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 Italianacid-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’sWitchsnake 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.
Witchsnake have surpassed themselves with “Satanas“, those who thought this Italian duo could not possibly get any more filthier, acidic or pungent and putrid than they had done on their previous output are in for a rude awakening when this release assails their auditory canals. Play “Satanas” to your like -minded pals and you will have friends for life, play it to your neighbours and they will move home.
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 Italianacid-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’sWitchsnake 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.
Witchsnake have surpassed themselves with “Satanas“, those who thought this Italian duo could not possibly get any more filthier, acidic or pungent and putrid than they had done on their previous output are in for a rude awakening when this release assails their auditory canals. Play “Satanas” to your like -minded pals and you will have friends for life, play it to your neighbours and they will move home.
Funny how hearing hearing a voice can sometimes place an image in the minds eye that stays there even after seeing pictures or even meeting the owner of that voice and this is the case with Diamond Neal, singer with Canadian outfit BirdDog. In Desert Psychlist’s collective mind Neal’s voice conjures up visions of a bearded white haired dude wearing a weather beaten baseball cap, dishevelled clothes and cowboy boots, the sort of man you could imagine running a remote gas station or being one of those cantankerous cooks you often see in old westerns. Of course Neal is nothing like the picture we have painted in our heads, in fact he is the polar opposite, but it is his raw lived in ones that has placed those aforementioned images in our heads, a voice that is a little bit Earthride era Dave Sherman and a lot Left Lane Cruiser’s Joe Evans IV. Neal is joined in BirdDog by Ray Dickman (guitar) and Eric Dickman (bass), who some may remember from the band Electric Ruin, and drummer Andrew Barr and together they create a noise that is a blend of hoary stoner/hard rock, southern tinted blues boogie and thrumming proto metal, a sound you can check out for yourselves by taking their newly released self- titled studio debut “BirdDog” for a spin.
“Out Of The City” kicks things off with choppy slightly distorted guitar textures supported by low booming bass lines and solid unfussy drumming over which Neal warbles throatily on the trials and tribulations of urban living in a voice that sounds like its owner has indulged in too much of just about everything, The song features a scorching guitar solo from R, Dickman followed by another burst of vocal throatiness from Neal but then just stops dead, no fade out or lingering notes just an abrupt and unexpected full stop. We mentioned Left Lane Cruiser in the opening part of this review and if you stripped back next number “Medicine” to just voice, guitar and drums then what you would be left with would easily fit on one of that bands early albums, E. Dickman introduces next song “Lone Survivor” with a deliciously gnarly bass refrain which is then joined by some thunderous drum work from Barr around which R. Dickman layers siren like effects before adding his weight to the main riff. The songs groove settles down into something approaching proto-doomic when Neal’s distinctive vocals join the fray but its is a doom drenched in gut rot whiskey and hand rolled cigarettes, or it at least feels that way! “Feel Like A Bug” finds BirdDog staying in doomic territories but with an element of stoner/hard rock grittiness thrown in while “Nervosis” takes that stoner/hard rock grittiness and mixes it with some down home bluesy boogie over which Neal waxes lyrical about “smoking lots of cigarettes” while wishing he were “a better man“. Final song “Know Who You Are” is a rip roaring strident rocker with an ear catching, if somewhat abrasive, vocal melody, that brings to a close a thoroughly enjoyable release that pretends to be nothing other than just what it is.
Ok BirdDog are not trying to re-invent any wheels with their debut but not every release has to be about pushing boundaries or breaking through glass ceilings, we tend to dissect and examine music far too much these days and we forget that music is supposed to be an enjoyable pastime. Of course there is a place for albums and EP’s that impart messages, that challenge and extend musical frontiers but BirdDog’s studio debut is not one of them, this is a release that’s more about the groove than the gravitas and there is ALWAYS a place for that!
