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Kerry King Set to Record Second Solo Album in April 2026

Thrash metal lifers, buckle up. Kerry King is heading back into the studio this April 2026 to begin work on his second solo album, the follow-up to 2024’s crushing debut From Hell I Rise. If you thought he was going to slow down after Slayer called it a day, think again. The man is keeping the engine running full throttle.
New Kerry King Album: What We Know So Far

According to recent updates, King already has a solid chunk of material lined up for the new record. He’s been working on lyrics and sharing early ideas with vocalist Mark Osegueda, who’s confirmed the new songs are “vicious.” That’s about as reassuring as it gets if you’re a fan of unfiltered, no-BS thrash.
King has made it clear he’s not trying to reinvent the wheel here. Instead, the plan is simple and old-school: build on what worked.


Keep it heavy. Keep it aggressive. Keep it moving.


Expect the new album to feel like a natural continuation of From Hell I Rise, with that signature razor-wire riffing and street-level attitude that’s defined King’s career for decades.
The Band Behind the Mayhem

King’s solo lineup is stacked with serious firepower, and thankfully, it looks like that chemistry is staying intact:
Mark Osegueda – Vocals
Phil Demmel – Guitar
Kyle Sanders – Bass
Paul Bostaph – Drums
That’s not a side project lineup. That’s a full-on metal war machine.
Sound Direction: More of the Same, and That’s a Good Thing

There’s always that guy asking, “Is he gonna go experimental this time?” Short answer: don’t count on it.
King has already hinted that punk elements may still creep in here and there, but the core mission is staying the same. If anything, he’s doubling down on the formula that made From Hell I Rise hit so hard.
And honestly, that’s the right call. When you’ve spent decades defining a genre, you don’t chase trends. You set them.
Will Josh Wilbur Return?

Producer Josh Wilbur played a major role on the debut, bringing a modern punch to King’s old-school aggression. King has openly praised Wilbur’s hands-on approach and lightning-fast workflow in the studio.
If schedules line up, expect Wilbur back behind the board. That’s a big deal, because that chemistry helped shape the sound fans got hooked on the first time around.
Touring Plans for 2027

Once the album is finished and released, the plan is to hit the road hard in early 2027. King and his band have already signed with Independent Artist Group for representation outside North America, which means a global push is coming.
Given how relentless his 2024 and 2025 touring cycles were, you can expect more of the same:
Festivals
International runs
No-frills, high-volume live shows
The kind where your ears ring for two days and you’re still smiling about it.
Why This Album Matters

Let’s call it straight. A lot of legacy artists fade out or play it safe. King isn’t doing either.
This second solo album is about proving that the fire didn’t go out with Slayer. If anything, it just found a new outlet.
And with a killer lineup, a proven producer, and a clear direction, there’s a real shot this follow-up could hit even harder than the debut.
Final Thoughts

Kerry King heading back into the studio in April 2026 isn’t just another album cycle. It’s a statement.
No gimmicks. No nostalgia act. Just pure, unfiltered metal from a guy who helped write the rulebook in the first place.
Stay tuned. This one’s gonna be loud.

Chris Barnes Says Cannibal Corpse Feels “Threatened” by His Presence: Inside the Ongoing Death Metal Feud

Death metal drama is nothing new, but this one just refuses to die. Former Cannibal Corpse frontman Chris Barnes is once again speaking out about his split from the band and why a reunion, even for something as big as a Hall of Fame moment, probably isn’t happening.
And yeah, he didn’t exactly hold back.


Barnes on Cannibal Corpse Reunion: “They Wouldn’t Do It”

In a recent interview, Barnes made it clear he’d be open to sharing the stage again with his former band. But according to him, the feeling isn’t mutual.
Even in a hypothetical scenario like a Rock and Roll Hall of Fame induction, Barnes says:
He and former guitarist Jack Owen likely wouldn’t be invited to perform
At best, they might be acknowledged but not included musically
A full-circle reunion is basically off the table
That’s not exactly shocking if you’ve followed this story over the years.


