeth.’”
This also connects to what he said earlier on SiriusXM’s “Trunk Nation With Eddie Trunk” on December 5, 2025, when he was pressed about the ultimate fantasy scenario: one final gig with an all-surviving-members lineup. He explained why that idea doesn’t work in real life, even if it sells a lot of daydreams online.
“Well, I can’t really do that, because of the behavior of one of the bandmembers in the past. I just can’t — I can’t. Because, first off, it would be unfair to the other bandmembers if I didn’t play with them as well. But the thing about what we did with Marty [Friedman] in Japan [in early 2023], that was a no-brainer. That was brilliant. And I love Marty. We had our separation, and he went his way, and we went our way. But it was a very, very intense relationship I had with Marty, because that was the first relationship I had with a guitar player.”
“My relationship with [former Megadeth guitarist] Chris [Poland] was really great, but it wasn’t as good as it was with Marty. My relationship with [former Megadeth guitarist] Jeff [Young] was good, but it wasn’t as good as it was with Marty. And I probably wouldn’t have a problem playing with any of the members of those two lineups, except the fact that [former Megadeth drummer] Gar’s [Samuelson] is deceased, and [I’m] just not gonna do anything that is gonna, in any way, seem unfair to the other bandmembers,” he added.
He also got asked whether the final show gets promoted as the last-ever Megadeth gig, or whether the band might “quietly end” touring without a big red-circle date. His answer was half-honest, half-dark humor, because “the last one” carries weight, and he knows it.
“I don’t know. I was joking around with our management and said, ‘You guys should probably book some fake dates at the end of the tour that I don’t know about so I won’t go out there on the last date and just blubber like a fucking 175-pound wuss.’”
Haken have announced that guitarist Charlie Griffiths and bassist Conner Green have left the band, marking a major lineup change for the UK progressive metal mainstays.
In a brief statement shared via the band’s social media, Haken said they were parting ways “with heavy hearts,” thanking both musicians for their years of writing, recording, and touring contributions, and calling them “irreplaceable” as players and people. The band added that Griffiths and Green “will always be a part of the Haken family,” and closed with a tantalizing hint: new music is expected later this year.
While no further details were provided about replacements or upcoming live plans, the announcement arrives after a period of uncertainty around the band’s schedule, following the cancellation of their Euroblast Festival appearance and their withdrawal from dates with Coheed and Cambria — moves that had already fueled speculation among fans.
Griffiths joined Haken in 2008 and has appeared across the band’s studio catalog, while also launching a solo project under the name Tiktaalika in recent years. Greenjoined the band in 2014, stepping in after the departure of original bassist Thomas MacLean and becoming a key part of the band’s modern era.
For now, Haken haven’t shared who will fill the vacant spots, or whether the upcoming material will feature new collaborators, but with “new music coming this year” now confirmed, more news seems imminent.
The online gaming industry is experiencing explosive growth, becoming one of the most dominant forms of digital entertainment globally. The latest industry analysis shows that the global online gaming market is projected to grow to $333.20 billion by 2030, fueled by mobile accessibility, advanced technology, and increasingly immersive experiences. Among the most exciting sectors within this landscape are eGames—interactive, often skill-based digital games designed for online platforms.
As eGames continue to evolve, developers are turning to a source of raw energy and cultural influence that has stood the test of time: rock music. By integrating iconic bands, high-octane soundtracks, and rebellious aesthetics, many eGames are finding a new and devoted audience in the rock community. In this fusion of rhythm and adrenaline, eGames are not just embracing rock, they’re amplifying it.
A Brief History of Rock Music and eGames
The relationship between rock music and gaming goes back decades. In the early 2000s, the rise of rhythm games like Guitar Hero and Rock Band proved that rock had a place in interactive entertainment. These games didn’t just use rock as background noise—they made it the centerpiece.
Since then, the connection between rock and digital gaming has deepened. Several legendary rock bands have gone beyond licensing songs — they’ve inspired entire games. Here are four iconic bands that have made their mark in the eGaming world:
Guns N’ Roses – Featured in multiple official slot and arcade-style games, including ones with concert-style visuals, riff-heavy soundtracks, and signature symbols like Slash’s hat and Axl Rose’s mic stand. With Guns N’ Roses touring in 2026, their live and digital versions continue to remain popular.
KISS – The glam rock legends have inspired arcade games and slot machines filled with fire, bass solos, and theatrical flair.
Motörhead – Known for their hard-hitting sound, Motörhead’s themed games often feature tracks like “Ace of Spades” to create intense, fast-paced gameplay.
