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Fresh off their successful tour with BABYMETAL, BLACK VEIL BRIDES have unleashed their first new music since 2024’s chart-topping single “Bleeders.” The latest track, titled “Hallelujah,” finds the band tapping into their heaviest sound yet while doubling down on their signature emotional intensity and theatrical flair.

The band — vocalist Andy Biersack, guitarists Jake Pitts and Jinxx, bassist Lonny Eagleton, and drummer Christian Coma — collaborated with Tampa’s One Voice Ensemble to give “Hallelujah” a choral, cinematic punch. The song was produced by Biersack and Pitts and is being released through their label partners at Spinefarm.

“’Hallelujah’ is an important song for us,” Biersack said in a statement, “not only because it is the first track from the new record, but also as a signifier of what’s to come for the band.”

Lyrically, Biersack delves into themes of identity, resistance, and sincerity in an age of ideological noise.

“I am fascinated by the current state of discourse and how often we seem to prioritize ideological certainty over the heart and soul of humanity. Over the years, we’ve developed a deep connection with our audience that’s often misunderstood by the ‘scene.’ I believe in being true to yourself over the fear of mass hysteria or in-group pressure.

“When my grandfather’s voice opened our first record in 2010, it was a sincere call to arms for outcasts. This record is the natural evolution of that same idea. It’s the heaviest and most vitriolic BVB record by far — but more importantly, it’s the most honest and sincere record we’ve ever made.”

Accompanying the release is an animated music video directed by Marco Pavone (THE BLACK DAHLIA MURDER, PINK FLOYD, SHADOW OF INTENT), the first in a series of visual pieces the band plans to release in support of the new material. A teaser for the track, released last week, sparked major fan buzz ahead of its official debut.

“Hallelujah” will receive its live debut at the Warped Tour stop in Long Beach, California on July 26. BLACK VEIL BRIDES will also appear at Louder Than Life (September 20), Rock The Locks (September 26), and Aftershock (October 5), before heading to South America for six headlining shows. The band is also part of the “We Missed Ourselves Tour 2025,” alongside UNDEROATH, SILVERSTEIN, SENSES FAIL, and I SET MY FRIENDS ON FIRE.

In an interview with Idobi Radio’s Brandy-Baye Robidoux, Biersack confirmed that the band has finished recording their next album — their first full-length since 2021’s The Phantom Tomorrow — and that “Hallelujah” is just the beginning.

“We finished a new record. At this point, one song is fully mixed. But we produced the record ourselves — Jake and I took the lead. It’s our first time self-producing a full album of original material.”

Biersack explained the reasoning behind the DIY approach.

“Over the years, working with producers like John Feldmann, Erik Ron, and Bob Rock has helped shape who we are — especially vocally for me. Feldy taught me how to actually use my voice. But this time, we wanted to ask: What would a BLACK VEIL BRIDES record sound like if we produced it ourselves? We weren’t interested in self-congratulation. We pushed ourselves hard to make sure this was the best work we could do.”

He emphasized that the experience wasn’t without its challenges.

“It was definitely more challenging in that we had to make sure we got everything right. But creatively, it was also freeing. When you work with a producer who’s also a singer, sometimes their preferences shape your melodies. On this record, everything vocally is my vision. For better or worse, it’s exactly how I wanted it. We’ll see if that was the right call.”

Despite breaking from traditional production methods, Biersack said the band’s influences remain rooted in integrity — not industry expectations.

“We have no interest in chasing commercial crossover anymore. We spent years on major labels being told, ‘That’s great, but where’s the single?’ Thankfully, with Spinefarm, we released Bleeders — a song not designed to be a hit — and it ended up doing really well. We want our songs to connect, to be played on radio, but we’re not writing with executives in mind. We just want to make the coolest thing possible.”

That creative independence was on full display in May 2024 with the release of the Bleeders EP — the band’s first for Spinefarm. The three-track set featured the title track, a cover of “My Friends” from Sweeney Todd, and a reimagining of U2’s “Sunday Bloody Sunday.” The EP paid homage to the dark theatricality of Stephen Sondheim’s classic musical, further cementing BLACK VEIL BRIDES’ place as genre-defying storytellers.