“They Feel Threatened by My Presence”

Here’s where things get spicy.
Barnes claims the reason behind the continued distance is more than just old grudges. He believes his former bandmates feel overshadowed by his legacy and contributions.
According to him:
His role in shaping early Cannibal Corpse has been downplayed
There’s been a long-standing effort to minimize his impact
His presence still carries weight that the band would rather avoid
That’s a bold statement, but in the world of death metal egos, not entirely unheard of either.


From Cannibal Corpse to Six Feet Under

After leaving Cannibal Corpse in the mid-‘90s, Barnes went on to form Six Feet Under, which he still fronts today.
And here’s the twist. According to Barnes, Six Feet Under was never meant to be a side project.
It was his exit plan.
He described it as:
His “escape pod” from a situation he no longer wanted to be in
A creative reset and personal lifeline
Ultimately, the best thing that ever happened to him
Not exactly the language of someone looking back with regret.


Tension With Current Vocalist George “Corpsegrinder” Fisher

Barnes also touched on his relationship with current Cannibal Corpse vocalist George Fisher, better known as Corpsegrinder.
While Barnes says he’s tried to keep things respectful, he’s clearly not thrilled with how his material is handled.
His main issues:
He believes Fisher doesn’t perform his original songs properly
He takes issue with Fisher claiming ownership over songs Barnes wrote
He’s frustrated by what he sees as a lack of respect for the original era
At one point, Barnes even reached out directly to clear the air. According to him, the message was seen but never answered.
That silence probably says more than any interview quote ever could.


No Bad Blood… Sort Of

Here’s the interesting part. Barnes insists he’s not bitter about being fired. In fact, he says he was relieved when it happened.
But at the same time:
He acknowledges ongoing personal tension with certain members
He admits he simply didn’t want to be around some of them anymore
He still feels disrespected when his contributions are minimized
So yeah, maybe not bitter. But definitely not over it either.


The Legacy of Early Cannibal Corpse

Barnes fronted Cannibal Corpse from 1988 to 1995, contributing to some of the band’s most iconic material, including tracks like Hammer Smashed Face and Stripped, Raped and Strangled.
Those songs helped define death metal as we know it. No matter where you stand on the debate, that part isn’t really up for argument.
Meanwhile, the current lineup featuring longtime members like Alex Webster and Paul Mazurkiewicz has continued to evolve the band’s sound for decades.
Two eras. Two identities. Same name.


Could a Reunion Ever Happen?

If you’re holding out hope for a classic-era reunion, you might want to sit down.
Between:
Personal differences
Creative disagreements
Years of public and private tension
…it’s hard to see all sides coming together anytime soon.
Even Barnes himself seems to accept that reality, despite being open to the idea.


Final Thoughts

This is one of those classic metal splits that never really healed. Too much history, too many strong personalities, and way too much pride on all sides.
But here’s the truth. Both Cannibal Corpse and Six Feet Under carved out their own lanes and kept moving forward.
And in the end, that’s kind of the most metal outcome possible.
Still, if these guys ever did share a stage again, even for one song, the internet would probably break.

Anthrax Teases New 2026 Album: Charlie Benante Calls Upcoming Single a “Banger” and a “Love Letter to Fans”

Thrash legends Anthrax are gearing up for a massive return in 2026, and according to drummer Charlie Benante, fans better brace themselves. The band’s long-awaited new album is on the horizon, and the first single, arriving in May, is already being hyped as “a f***ing banger” and a direct tribute to the diehards who’ve stuck with them for decades.
If you’ve been waiting since For All Kings, yeah, this one’s aimed straight at you.


New Anthrax Single Drops May 2026

Benante didn’t hold back when talking about the upcoming track. He made it clear this isn’t some soft re-entry. This is Anthrax kicking the door in.
The first single is described as:
A high-energy, aggressive anthem
A “love letter” to longtime fans
A statement of exactly what Anthrax still does best
In other words, no reinvention for the sake of trends. Just pure, unapologetic thrash with a modern punch.


Album Release Slated for September 2026

The full album is now expected in September 2026, with releases handled by Megaforce Records in North America and Nuclear Blast in Europe.
Production duties once again fall to Jay Ruston, who worked on both Worship Music and For All Kings. At this point, he’s basically the band’s secret weapon behind the board.
Some recording and mixing took place at Studio 606, owned by Dave Grohl, which tells you everything you need to know about the level of production here.