Funny how hearing hearing a voice can sometimes place an image in the minds eye that stays there even after seeing pictures or even meeting the owner of that voice and this is the case with Diamond Neal, singer with Canadian outfit BirdDog. In Desert Psychlist’s collective mind Neal’s voice conjures up visions of a bearded white haired dude wearing a weather beaten baseball cap, dishevelled clothes and cowboy boots, the sort of man you could imagine running a remote gas station or being one of those cantankerous cooks you often see in old westerns. Of course Neal is nothing like the picture we have painted in our heads, in fact he is the polar opposite, but it is his raw lived in ones that has placed those aforementioned images in our heads, a voice that is a little bit Earthride era Dave Sherman and a lot Left Lane Cruiser’s Joe Evans IV. Neal is joined in BirdDog by Ray Dickman (guitar) and Eric Dickman (bass), who some may remember from the band Electric Ruin, and drummer Andrew Barr and together they create a noise that is a blend of hoary stoner/hard rock, southern tinted blues boogie and thrumming proto metal, a sound you can check out for yourselves by taking their newly released self- titled studio debut “BirdDog” for a spin.
“Out Of The City” kicks things off with choppy slightly distorted guitar textures supported by low booming bass lines and solid unfussy drumming over which Neal warbles throatily on the trials and tribulations of urban living in a voice that sounds like its owner has indulged in too much of just about everything, The song features a scorching guitar solo from R, Dickman followed by another burst of vocal throatiness from Neal but then just stops dead, no fade out or lingering notes just an abrupt and unexpected full stop. We mentioned Left Lane Cruiser in the opening part of this review and if you stripped back next number “Medicine” to just voice, guitar and drums then what you would be left with would easily fit on one of that bands early albums, E. Dickman introduces next song “Lone Survivor” with a deliciously gnarly bass refrain which is then joined by some thunderous drum work from Barr around which R. Dickman layers siren like effects before adding his weight to the main riff. The songs groove settles down into something approaching proto-doomic when Neal’s distinctive vocals join the fray but its is a doom drenched in gut rot whiskey and hand rolled cigarettes, or it at least feels that way! “Feel Like A Bug” finds BirdDog staying in doomic territories but with an element of stoner/hard rock grittiness thrown in while “Nervosis” takes that stoner/hard rock grittiness and mixes it with some down home bluesy boogie over which Neal waxes lyrical about “smoking lots of cigarettes” while wishing he were “a better man“. Final song “Know Who You Are” is a rip roaring strident rocker with an ear catching, if somewhat abrasive, vocal melody, that brings to a close a thoroughly enjoyable release that pretends to be nothing other than just what it is.
Ok BirdDog are not trying to re-invent any wheels with their debut but not every release has to be about pushing boundaries or breaking through glass ceilings, we tend to dissect and examine music far too much these days and we forget that music is supposed to be an enjoyable pastime. Of course there is a place for albums and EP’s that impart messages, that challenge and extend musical frontiers but BirdDog’s studio debut is not one of them, this is a release that’s more about the groove than the gravitas and there is ALWAYS a place for that!
Austria’sLazer, Tanja “Aunty” Peinsipp (vocals); Lukas Schmidt (lead guitar); Lukas Klingseisen (rhythm guitar); Moritz Holy ( bass/backing vocals) and Dale St. Jules (drums), jam grooves that sit mostly at the lithe and languid end of the psychedelic rock spectrum but that have a tendency to shift from time to time into heavier and gnarlier territories, the band one minute gently massaging their listeners ears with lilting guitar arpeggios, shimmering percussion and funky bass passages and the next tearing those same ears to shreds with crushing refrains, thunderous drumming and growling low end. What is even more impressive is that those see-sawing dynamics are also mirrored in the bands vocals which can sway between honeyed jazzy bluesiness and demonic sludgy harshness. The band have just released “Live At Beardy Mountain” a live in the studio recording that serves as the perfect listening material for those who like psychedelic rock that occasionally bares its teeth.