As the band looks ahead to a new chapter — heavier, more personal, and more self-directed than ever — Hallelujah sets the tone for what’s shaping up to be a defining era in BLACK VEIL BRIDES’ evolution.

Swedish death metal stalwarts UNLEASHED have announced their fifteenth studio album, Fire Upon Your Lands, set for release on August 15 via Napalm Records. Ahead of the full record, the band has unveiled the lyric video for their powerful third single, “A Toast To The Fallen.”

Sharing the concept behind the track, the band offered a statement steeped in their mythic, Viking-inspired storytelling:

“In the aftermath of the great war, the Valkyries fly across the bloody sand dunes at the foot of Mount Sinai, choosing the Warriors who made the ultimate sacrifice and died fighting for our way of life. It is time for a toast for the fallen. They live forever in our hearts as they make their final journey to Valhalla.”

In a recent chat with Jai That Aussie Metal Guy, frontman and bassist Johnny Hedlund reflected on what drives the band to keep creating after all these years:

“Well, I don’t know how to stop,” he laughed. “We started this band in 1989. Before that, I was in NIHILIST, playing death metal since ’87 — which feels like 400 years ago. Back then, it was all about going out, banging heads, and drinking beers. We didn’t plan to make 15 albums, but we realized, ‘Hey, we might actually be good at this,’ and just kept going.”

Hedlund emphasized that passion remains the lifeblood of UNLEASHED. “It’s inspiring to make music and lyrics. We love it. And going out to meet people, bang heads, drink beer, see old friends — that’s the thing, man. There’s nothing better.”

Fire Upon Your Lands continues the long-running narrative arc based on a book Hedlund wrote years ago. This marks the sixth album in that ongoing saga.

“We keep translating the chapters into songs,” he explained. “The story isn’t over yet, and fans seem to enjoy it. So we keep going. This album picks up right where the last one left off.”

Drummer Anders Schultz also weighed in recently, telling RichardMetalFan that the writing process for the follow-up to 2021’s No Sign Of Life has been ongoing for years.

“We’ve been writing since the last one came out,” Schultz said. “It’s always an ongoing process. Some songs are at least three years old. We don’t set a hard timeline — we just keep writing until we say, ‘Okay, the material’s ready.’ Then we get serious about recording.”

Schultz revealed that the album was actually completed some time ago, though its release date was pushed back for logistical reasons.

“It was originally supposed to come out earlier this summer. We had to hustle to meet a deadline, and then it got pushed anyway. But a little positive pressure is good. It gets things done.”

Asked whether UNLEASHED made any big stylistic changes this time around, Schultz made it clear that while there’s always progress, the band stays firmly rooted in their identity.

“You’ve always gotta hear that it’s UNLEASHED. No wild experiments. But we still progress — just within our framework. This record’s probably similar to the last, just as the last was to the one before it. We veer off a bit and refine things, but we stay true to who we are.”

He continued:

“We said from day one: it’s gonna be death metal. If anyone wanted to add jazz or rock and roll, that’s for another band. UNLEASHED has always been about maintaining our sound — evolving within it, not outside of it.”

Tracklist for Fire Upon Your Lands:

Left For Dead

A Toast To The Fallen

The Road To Haifa Pier

War Comes Again

Fire Upon Your Lands

Loyal To The End

Midjardarhaf

Hail The Varangians!

To My Only Son

Hold Your Hammers High!

Unknown Flag

As Fire Upon Your Lands prepares to continue UNLEASHED’s long-running saga, fans can expect more of what the band does best: no-frills, Viking-fueled death metal that refuses to compromise, even after more than three decades.

Phil Fasciana, founding guitarist of Florida death metal veterans MALEVOLENT CREATION, has been admitted to the ICU in Montpelier, France after developing a severe case of bacterial pneumonia. The condition is considered critical, and doctors have indicated it may have spread to nearby organs.