Ozzy Osbourne – The Prince of Darkness has been immortalized in video slots and eGames, combining gothic imagery with his signature metal anthems.
These rock-inspired games blend nostalgia, audio intensity, and striking visuals to capture the essence of rock in a virtual environment. But it’s not just legacy bands making waves—developers like Jili Games are pushing the genre even further.
Jili Games: Rock Energy Meets Digital Innovation
Jili Games is one of the largest and most innovative eGame developers in the global market, known for producing engaging, mobile-optimized content across multiple genres. While they’re widely respected for their arcade, slot, and skill-based games, Jili has also earned recognition for integrating rock music themes into their gameplay — appealing directly to fans of the genre.
Jili’s titles often feature high-tempo soundtracks, electric guitar riffs, and designs that echo the raw aesthetic of classic rock culture. Their games don’t just use rock as flavor — they make it part of the core experience.
Here are three Jili eGames clearly inspired by rock music:
1. Super Ace
Jili’s portfolio of games takes a lot of inspiration from rock music. On Solaire Online, Jili super ace is packed with high-energy animations, explosive win effects, and a driving soundtrack that evokes the vibe of a stadium concert. Its fast-paced gameplay is underscored by punchy percussion and power chords — creating an immersive, high-adrenaline experience.
2. Rock Star Legends
This title puts players in the shoes of a rising rock star, navigating through bonus rounds like “Backstage Pass” and “Encore Mode.” Featuring custom guitar solos and visuals that include leather jackets, amps, and neon lights, it’s a tribute to the rock lifestyle.
3. Thunder Riot
A game that channels the chaos and intensity of a mosh pit, Thunder Riot combines heavy distortion-laden audio with battle-like gameplay. It’s loud, fast, and completely unapologetic—just like the best rock tracks.
Why Rock and eGames Are a Perfect Match
There’s a reason rock music works so well in eGames—it’s about energy, immersion, and identity. Rock has always been about pushing boundaries, breaking rules, and connecting emotionally through sound. eGames, with their rapid feedback loops and immersive designs, tap into the same emotional currents.
Jili Games excels in this area thanks to its use of HTML5 technology, which allows for rich, cross-platform experiences without sacrificing performance. Whether you’re playing on a phone, tablet, or desktop, HTML5 ensures the games load fast, run smoothly, and retain every ounce of their sonic and visual punch.
This technology allows developers to incorporate dynamic audio, responsive animations, and cinematic transitions — crucial elements for delivering the kind of impactful, music-driven experiences that rock fans crave. Unlike older formats limited to static reels or basic audio loops, HTML5 empowers developers to build interactive soundscapes and real-time visual effects that feel like being inside a live gig.
Conclusion
As the eGaming industry surges toward a projected $333.20 billion valuation by 2030, the fusion of rock music and online games offers a powerful way to captivate players seeking more than just flashy visuals and quick wins. For rock fans, these games deliver an immersive tribute to the genre’s energy, attitude, and legacy.
With innovative developers like Jili Games leading the charge — creating HTML5-powered, rock-infused titles like Super Ace and Thunder Riot — it’s clear that eGames and rock music don’t just fit together. They amplify each other.
In a new chat with Jon Smith from 103.5 The Arrow, Mötley Crüe bassist Nikki Sixx laid out what’s coming with the band’s next big run: “The Return Of Carnival Of Sins.” The tour marks 20 years since the original “Carnival Of Sins” era (2005–2006) and lines up with the band’s 45th anniversary. The Live Nation-backed trek hits 33 cities, launches July 17, 2026, in Burgettstown, Pennsylvania, at the Pavilion at Star Lake, and brings Extreme and Tesla along as support.
Sixx framed it as a return to one of the band’s biggest production swings, only now, the toys are better.
“Two of our biggest tours were the ‘Dr. Feelgood’ tour and the ‘Carnival Of Sins’ tour 20 years ago. And back then, [we had] probably 20 semi-trucks full of gear — hard goods, as they call ’em — [with] all kinds of stuff. And now, with the advancement of technology, we can just take the fans on a crazy journey. And I just think it’s gonna be the next level. ‘Cause the first one was a lot of people’s favorite tour, so we have a lot to live up to,” he said (via Blabbermouth).
Smith brought up the band’s reputation for escalation, “always upping the level of entertainment when it comes to the shows,”, and Sixx said that pressure is exactly where Mötley Crüe lives.