Opening number “Underwater” begins with liquid-like eastern guitar motifs accompanied by a low key vocal, slowly those guitars and vocals are joined by the bass and drums in a groove that wends and winds between loose and lysergic and tight and blustering with the vocalist accommodating those shifts with tones that are bluesy and soulful in the songs more languid passages and throat shredding in the songs more intense and heavier sections. Next song “Can’t Run Away” sways between being seductive and moody and full on and feisty, vocalist Peinsipp once again switching her vocals between lush and lethal over a musical backdrop that follows a similar fey and fractious blueprint. Third track “Can’t Speak” is at its root bluesy and lysergic but because of its occasional descents into more doomic waters, and of course the vocalists penchant for sliding into harsher vocal territories, the song feels a whole lot heavier than it actually is. Final song “Go On” starts off quite quaint and dare we say “pretty” but as we have already found out “pretty” is not Lazer’s default setting and it’s not long before Peinsipp starts mixing up her ethereal tones with elements of hardcore harshness, Schmidt and Klingseisen start injecting some crunch and squeal into their guitar tones, St Jules’ drums begin to get a little more thunderous and Holy’s bass lines take on an air of growliness, its powerful stuff, a unique mix of melody and gnarliness we at Desert Psychlist are not sure many bands other than Lazer could pull off!
Swooning vocals swaying over sharded chord progressions and single notes that hang in the air for an age backed up by swinging jazz-like bass and drum grooves are only part of what you get to experience with Lazer’s “Live At Beardy Mountain” what else you get is thick reverberating refrains, basement level low end and thunderous rhythms topped off with larynx ruining vocal harshness, it’s sometimes like listening to two different bands at once but somehow it works!
Austria’sLazer, Tanja “Aunty” Peinsipp (vocals); Lukas Schmidt (lead guitar); Lukas Klingseisen (rhythm guitar); Moritz Holy ( bass/backing vocals) and Dale St. Jules (drums), jam grooves that sit mostly at the lithe and languid end of the psychedelic rock spectrum but that have a tendency to shift from time to time into heavier and gnarlier territories, the band one minute gently massaging their listeners ears with lilting guitar arpeggios, shimmering percussion and funky bass passages and the next tearing those same ears to shreds with crushing refrains, thunderous drumming and growling low end. What is even more impressive is that those see-sawing dynamics are also mirrored in the bands vocals which can sway between honeyed jazzy bluesiness and demonic sludgy harshness. The band have just released “Live At Beardy Mountain” a live in the studio recording that serves as the perfect listening material for those who like psychedelic rock that occasionally bares its teeth.
Opening number “Underwater” begins with liquid-like eastern guitar motifs accompanied by a low key vocal, slowly those guitars and vocals are joined by the bass and drums in a groove that wends and winds between loose and lysergic and tight and blustering with the vocalist accommodating those shifts with tones that are bluesy and soulful in the songs more languid passages and throat shredding in the songs more intense and heavier sections. Next song “Can’t Run Away” sways between being seductive and moody and full on and feisty, vocalist Peinsipp once again switching her vocals between lush and lethal over a musical backdrop that follows a similar fey and fractious blueprint. Third track “Can’t Speak” is at its root bluesy and lysergic but because of its occasional descents into more doomic waters, and of course the vocalists penchant for sliding into harsher vocal territories, the song feels a whole lot heavier than it actually is. Final song “Go On” starts off quite quaint and dare we say “pretty” but as we have already found out “pretty” is not Lazer’s default setting and it’s not long before Peinsipp starts mixing up her ethereal tones with elements of hardcore harshness, Schmidt and Klingseisen start injecting some crunch and squeal into their guitar tones, St Jules’ drums begin to get a little more thunderous and Holy’s bass lines take on an air of growliness, its powerful stuff, a unique mix of melody and gnarliness we at Desert Psychlist are not sure many bands other than Lazer could pull off!
Swooning vocals swaying over sharded chord progressions and single notes that hang in the air for an age backed up by swinging jazz-like bass and drum grooves are only part of what you get to experience with Lazer’s “Live At Beardy Mountain” what else you get is thick reverberating refrains, basement level low end and thunderous rhythms topped off with larynx ruining vocal harshness, it’s sometimes like listening to two different bands at once but somehow it works!
Metallica is a titan of the music world. For over four decades, their aggressive riffs, complex song structures, and powerful lyrics have defined metal for generations. Their influence is so immense that countless artists have paid tribute by covering their legendary songs. This act of homage is the ultimate sign of respect in the music industry. It shows how deeply the work of James Hetfield, Lars Ulrich, Kirk Hammett, and their bassists has impacted musicians across all genres.