Due to his hospitalization, the remaining members of the band — Ronnie Parmer (drums), Jesse Jolly (bass, lead vocals), and Chris Cannella (guitar) — will carry on with the band’s current European tour without Fasciana. Their first performance without him will take place tonight (Friday, July 17) at Razzmatazz in Barcelona, Spain.

Earlier today, Ronnie, Jesse, and Chris released a statement on social media expressing their concern and appreciation for fans’ support:

“Dear MALEVOLENT fans, far and wide: It is with immense sadness that we report our helmsman Phillip Fasciana was admitted to the ICU in Montpelier, France last night. He developed what the doctors deemed to be a severe case of bacterial pneumonia, which may have spread to surrounding organs. He has been listed as being in critical condition. His family has been notified and will be deciding on next steps, based on what is best for Phil’s condition and overall health.

“We are all crushed to see him in this situation, and it is absolutely life-threatening. So please, please keep Phil in your thoughts and/or prayers with hope he makes a full recovery. Make no mistake, this is a very bad situation and we greatly appreciate your love and understanding. It is with the support and direction of his immediate family that have requested we finish the remainder of the tour in Phil’s absence, as he needs to focus on his recovery.

“Eternal gratitude for your support — Jesse, Ronnie, Chris.”

MALEVOLENT CREATION’s most recent album, The 13th Beast, was released in January 2019 through Century Media Records. The album was notable as the only one to feature drummer Phil Cancilla and frontman/guitarist Lee Wollenschlaeger.

The band suffered another major loss in 2018 when longtime vocalist Bret Hoffmann passed away from stage 4 colon cancer at age 51. Hoffmann had a long and storied history with the group, performing on their early albums including The Ten Commandments, Retribution, and Stillborn, before multiple stints in and out of the lineup. His final recordings with the band included 2007’s Doomsday X, 2010’s Invidious Dominion, and 2015’s Dead Man’s Path.

As Fasciana fights a serious health battle, the band is honoring his and his family’s wishes by continuing the tour — with the hope of his full recovery and return to the stage.

GHOST, the celebrated Swedish rock band led by Tobias Forge, will appear on The Tonight Show Starring Jimmy Fallon next Wednesday, July 23. The performance, recorded live in Studio 6B at Rockefeller Center in New York City, will be available shortly after on the show’s official YouTube channel.

The appearance coincides with the U.S. leg of the band’s sprawling Skeletour world tour, launched earlier this month in support of their sixth studio album, Skeletá, which debuted in April. This tour marks a significant leap forward in GHOST’s live production, blending theatricality, gothic grandeur, and cutting-edge stagecraft into a fully immersive concert experience.

Designed by Tobias Rylander in collaboration with Forge, the stage draws from both brutalist architecture and gothic symbolism, fusing sacred imagery with modern design. Drawing inspiration from brutalist cathedrals across Europe, the set evokes both the reverence of a church and the intensity of a rock coliseum.

Central to the visual experience is the “Grucifix” — a massive reinterpretation of the band’s iconic cross logo. Suspended above the stage, the structure doubles as a dramatic lighting rig, bathing the band in an ethereal glow. Surrounding it, sculptural facades and vertical lighting elements mirror the towering interiors of historic cathedrals.

The lighting itself is rich with retro-rock references, nodding to the classic live aesthetics of bands like QUEEN and VAN HALEN. For the first time, the show incorporates full-scale video production, helmed by Rylander and video director Amir Chamdin, with content developed by Green Wall Designs. The result is a live show that transcends its physical environment, unfolding as a cinematic, multimedia event.

True to GHOST’s reputation for dramatic performance, the stage is as much a character as the musicians themselves. Featuring elevated platforms, mechanical lifts, and hidden entrances, it’s been built to enable theatrical reveals and narrative-driven transitions. Described as a “living, breathing cathedral of performance,” the Skeletour redefines what fans can expect from the band’s concerts.