“Not for the Faint of Heart”

Benante says the new record is packed with 10 or 11 tracks, and every single one hits hard. No filler. No coasting.
His take is pretty blunt:
The album is aggressive throughout
Each track stands on its own
The energy doesn’t drop from start to finish
That old-school mindset is still intact. If it doesn’t hit, it doesn’t make the cut.


A Strange Title with Real Meaning

The album title hasn’t been revealed yet, but Benante hinted it’s “very strange” and deeply personal. According to him, it reflects exactly where the band is at this stage in their career.
That usually means one thing. This isn’t just another record. It’s a snapshot of a band that’s been through everything and is still swinging.


Unique Artwork Inspired by Vintage Posters

Visually, the band is going in a different direction too. The album artwork draws inspiration from vintage sideshow and Harry Houdini-era poster art, mixed with a modern surreal twist.
The artist behind it caught Benante’s attention while watching a series featuring David Blaine. One of those “right place, right time” moments that ended up shaping the entire visual concept.


Writing Process Evolved After the Pandemic

Like a lot of bands, Anthrax had to rethink how they work. Gone are the days of everyone in a room hashing out riffs from tape decks.
Now it’s:
Home demos
File sharing
Video breakdowns of riffs
Then bringing the best ideas together in person
Still old school at the core, just updated for the times.
Benante also admitted something interesting. Some of these songs wouldn’t have been possible 15 or 20 years ago. That usually means growth, not compromise.


Band Chemistry Still Driving the Sound

The creative engine is still the same trio:
Charlie Benante handling much of the music
Scott Ian leading lyrics
Frank Bello contributing melodies and riffs
And of course, Joey Belladonna is reportedly delivering some of his strongest vocal performances yet.
Not bad for a band pushing 40-plus years in the game.


Touring Plans and Live Previews

Anthrax is already teasing snippets of new material live and plans to expand that during upcoming shows, including dates in Australia.
Benante hinted they may go beyond quick previews and give fans a real taste this time around. Not just an appetizer, but maybe a full shot with it.


A Legacy Band That Still Has Something to Prove

Let’s be honest. A lot of bands from the early ‘80s are coasting on legacy at this point. Anthrax doesn’t sound like they’re interested in that.
Since forming in 1981 alongside bands like Metallica, Slayer, and Megadeth, they’ve stayed in the fight. And from the sound of it, this new record isn’t about nostalgia. It’s about proving they still belong in that conversation.


Final Thoughts

A decade between albums is a long time. No way around it. But if what Benante is saying holds up, this isn’t just a comeback. It’s a statement.
A heavy one.
If that first single hits like promised, May might get loud real quick.

EvilDead are true veterans of thrash metal, proving that it wasn’t only the Bay Area that produced outstanding bands in the 1980s. Hailing from Los Angeles, EvilDead may never have reached the same level of fame as the genre’s biggest names, but they delivered exceptional thrash metal albums. Their journey began in 1989 with the… Continue Reading →

Snowcuffs’ Sunless shimmers with a deceptive brightness, wrapping restless guitars and playful rhythms around a core that feels quietly unsettled. The track moves with a light, almost buoyant energy, yet beneath the surface there is a subtle tension that never fully resolves. Vocals drift through the haze with a soft urgency, blurring emotion into texture as much as narrative. It is this contrast that gives Sunless its charm, a warm glow flickering at the edge of something fragile.

A dreamy, off-kilter indie gem where sweetness and unease coexist in perfect imbalance.

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Rachel Bolan Announces Debut Solo Album Gargoyle Of The Garden State and Drops First Single “At War With Myself”

Fans of Skid Row finally get something a little different from longtime bassist Rachel Bolan, who’s stepping out front with his first-ever solo album, Gargoyle Of The Garden State. The record lands June 12 via earMUSIC, and if the early details are anything to go by, this isn’t just a side project. It’s a full-on statement.
A Personal Record Rooted in New Jersey Grit