This article dives into the best of these tributes. We will rank 12 of the most iconic and interesting Metallica covers ever recorded. From the cello-driven arrangements of Apocalyptica to the hard rock power of Disturbed, we explore how different bands have put their unique spin on these timeless classics. This list celebrates both the original genius of Metallica and the creative spirit of the artists who dared to reinterpret their masterpieces.
The Ultimate Ranking of Metallica Covers
Here is our definitive list of 12 incredible bands that took on the challenge of covering Metallica.
12. Postmodern Jukebox – Nothing Else Matters
Kicking off our list is a truly unique interpretation. Postmodern Jukebox is famous for transforming modern pop and rock hits into vintage jazz, swing, and ragtime arrangements. Their version of “Nothing Else Matters” is a stunning reinvention that strips the song of all its metal elements. Instead, they present it as a smoky, 1920s-era torch song. The heavy guitars are replaced by a gentle upright bass and a soulful piano, creating a completely different mood.
This cover succeeds by highlighting the raw, emotional core of the Metallica ballad. Without the distortion and power chords, the beautiful melody and heartfelt lyrics shine through in a new light. It proves that a great song can transcend its original genre. While it might not be for metal purists, the sheer creativity and musicality of this version from Postmodern Jukebox earn it a place on our list. It’s a testament to the songwriting prowess of Metallica that their work can be so effectively reimagined.
11. Dark Tranquility – My Friend of Misery
The Swedish melodic death metal pioneers Dark Tranquility took on a deep cut from The Black Album. Their cover of “My Friend of Misery” appeared on the tribute compilation “A-Tribute to the Four Horsemen”. The band infused the track with their signature sound, transforming the brooding original into something far more aggressive and intense. Mikael Stanne’s harsh vocals replace Hetfield’s clean delivery, adding a layer of ferocity to the song’s dark themes.
Dark Tranquility also injects their trademark melodic guitar harmonies, which complement the original riffs perfectly. They manage to stay true to the song’s gloomy atmosphere while elevating its heaviness. The musicianship is top-notch, as they navigate the song’s complex structure with precision and power. This cover is a fantastic example of a band paying respect to Metallica while filtering the music through their own distinct style. It’s a powerful and well-executed tribute that fans of both melodic death metal and Metallica can appreciate.
10. Shinedown – Nothing Else Matters
American rock bandShinedown delivered a powerful and emotionally charged version of “Nothing Else Matters” for the film “Jungle Cruise”. Their take on the iconic ballad stays true to the original’s spirit but amplifies its cinematic qualities. Frontman Brent Smith’s soaring vocals bring a different kind of power to the track, creating a grand, arena-rock feel. The band adds orchestral elements that swell and build, turning the song into an epic, moving piece of music.
Unlike the original, which builds from a quiet start, Shinedown’s version feels massive from the beginning. The production is polished and modern, designed to have a huge impact. This cover demonstrates the universal appeal of Metallica’s songwriting, proving that “Nothing Else Matters” works just as well as a modern rock anthem as it does a metal ballad. It’s a respectful and well-crafted cover that introduces the classic track to a new audience while giving existing fans a fresh, powerful perspective on a beloved song.
9. Steve ’n’ Seagulls – Seek and Destroy
Coming in at number nine is a truly brilliant and unexpected take on a classic. The Finnish band Steve ’n’ Seagulls has become famous for their bluegrass reinterpretations of rock and metal anthems. Their version of “Seek and Destroy”, from Metallica’s thrashy debut “Kill ‘Em All”, is arguably their masterpiece. They completely strip away the distortion and aggression, replacing it with banjos, mandolins, an accordion, and even a washtub bass. This incredible transformation turns the headbanging anthem into a joyous, foot-stomping hoedown that you can’t help but smile at. The band’s rustic look and infectious energy make the performance even more entertaining.
What makes this cover so successful is that it reveals the brilliant songwriting hidden beneath the original’s raw power. The iconic riff is so strong and catchy that it translates perfectly to folk instruments, proving the melodic genius of early Metallica. The cover went viral for a reason; it’s a masterclass in creative reinterpretation. Instead of sheer aggression, Steve ’n’ Seagulls deliver a performance full of character and charm, all while maintaining the song’s driving rhythm and rebellious spirit. It’s a fun, clever, and expertly performed tribute that celebrates the source material in a completely new light.