“It’s always our goal. It really is. It’s what we love doing. There’s a lot of stuff that we leaned into so heavy. Like all the way back in the beginning, the ‘Live Wire’ video where the band lit me on fire, and we’ve just constantly been kind of pushing.”
“And then on the pyro thing and actually working with companies and developing kind of — not our own technology, but a lot of times when you mix different fuels together, they create different colors. So we would put one pyro head into a steel wall, and another one would hit, and it would change… I mean, this stuff was super exciting for us,” he added.
“And then we kind of outgrew the pyro, because you can watch a baseball game, and they have pyro now. So it’s, like, how do we take advantage of new technology? We don’t want you to show up and go, ‘Yeah. It looks just like the last four bands that I saw.’ And so there’s always a lot of pressure on us to do that. And that’s, I think, what really drives us.”
So where does a new Mötley Crüe stage show even start? Sixx said it comes down to a theme first, and the visuals build from there, right down to something as basic as color.
“First and foremost, it’s a theme. And a theme, if you talk Dr. Feelgood, well, when we designed the album cover, it was in the very last moment where we changed it to green. It was a white hospital linoleum wall with the medical symbol on it, and we switched that to green. Well, once that shifted to green, it all of a sudden gave us a complete color palette for what we would actually do with the show. So those are the type of things,” Sixx explained.
“So, obviously, something as colorful as a carnival, our brains are going crazy,” he revealed. “And to see what’s out there, what’s available, and especially with video, you can take people on a journey that you just can’t do with a backdrop and some fire. So it’s exciting.”
And yes, this is still a hits-heavy band talking to a hits-heavy audience. Sixx made it clear he gets why people buy the ticket, while also hinting at deeper cuts that can reshape the whole production.
“Obviously, we know the fans wanna hear the hits. And I hate it when a band goes out and doesn’t play their hits. I remember [David] Bowie doing that, and he was one of my favorite artists. I was, like, I don’t wanna go hear a bunch of C and D tracks off of records that I love. I wanna hear those songs, like ‘Rebel Rebel’, and at that point he was, like, ‘I’m so tired of playing the same songs.’
“We’re not tired of playing those hits, but we are excited about getting into a setlist and diving into some songs that we maybe never played or haven’t played in a long time and shaking it up. And those types of things, if you’re playing a song like ‘On With The Show’ from the first album, that’s gonna dictate a lot of what production looks like. So, for us, it’s this moving creative ball of energy. It’s super exciting,” Sixx continued.
When Smith talked about loving bands that back strong records with real performance, Sixx agreed, and pointed to the old-school mindset that shaped him: bigger-than-life shows, shock, and spectacle, done with intent.
“Me too,” Sixx said. “I just don’t get when people don’t. I grew up in the ’70s when rock stars were superheroes, and the shows were over the top, and everything was about shock and awe. And so, 45 years in this band, or coming up on it, it’d be kind of hard to revert back to something that was never about Mötley Crüe.”
“Yeah, we still have those super-raw, early punk influences. We did our Vegas residency — we opened the Vegas residency in a very small area, and we played two songs off the first record, and it was like a club gig. It was smaller than the Whisky A-Go-Go stage. And then it opened into the third song, and the whole place was, like, ‘Oh my God. I didn’t even know all this was here.’”
“So that’s the kind of fun stuff… I’m not saying we’re doing that, but that’s the kind of fun stuff, the mode we’re in right now. It’s, like, what can we do? How can we keep our original roots? And how can we take the audience…? You can just go on your computer or on any of your digital devices and have your mind blown,” he explained. “So my intention is not to go out and do a show that can’t compete with that. We gotta have people going, like, ‘That was an amazing show. I love the songs. I love the show. I’m really glad I came out.’”
He closed by acknowledging the practical side: fans have other shows to budget for, schedules to juggle, and time to plan. That reality is part of why tickets are going up early while the stage build is already underway.
“It’s not easy for fans. The shows aren’t for almost eight months. And we know, from a lot of our fans, they’re saying, ‘I just wish I had a little more time to prepare to go to that.’ And there are a lot of great bands out there that are going on tour. So, people, our fans have a chance to see if they can come and bring their friends or whatever it is. So we’re going on sale early and designing the show at the same time. So that’s where we’re at right now.”
When Cannibal Corpse bassist Alex Webster sat down for the latest episode of the “100 Songs That Define Heavy Metal” podcast with Brian Slagel, he laid out a pretty relatable path: start with whatever is around the house, find the bands that hit harder, then keep chasing weight and speed until you land in something extreme.