Rylander, known for his work with global icons like Beyoncé, The 1975, Childish Gambino, FKA Twigs, and more, makes his debut collaboration with GHOST on this tour. His creative vision elevates the band’s already ambitious stage show into new artistic territory.

The European leg of the Skeletour began in Manchester on April 15 and wrapped May 24 in Oslo. The North American leg kicked off July 9 in Baltimore and will conclude August 16 in Houston, Texas.

GHOST’s momentum hasn’t been limited to the stage. Their new album Skeletá made a historic debut at No. 1 on the Billboard 200, selling 86,000 equivalent album units in its first week. An overwhelming 89% of those were traditional album sales, with vinyl alone making up over 44,000 units — making Skeletá the first hard rock album to top the chart since AC/DC’s Power Up in 2020.

The album’s lead single, “Satanized,” introduced fans to GHOST’s newest incarnation: Papa V Perpetua. Continuing the band’s tradition of evolving personas, this character leads GHOST into its 2025 cycle. Previous iterations of Forge’s stage persona included three versions of Papa Emeritus, each replaced by the next, before transitioning to Cardinal Copia ahead of 2018’s Prequelle. Papa Emeritus IV was introduced at the close of that tour and fronted the band’s Impera era (2022).

Now, with Skeletá, a bold new visual production, and their biggest tour yet underway, GHOST is poised to push their musical mythology further than ever before.

Swedish heavy metal outfit AVATAR — made up of vocalist Johannes Eckerström, guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin, and drummer John Alfredsson — has dropped the official video for their latest single, “In The Airwaves.” The track follows May’s “Captain Goat” and marks another bold step toward their highly anticipated tenth studio album.

The video for “In The Airwaves” was directed by the band’s longtime visual collaborator Johan Carlén, a filmmaker and photographer based in Gothenburg, Sweden.

“AVATAR is defined by the challenges we put in front of ourselves. We always push for more and look for new angles,” the band commented in a statement. “In this ever-ongoing pursuit for the next great thing, we return to one of the most important aspects of metal: Speed.”

They added, “This is the fastest song we have done in what seems to be an eternity, and it feels good to push the engine to the max again. In a way, it feels like a return to something. Enjoy our rage.”

In an interview with Nic and Big J from Boise’s 100.3 The X Rocks, Eckerström shared insights into the band’s upcoming album, due out later this year.

“It’s our tenth album. That’s a high number,” Eckerström noted. “I don’t think many bands would phone it in at this point, but there’s a risk of taking things for granted. The further you go, the harder it can be to find a reason — why is this important to us right now? What do we want to put on there that we are really passionate about right here, right now? And I think we nailed that.”

Eckerström also teased the album’s experimental spirit. “There are all these things we haven’t done before. I get to pretend I’m Elton John — I’ve been playing a bit of piano. But now I get to do it while drums are being played, so I feel I’m in the band — finally, after all these years,” he joked. “We worked with outside musicians, did orchestral things… I don’t think it’s a prog album, really, but it has some of our most clearly progressive parts ever.”

He described a dreamlike, intuitive creative process: “An ethos I had for a while… was just trust what’s beautiful. Let the subconscious speak. Once you revisit it, it’s very likely to mean exactly what it needed to. There’s a surrealness to it, a dream factor.”

Despite the introspection, Eckerström stressed that the band never strays from its core mission: “It’s between 40 and 45 minutes of kick-ass heavy metal, always with ambition — forever and ever — when it’s AVATAR, it’s songs that you haven’t heard yet.”

Speaking to Detroit’s WRIF last month, Eckerström explained the duality behind “Captain Goat,” describing AVATAR’s unique blend of theatricality and emotional exploration: “We really intend to be, first and foremost, a good time. But at the same time, the writing comes from the concept of finding dark rooms in your soul… and kind of airing it out.”

Asked why “Captain Goat” was chosen as the first single, he responded: “It relates poorly to the whole album because AVATAR doesn’t write the same song twice — that’s by design. But this one stood out. Even in the demo stage, people got excited. It’s a very direct song.”