8. Volbeat – Don’t Tread On Me
Danish rockers Volbeat contributed a fantastic cover of “Don’t Tread On Me” to the massive tribute album, “The Metallica Blacklist”. Known for their unique blend of rock and roll, heavy metal, and rockabilly, Volbeat was the perfect band to tackle this track. They lean into the song’s stomping, groovy rhythm and inject their signature “Elvis metal” swagger. Michael Poulsen’s distinctive vocals give the track a classic rock and roll vibe that contrasts perfectly with the heavy guitar work.
Their version is fun, energetic, and incredibly catchy. They keep the core riff intact but add their own rhythmic bounce and flair, making it sound like it could have been a Volbeat original. This cover is a celebration, transforming the patriotic anthem into a joyous rock and roll party. It highlights the versatility of Metallica‘s music and shows how their riffs can serve as a foundation for completely different styles. It’s a standout track on an album full of great covers.
7. Children of Bodom – One
The late, great Alexi Laiho and his band Children of Bodom were masters of the cover song, known for injecting their virtuosic style into metal classics. They took on the epic anti-war anthem “One” from Metallica’s album “…And Justice for All”. Their version is a thrilling display of technical skill, transforming the track into a blistering melodic death metal showcase. The band infuses the song with their signature neoclassical guitar shredding and prominent keyboard melodies, creating a completely new sonic texture.
Children of Bodom expertly navigate the song’s complex structure. They maintain the haunting, clean intro but enhance it with atmospheric keyboards before the metal onslaught begins. Laiho’s signature snarling vocals add a different kind of aggression to the song’s powerful lyrics. When the track reaches its famous fast-paced, thrashy conclusion, the band pushes the speed and intensity to an extreme level. This cover is a fantastic tribute, honoring the original’s composition while showcasing the incredible musicianship that made Children of Bodom legends in their own right.
6. Disturbed – Fade to Black
Disturbed is renowned for its powerful covers, and their take on the iconic Metallica power ballad “Fade to Black” is a standout example. The original song from the album “Ride the Lightning” is a masterpiece of dynamic shifts, moving from acoustic despair to full-throttle metal anguish. Disturbed leans into this emotional journey, using their signature sound to amplify the track’s inherent darkness. David Draiman’s dynamic vocal range is perfectly suited for the song, capturing the initial vulnerability before unleashing his immense power in the heavier sections.
This cover, featured on the tribute album “A Tribute to the Four Horsemen”, successfully modernizes the classic without losing its soul. The band’s signature downtuned, rhythmic power makes the transition from clean to distorted guitars feel even more impactful and crushing. They respectfully handle the song’s famous structure, building the tension masterfully toward the climactic guitar solo. It’s a fantastic interpretation that showcases Disturbed’s ability to channel raw emotion. Their style enhances the themes of desperation and anger, making this a heavy, passionate, and memorable tribute to a Metallica cornerstone.
5. Bullet for My Valentine – Welcome Home (Sanitarium)
Welsh metalcore giants Bullet for My Valentine offered their take on a Metallica classic for a Kerrang! tribute album. They covered the iconic “Welcome Home (Sanitarium)”, and it quickly became a fan favorite. The band brought their signature sound to the track, blending melodic hooks with aggressive metalcore intensity. Matt Tuck’s vocals expertly shift between clean singing and powerful screams, adding a modern dynamic that perfectly complements the song’s themes of inner turmoil.
Furthermore, they respected the original’s brilliant structure. The haunting, clean guitar intro is present, building tension before the heavy, chugging riff kicks in with immense power. They successfully captured the feeling of confinement and rage from the lyrics, with sharp, precise guitar work and a blistering solo. Ultimately, this cover works so well because it updates the sound for a new generation of metal fans. It honors the genius of Metallica while showcasing the talent of Bullet for My Valentine, making it a powerful and memorable tribute.
4. Machine Head – Battery
When Machine Head decides to cover a thrash metal anthem, you know it’s going to be heavy. Their version of “Battery”, the explosive opening track from “Master of Puppets”, is an absolute monster. Robb Flynn and his bandmates deliver a performance that is overflowing with aggression, speed, and precision. The cover appeared on a Kerrang! tribute album, and it stands as one of the most faithful yet powerful Metallica tributes ever recorded.