He described that early climb in detail, starting way earlier than most people would guess for a guy best known for some of death metal’s most punishing low end: “Well, when I was really young, single-digit age or whatever, I listened to ’50s rock, like Chuck Berry and Elvis [Presley], stuff like that, records my dad had lying around from when he was a teenager, that kind of stuff, the ’50s rock.”
“But, yeah, I got into just regular rock, like The Police and stuff like that. And then, pretty much around my early teens, that was when metal came in, and then it was bands like Accept and Iron Maiden, those two in particular. And then Metallica, all the thrash bands, Metallica, Slayer, Kreator, all those bands, Megadeth, all that stuff,” he recalled (via Blabbermouth).
“And it just kind of builds up. Metalheads are always looking for the next heavier thing, or the next step forward, and everybody sort of adds to that. So I would say out of the thrash bands, death metal owes the most to Slayer. They were the band that had those kinds of lyrics. I feel like if you’re looking at a family tree, then a lot of death metal comes from the Slayer branch, in a way. And there are other bands too, for sure — Venom, stuff like that. But for us, Slayer is probably the biggest influence of the thrash bands, for sure — Slayer, Kreator, Dark Angel, bands like that,” Webster reflected.
That “family tree” idea lands because it matches how a lot of people actually discover heavy music. You latch onto a couple of gateway records, then you move the needle: faster riffs, harsher vocals, darker lyrics, until the next thing becomes normal. Webster calls out Slayer specifically because the attitude and lyrical violence were already there. For a band like Cannibal Corpse, that bridge between thrash and death metal is a direct line.
Once the conversation shifted to vocals, Webster focused less on one single inventor and more on a chain reaction: singers pushing rougher tones, then the next wave going deeper and more guttural until melody became secondary.
“I really would love it if some of the original death metal and growling kind of thrash metal singers would get together and maybe do a roundtable on the origins of this style of singing or something like that, because I think it kind of starts maybe with Lemmy [Motörhead], who was still singing — Lemmy and Cronos [Venom]; they were singing, but it was getting into a growl, but there were still melodies going on there.”
“And then you get Jeff [Becerra] from Possessed, Chuck [Schuldiner] from Death, Kam Lee from Massacre, people like that, doing something deeper, more guttural,” he added. “And then it just goes on, and on to [where] everybody ended up being pretty guttural and not really having any kind of a melody. There was a point where it was still singing, where you’re carrying a tune, and then it just really became more of a rhythmic growl. And that, I think, it kind of started with some of the really early death metal, of course, like the bands I mentioned, and then also thrash, like Mille [Petrozza] from Kreator was a big inspiration for us as well.”
Plenty of bands stumble into a sound while the scene forms around them. Webster described something more focused: the intention was there from the start, and the map was already drawn by the demos and records they were absorbing.
When asked if forming a death metal band was the goal or if it happened naturally, he said: “When we made Cannibal Corpse, that was the plan. That was 1988, so there were already death metal bands out there that we liked. We had the Morbid Angel demo, and we loved Death. KreatorPleasure To Kill, to me, that album is sort of — at least at that time, it was very close to being death metal. Same thing with some of the Sodom albums. So when we made Cannibal Corpse, it was pretty clear that we were gonna go in that direction.”
“The band that [ex-Cannibal Corpse guitarist] Jack [Owen] and I were in before was more of a crossover kind of band where it was sort of a mixture of Kreator and D.R.I., that kind of thing. To make a long story short, we had a lot of different sounds, but we were a crossover band, that band Beyond Death, that Jack and I were in before Cannibal Corpse,” Webster mused.
But, yeah, when we made Cannibal Corpse, we were already pretty inspired by bands like Death and Morbid Angel, so we were ready to kind of get going in that direction. And it still took us a little bit of time. But I’d say by the time [Cannibal Corpse‘s 1990 debut album] Eaten Back To Life came out, we were there — you could hear, for sure, that we had thrash roots, but it was death metal right out of the gate.”
Outside the podcast talk, Cannibal Corpse also had a notable live wrinkle this past summer/fall when Brandon Ellis filled in for guitarist Rob Barrett on the band’s U.S. run. The tour kicked off September 15 in Nashville and wrapped October 22 in Charlotte, with Municipal Waste, Full Of Hell, and Fulci providing support on the trek.
Ellis had announced his exit from The Black Dahlia Murder back in February, making his appearance with Cannibal Corpse an extra point of interest for anyone tracking modern extreme metal lineups.