He went on to describe how it came to life: “While writing, we use drum machines and work in our own corners. Rehearsing is when we really feel the song come alive. Every step of the way, there was something about this track. It stands out, but it’s still built from the same blocks we always use for our heavy metal.”

While the band hasn’t revealed the title of the upcoming album, Eckerström hinted at its thematic depth: “It’s a beautiful title. It really ties it together. It invokes mystique and tempts you to break taboos. It lures you into a forbidden place… When you see the title, you’re gonna go, like, ‘Ah.’”

AVATAR will launch a U.S. headlining tour this fall, supported by ALIEN WEAPONRY and SPIRITWORLD. They’ll also be joining IRON MAIDEN and METALLICA on select dates, and are set to perform their biggest show to date in Mexico City.

In a recent conversation with Riff X’s Metal XS, Saxon vocalist Biff Byford confirmed that work has already begun on the follow-up to the band’s 24th studio release, Hell, Fire And Damnation, which was released in January 2024 via Silver Lining Music.

“ Well, we’ve started writing the next album. I’m doing lyrics now,” Byford revealed. “And I’ve got a lot of ideas from the guitarist [Doug Scarratt], [drummer] Nigel [Glockler] as well, and from Nibbs [bassist Timothy Carter]. So, yeah, I’ve got quite a lot of ideas, which I’m compiling at home in my studio. So I think we’re maybe looking — fingers crossed — we’re looking at a new album in autumn next year, September/October.”

Back in April, Byford also spoke to The Dark Melody about the early progress: “We’ve been writing for about six or seven weeks now, off and on. So yeah, we’re coming in with some ideas and I’ve got some ideas for songs, for titles. And, yeah, it’s coming along.”

He added, “It will be out next year, I think. We’re probably gonna start recording in November, when we finish touring. We’ll probably go in and record the drums and bass and the basic guitars and some guide vocals then. So, yeah, we’re pretty much on it. We’re working towards the new album. It’s going well.”

Meanwhile, Saxon recently announced the cancellation of 10 summer shows and festival appearances as Byford undergoes an emergency medical procedure. This comes following his prior health challenges — including a procedure last August to treat atrial flutter and a heart attack in 2019 that required triple bypass surgery.

Reflecting on Hell, Fire And Damnation, Saxon’s first record with guitarist Brian Tatler (of Diamond Head fame), Byford told FaceCulture in February: “I think it’s been a natural progression with our following and the fans with our music. Brian coming into the band added a little bit of a different dynamic to the music writing. So I think that was for a good thing. I think the new album, ‘Hellfire’, has been voted ‘Album Of The Year’ on quite a lot of sites and things, so obviously we struck a little bit of good scene with the album, a good flow. So hopefully the next one will be just as good, if not better… Well, it can’t always be better, but let’s hope. I mean, ‘Hellfire’ is gonna be hard to beat. That’s a pretty perfect album, I think.”

The album was co-produced by Byford and Andy Sneap (Judas Priest, Exodus, Accept), with Sneap also handling mixing and mastering duties. According to Byford, it was one of Sneap’s best efforts in terms of sound.

“I think this album’s one of the best he’s done sound-wise, and he’s done a lot of albums,” Biff said. “It has a really raw, vibrant sound… if you compress the total time making this album, it was four weeks tops… you can hear everything brilliantly, nothing’s overcomplicated, nothing’s over compressed. The guitar sounds are fucking immense, they’re just great, raw guitar sounds. And we haven’t done a lot of overdubbing on there; it’s just playing. I really, really like it.”

The lineup shift that brought in Brian Tatler followed longtime guitarist Paul Quinn’s decision in early 2023 to step back from touring. That decision led to the cancellation of Saxon’s planned South American tour and their appearance on the Monsters Of Rock cruise. While Tatler continues to perform live with Saxon, he remains a member of Diamond Head.