Machine Head doesn’t try to reinvent the song; instead, they focus on amplifying its raw thrash energy. The guitars are incredibly tight and heavy, and Dave McClain’s drumming is a thunderous assault that drives the song forward relentlessly. Robb Flynn’s vocals are pure rage, perfectly channeling the spirit of early Metallica. This cover is a love letter to thrash metal. It’s a testament to the enduring power of the genre and a nod from one of metal’s great bands to the masters who paved the way.
3. Rodrigo y Gabriela – Orion
This entry is a complete departure from the others, showcasing the sheer musical genius of Metallica. The acoustic duo Rodrigo y Gabriela covered the instrumental masterpiece “Orion” on their self-titled 2006 album. They transformed Cliff Burton’s iconic bass-driven epic into a breathtaking display of flamenco-style acoustic guitar virtuosity. Their version is a masterclass in rhythm, melody, and technical skill, proving that you don’t need distortion to be heavy.
Rodrigo Sanchez’s lightning-fast lead melodies and Gabriela Quintero’s percussive, rhythmic playing create a sound that is both intricate and immensely powerful. They beautifully interpret all the different sections of the song, from the soaring guitar harmonies to the famous bass interlude. This cover exposes the incredible compositional depth of “Orion”. It highlights that beneath the layers of metal, Metallica created a piece of music so strong it can be reinterpreted in a completely different genre and still retain all of its power and beauty. A truly stunning tribute.
2. Apocalyptica – One
No list of Metallica covers would be complete without the band that built their career on them. The Finnish cello-metal band Apocalyptica burst onto the scene with their 1996 album “Plays Metallica by Four Cellos”. While all their covers are incredible, their interpretation of the epic anti-war anthem “One” is arguably their finest moment. They transform the song into a haunting, dramatic, and powerful piece of classical music without losing any of its original intensity.
The cellos beautifully replicate every part of the song. They capture the sorrowful clean guitar intro, the chugging mid-section riffs, and the frantic, machine-gun-like ending. The dynamic range of the cellos allows Apocalyptica to express the song’s emotional journey from despair to rage in a way that is both unique and deeply moving. This cover is not just a novelty; it’s a brilliant re-contextualization that reveals the neo-classical heart of Metallica’s music. It’s a creative and powerful tribute that continues to captivate listeners decades later.
1. Motorhead – Whiplash
Topping our list is the perfect cover from the perfect band. The legendary Motorhead covered “Whiplash”, one of the fastest and most aggressive tracks from Metallica’s debut album, “Kill ‘Em All”. This version, recorded for the tribute album “Metallic Attack: The Ultimate Tribute”, is so fitting it feels like it could have been a Motorhead original. The song’s raw, punk-infused energy is a perfect match for the band’s signature “rock and roll” style.
The late, great Lemmy Kilmister, a major influence on Metallica himself, delivers the lyrics with his iconic gravelly voice, adding an extra layer of grit and authenticity. The music is a chaotic, high-octane blast of pure energy that captures the spirit of the song perfectly. This cover is special because it represents a full-circle moment: the idol covering the students. It deservedly won the Grammy Award for Best Metal Performance in 2005. For its raw power, historical significance, and sheer perfection, Motorhead’s version of “Whiplash” is the greatest Metallica cover of all time.
The Bottom Line
This ranking showcases the incredible versatility and timelessness of Metallica’s music. From the thundering thrash of Motorhead to the classical reinterpretations by Apocalyptica, each artist on this list brought their unique vision to these iconic songs. These covers are more than just simple copies; they are heartfelt tributes that highlight the profound and lasting impact Metallica has had on the entire music landscape. Their influence is so strong that their songs can be reshaped into almost any genre and still retain their power.
This list is just a small sample of the countless covers that exist, proving that the legacy of Metallica continues to grow. These tributes serve as a bridge between generations of fans, introducing new listeners to the masters of metal while giving longtime followers a fresh perspective. The music of Metallica will undoubtedly continue to inspire artists for decades to come, cementing their status not just as a band, but as a true musical institution.