Bolan describes the album as deeply personal, shaped by his upbringing in New Jersey and decades in the trenches of rock and metal. This isn’t just another name slapped on a release. It’s his identity poured into vinyl, CD, and digital formats.
Produced by Nick Raskulinecz, the same guy behind Skid Row’s The Gang’s All Here, the album carries a polished but gritty edge. Bolan reportedly handled most of the instruments himself, stepping into a frontman role with confidence and a bit of swagger that longtime fans might not expect.
Star-Studded Guest Lineup

Even though this is a solo effort, Bolan didn’t exactly go it alone. The album features a stacked lineup of contributors, including:
Dave Sabo and Scotti Hill on guitar
Rob Hammersmith on drums
Corey Taylor bringing his unmistakable vocals
Nuno Bettencourt delivering a signature solo
Danko Jones featured on the lead single
Steve Conte and Damon Johnson adding even more firepower
That’s not a guest list. That’s a backstage party that somehow made it onto tape.
“At War With Myself” Sets the Tone

The first single, At War With Myself, features Danko Jones and gives fans a taste of what’s coming. Expect hook-driven songwriting, punk attitude, and a melodic backbone that leans more into rock than straight metal.
Bolan himself has made it clear. This does not sound like Skid Row. And honestly, that’s probably the whole point.
A Blend of Influences with a Classic Twist

Musically, Gargoyle Of The Garden State pulls from everywhere. Punk, glam, Britpop, and even a bit of new wave creep into the mix. One of the more interesting moments is a reworked version of Rock and Roll Star by Oasis, flipped into something entirely different while keeping its core intact.
It’s the kind of move that shows confidence. You don’t mess with a classic unless you’ve got a vision.
Creative Freedom Outside the Band Machine

One thing Bolan emphasized in interviews is how different this process was compared to working within Skid Row. No committee decisions, no waiting around for approvals. Just him, the producer, and the songs moving fast and staying raw.
That kind of freedom tends to bring out the real stuff. Sometimes messy, sometimes brilliant, but always honest.
Where Skid Row Stands Now

While Bolan explores new territory, Skid Row is still in a state of transition. The band is currently searching for a new frontman following the departure of Erik Grönwall in 2024.
It’s been a long road since the days of Sebastian Bach, and if history has proven anything, it’s that Skid Row doesn’t stay down for long.
Final Thoughts

Look, solo records from band members can go either way. Sometimes they’re forgettable. Sometimes they surprise the hell out of you. This one feels like it might land in the second category.
Between the stacked guest list, the stylistic curveballs, and Bolan finally taking center stage, Gargoyle Of The Garden State has all the ingredients to turn some heads.
And let’s be real. After decades holding down the low end, the guy’s earned the right to do whatever the hell he wants.

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Shelter becomes exactly what its title suggests, a small, intimate refuge where stillness and subtle emotion quietly take shape.

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Tramaine Long’s Father flows with a gentle, reassuring warmth, blending smooth R&B textures with a deeply rooted spiritual core. His vocals carry both vulnerability and conviction, turning personal testimony into something universally resonant. The production remains understated yet polished, allowing the message to take center stage while subtle grooves keep the track grounded and accessible. There is a quiet strength in its delivery, a sense of healing that unfolds naturally rather than forcefully.

Father feels like both a reflection and an embrace, offering comfort, clarity, and a soft but steady sense of uplift.

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Yimes’ Evening Creek unfolds with a quiet grandeur, a cinematic post rock piece that breathes rather than speaks. Warm guitar swells and drifting piano lines move in slow currents, gradually revealing a landscape shaped by patience and emotional depth. Subtle details, including the delicate touch of Wilco’s Pat Sansone, add a human warmth to its expansive core. The track builds without urgency, reaching a gentle yet powerful release that feels earned rather than imposed.

Evening Creek exists somewhere between memory and horizon, a reflective, slow-burning journey that lingers long after it fades.

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Sphirus’ Abyssal Drift unfolds like a slow descent into the unknown, guided by hypnotic rhythms and a carefully sculpted sense of depth. Layers of atmospheric textures emerge and recede with quiet precision, creating a fluid motion that feels both weightless and heavy. The track balances tension and calm with subtle control, never rushing, always evolving. There is a haunting stillness at its core, as if suspended in a vast, endless space.

Abyssal Drift does not demand attention, it gradually absorbs it, pulling the listener deeper into its immersive, shadow-lit world.

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