Tatler now joins Scarratt, Glockler, Carter, and Byford on stage, maintaining Saxon’s high-energy live presence. Of the original lineup, only Byford and Quinn remain in the current roster.

Formed in South Yorkshire, England, Saxon has sold around 23 million albums worldwide and helped define British heavy metal with classic anthems like “Denim And Leather,” “Princess Of The Night,” “Wheels Of Steel,” and “Power And Glory.”

Dream Theater keyboardist Jordan Rudess recently spoke with The Keyboard Chronicles about the strong reception to the band’s new album, Parasomnia, which dropped in February. Though they’ve only performed two tracks live so far — “Night Terror” and “Midnight Messiah” — Rudess noted, “They have a lot of power. There’s a lot of energy in those songs, and you can feel it. It’s very tangible.”

Reflecting on the band’s recent sold-out 40th-anniversary tour, which wrapped at New York’s Radio City Music Hall, Rudess called it “incredible” that after four decades, Dream Theater is experiencing “one of the best years” of their career.

The momentum continues this fall with another U.S. run. Kicking off September 5 in Reading, PA and closing October 25 in Long Island, NY, the “Evening With Dream Theater” tour will feature the full Parasomnia album live, along with classic cuts and fan favorites.

Parasomnia marks the return of founding drummer Mike Portnoy, reuniting the core lineup from their early years. The album was produced by guitarist John Petrucci and mixed by Andy Sneap, with artwork by longtime collaborator Hugh Syme.

Dream Theater may be 40 years in, but they’re showing no signs of slowing down.

Appearing on the July 17 episode of Trunk Nation With Eddie Trunk on SiriusXM, ANTHRAX bassist Frank Bello confirmed that the band’s long-awaited new album — the follow-up to 2016’s For All Kings — has officially wrapped recording and is heading into the mixing stage.

“The record’s done. It’s going into mixing now,” Bello announced (via BLABBERMOUTH.NET). “Look, I know it’s a long time coming, and thank you to the fans that are listening right now, and I know it’s been a while. But between COVID, side projects, everything, we’ve all had different lives, and everybody’s very much into what we’re doing now with ANTHRAX. So, you’ll be hearing something before the end of the year, for sure.”

When host Eddie Trunk asked if fans could expect at least a new single before 2025 wraps, Bello replied: “That is the plan, Eddie. That is the plan. ‘Cause nobody puts out records right away — just a song and then a song, and you tease it out.”

On the sonic direction of the new material, Bello teased evolution and intensity: “I can’t say the title [of the album yet], but what I can say is people who have liked the last two records… I think we took another step from that. And this isn’t just a salesmanship thing. I am, as a fan, really proud of the band stepping up like this — musicianship, songwriting. Joey’s vocals — I’m not even joking when I say this about Belladonna, it’s one of the best singing he’s done on an ANTHRAX record. I’m not even joking with that.”

He added: “We made sure the melodies, everything is right with this record. We’re ready to go. It’s been a long time, but I think we have the goods. I’m really proud of it, and I can’t wait to play this stuff. It’s gonna be a little challenging, definitely, but I’m looking forward to getting out there again.”

Looking ahead to the tour cycle, Bello confirmed that 2026 is already set aside for ANTHRAX to hit the road in support of the record. “That is carved out, from my manager Mike Monterulo, straight from his mouth. We’re concentrating specifically on ANTHRAX. Look, there may be shows here and there for other projects and that’s fine when we’re off, but it’s absolutely focused on ANTHRAX and the record and getting it out there and really making people hear the stuff.”

And there may be more on the horizon even sooner. “There’s things being booked now,” Bello revealed. “There might be even stuff being booked for this year, at the end of the year. We don’t know. The contract’s being signed right now. We’ll see. I can’t tell you right now, Eddie, ‘cause it’s not signed, but you’ll love the tour we’re talking about doing later this year, if that works out… It’ll be fun. I hope it works out… We are actually working on this and we are hungry.”

Recording for the new album resumed last November at Dave Grohl’s Studio 606 in California, with Jay Ruston returning as producer after previously helming both For All Kings and 2011’s Worship Music.

Earlier this month, vocalist Joey Belladonna confirmed to Chicago’s Rebel Radio 92.5 FM that he had completed recording his parts. “I’m really happy with what I’ve done,” he said. “And the band sounds great on the record… Obviously, things are going in the right form and the timing is right. So, all good. I’m happy. You’re gonna love it.”

Guitarist Scott Ian echoed the excitement last September, telling Guitar World the band had taken a slower, more deliberate approach this time around. “We’re taking our time and not rushing anything because we want it to be exactly how we want it,” he explained. “We’re not in a place in our lives anymore where we could have dropped everything… We have families and commitments now, so it can’t work that way anymore and hasn’t in a long time.”

As for the sound, Ian promised big riffs and big hooks. “There are crushing riffs and great, hooky choruses. Even some of the thrashiest songs have great choruses… We want this record to punch people in the face.”

Drummer Charlie Benante added in an August 2024 Metal Hammer interview that the new album includes “a song which has the same kind of epic feel as ‘In The End’ and ‘Blood Eagle Wings’… And there are three songs that don’t sound like anything we’ve done before.”

Bello had spoken earlier in 2024 about the delay between albums, emphasizing the band’s high standards: “We wanna make sure it’s right, and it is. We are very confident… I think we stepped it up a little bit, the heaviness… there’s stuff that we’ve never done before.”

In another 2023 interview, Ian described the songs as “very riff-centric,” noting, “It’s riffs with all capital letters. There’s a lot of faster uptempo material.” He teased one track in particular as “the fastest thing we’ve ever done,” alongside another inspired by classics like “Gung-Ho” and “Caught In A Mosh.”

Benante also pointed to the pandemic as a key reason for the extended timeline. “If we didn’t get hit with this whole global pandemic thing, [the album] would have been out probably two years ago, three years ago,” he told Metal Rules. But the added time allowed the band to develop a mix of older and newer material.

With over 40 years behind them, ANTHRAX continues to evolve while honoring their thrash legacy. Formed in 1981, the band has 11 studio albums, multiple Grammy nominations, and countless iconic shows to their name — including Madison Square Garden and Yankee Stadium with the “Big Four.” Now, they’re ready to unleash their next chapter.

It’s here again, you know what we are talking about, that time when you have to warn your neighbours that you are going to be playing a new album released by one of those bands from the Italian acid-doom/scuzz scene, another one of those many Italian bands that have traded in their Sabbathian robes for a seat at the altar of Electric Wizard. The band in question this time is Milan’s Witchsnake a duo consisting of Al (guitars, bass and vocals) and Joe (drums), a duo who have already caused our neighbours collective ears to bleed with their previous releases “Witchsnake” and “Deathcult of the Snake“. The band have just released their third album “Satanas” an album consisting of eight tracks the band have dubbed as “unholy hymns carved in smoke and sulfur” further backing this statement up by describing the album as “not a journey, but a collapse, a slow, suffocating crawl through burning swamps, shattered altars, and psilocybin-drenched visions of damnation“. Sounds good to us!

Opening track “Hell Breaks Loose” is what Motorhead might have sounded like if they had chosen hallucinogens over amphetamines, it’s breathy smoked too many cigarettes, drank too much Jack Daniels Lemmy-esque vocals are surrounded by rolling filth drenched refrains and powerhouse drumming offset with occasional bursts of Hendrixian flavoured soloing, it’s a killer start but things get even better as the album progresses. Next we have “Dethroned“, the songs low slung gritty riffage, interspersed with piercing distortion drenched guitar motifs and dissonant solos, is underpinned with solid thunderous drumming over which its vocals are intoned rather than sang, the songs boasts a groove that sits squarely in low’n’slow stoner doom territory but it is a pungent form of stoner doom that reeks of disease and decay. “Witchburner” follows and jams a more stoner rock-like dynamic and also features a vocal that bears a semblance of melody but don’t start thinking that this song is any less pungent than its predecessor just because there is an element of flow in its vocals as the filthiness here is just as tangible. “Black Blood Bayou” is a demented travelogue that finds our hosts describing a place where you can witness “larvae crawling into the cracked skull” and where you can feel “the heat of death” against a backdrop of putrid thrumming proto-doom. “Ashes To Ashes, Fuck To Fuck” is a rhythmically hard driven instrumental packed to the rafters with some of the dirtiest guitar work you will witness this side of  the rapture and is followed by title track “Satanas” a song that is akin to listening to Lemmy telling a bedtime story while an avalanche of giant boulders tumbles down a mountainside. Penultimate number “Demona” does seem somewhat more structured than much of what has gone before, what with its rolling refrains, punchy drumming and swirling solo’s, but it’s really hard to tell if something is structured while your ears are bleeding. Final track “Acid Hell” is a perfectly titled opus that comes out of the gate swinging and does not stop until your brain is just a jellied mush, filthy guitar solos accompanied by barely audible vocal rumblings and forceful percussion coming at you in face-melting wave upon wave of voluptuous volume.

© 2025 Frazer Jones

It’s here again, you know what we are talking about, that time when you have to warn your neighbours that you are going to be playing a new album released by one of those bands from the Italian acid-doom/scuzz scene, another one of those many Italian bands that have traded in their Sabbathian robes for a seat at the altar of Electric Wizard. The band in question this time is Milan’s Witchsnake a duo consisting of Al (guitars, bass and vocals) and Joe (drums), a duo who have already caused our neighbours collective ears to bleed with their previous releases “Witchsnake” and “Deathcult of the Snake“. The band have just released their third album “Satanas” an album consisting of eight tracks the band have dubbed as “unholy hymns carved in smoke and sulfur” further backing this statement up by describing the album as “not a journey, but a collapse, a slow, suffocating crawl through burning swamps, shattered altars, and psilocybin-drenched visions of damnation“. Sounds good to us!

Opening track “Hell Breaks Loose” is what Motorhead might have sounded like if they had chosen hallucinogens over amphetamines, it’s breathy smoked too many cigarettes, drank too much Jack Daniels Lemmy-esque vocals are surrounded by rolling filth drenched refrains and powerhouse drumming offset with occasional bursts of Hendrixian flavoured soloing, it’s a killer start but things get even better as the album progresses. Next we have “Dethroned“, the songs low slung gritty riffage, interspersed with piercing distortion drenched guitar motifs and dissonant solos, is underpinned with solid thunderous drumming over which its vocals are intoned rather than sang, the songs boasts a groove that sits squarely in low’n’slow stoner doom territory but it is a pungent form of stoner doom that reeks of disease and decay. “Witchburner” follows and jams a more stoner rock-like dynamic and also features a vocal that bears a semblance of melody but don’t start thinking that this song is any less pungent than its predecessor just because there is an element of flow in its vocals as the filthiness here is just as tangible. “Black Blood Bayou” is a demented travelogue that finds our hosts describing a place where you can witness “larvae crawling into the cracked skull” and where you can feel “the heat of death” against a backdrop of putrid thrumming proto-doom. “Ashes To Ashes, Fuck To Fuck” is a rhythmically hard driven instrumental packed to the rafters with some of the dirtiest guitar work you will witness this side of  the rapture and is followed by title track “Satanas” a song that is akin to listening to Lemmy telling a bedtime story while an avalanche of giant boulders tumbles down a mountainside. Penultimate number “Demona” does seem somewhat more structured than much of what has gone before, what with its rolling refrains, punchy drumming and swirling solo’s, but it’s really hard to tell if something is structured while your ears are bleeding. Final track “Acid Hell” is a perfectly titled opus that comes out of the gate swinging and does not stop until your brain is just a jellied mush, filthy guitar solos accompanied by barely audible vocal rumblings and forceful percussion coming at you in face-melting wave upon wave of voluptuous volume.

© 2025 Frazer Jones