I had an interview with all 6 members of Old Corpse Road at Raven Records for The Dark Clouds Over Camden Festival 2026
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ANTHRAX Set To Reopen “Saint Vitus Bar” With Special New York Show
Anthrax will headline the grand reopening of Saint Vitus Bar on September 4, bringing the New York thrash institution back to life at its new Bushwick location, 428 Troutman Street.
The band has confirmed plans to record the entire performance, making the show a particularly significant night for fans of the venue and New York metal.
Anthrax says: “NEW YORK CITY. We’re honored to be performing at the grand re-opening of the legendary Saint Vitus Bar on September 4th. We’ll be filming the entire show, capturing every intimate moment. Bring the mosh and live forever with us in the history of New York Thrash. Tickets on sale tomorrow (Friday, August 28th).”
The Saint Vitus appearance comes just ahead of the release of Cursum Perficio, Anthrax’s 12th studio album and first full-length record in a decade. Megaforce Records will issue the album on September 18, following 2016’s For All Kings, which entered the Billboard 200 in the Top 10.
The band recently unveiled “Everybody’s Got A Plan,” the latest single from the album, along with a video assembled from footage captured during Anthrax’s European tour with Iron Maiden. Much of the material was filmed on July 7 in Lisbon, Portugal, at Estádio da Luz.
The current lineup features Scott Ian on guitar, Charlie Benante on drums, Frank Bello on bass, Joey Belladonna on vocals, and Jonathan Donais on guitar. The video combines stage footage and backstage scenes with vintage black-and-white boxing footage, reflecting the song’s knockout-themed lyrics: “Everybody’s got a plan/That’s until they get punched in the face…”
Benante explains why the track has remained a favorite: “‘Everybody’s Got a Plan’ has always been one of my favorite songs on Cursum Perficio. The video basically shows the band on and off stage in a montage of video clips that kinda matches the velocity of the song. ‘Everybody’s got a plan/That’s until they get punched in the face’ is such a great line, and so true!”
Ian adds: “Most of this video was shot opening for [Iron] Maiden in Lisbon, Portugal at Estádio da Lu on July 7, 2026. We wanted to capture us having fun on tour, and what better way to do that? That was a plan that didn’t end up with a punch in the face! Have fun watching my friends!”
Bello sums up the clip’s concept simply: “This video is a great representation of a day in the life of Anthrax on tour.”
The band has also been releasing a series of animated shorts tied to the artwork for Cursum Perficio. Anthrax collaborated with artist Mark Stritzel on the album cover, while Emmanuel Cappellini handled the animation. Stritzel initially worked with Benante on developing the characters that appear in the artwork.
The first animated installment arrived July 28. New character stories are being released each Tuesday, with the Magician followed by the Woman In White, Dog and Winged Skeleton. The series concludes September 1 with Hands.
The album’s release will also bring Anthrax to Louisville for a late-night signing at Guestroom Records. Following the band’s September 17 appearance at Louder Than Life, the members will meet fans at the store at 1330A Bardstown Rd. The signing begins at 12:01 a.m. on September 18.
Attendance is limited, and fans must pre-order Cursum Perficio directly through Guestroom Records to qualify for the signing.
The title Cursum Perficio comes from Latin expressions meaning “My journey has come to an end,” “My journey is over,” or “I complete my journey.” The phrase fits an album that arrives after a ten-year gap while drawing together a long history of Anthrax’s sound.
The album will be offered in a wide range of physical editions, including standard CD and multiple double-LP variants. Those include black vinyl with a pop-up gatefold, a Target-exclusive red zoetrope edition, an Amazon-exclusive purple zoetrope pressing, lilac vinyl through the band’s merchandise store, white vinyl through Metal Injection, signed red ripple vinyl through Talk Shop Live, and a red, orange and yellow edition for independent retailers.
Anthrax began working seriously on Cursum Perficio in 2022 at Dave Grohl’s Studio 606 in Los Angeles. Produced by Jay Ruston and Anthrax, the album draws from the band’s established sound while expanding its approach, with the finished material carrying the aggression and energy expected from the veteran New York act.
Before the album arrives, though, the Saint Vitus reopening gives Anthrax a chance to celebrate their hometown roots in a venue built around the city’s underground metal community.
The post ANTHRAX Set To Reopen “Saint Vitus Bar” With Special New York Show appeared first on Sonic Perspectives.
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Judge Smith Runs For Covers On Forthcoming Album
There hardly seems be something more incongruous than covering other artists’ songs, because this musician has occupied a class of his own for so long that whatever influences he may draw upon for his albums, the results always sound totally … Continue reading
The post Judge Smith Runs For Covers On Forthcoming Album appeared first on DMME.net.
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Tobias Forge On Stepping Away From Ghost For Now: “I’m Not Gonna Just Go Back To Make An Album Or Force Myself To Make An Album For No Reason”
“I need to want to make a record. I need to have something to say.”
The post Tobias Forge On Stepping Away From Ghost For Now: “I’m Not Gonna Just Go Back To Make An Album Or Force Myself To Make An Album For No Reason” appeared first on Theprp.com.
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DYSTOPIA A.D. Announce Forthcoming Album Wasteland Empire – Unveil New Single “Breath of Decay”
Progressive death metal act DYSTOPIA A.D. announce the upcoming studio album Wasteland Empire, alongside the unveiling of the new single “Breath of Decay.” Wasteland Empire is scheduled for independent release on January 15, 2027.
With “Breath of Decay” DYSTOPIA A.D. demonstrate their appreciation of genres both within and beyond metal. Musically, “‘Breath of Decay’ begins with frenetic Latin percussion in a nod to ‘Chasin’ the Voodoo’ by jazz fusion legend Al Di Meola before making way for dissonant mid-paced black metal riffage accompanied by ferociously snarled vocals,” the band explains.
The single conjures imagery of a natural landscape awash with waterways contrasted against a shadowy darkness of negative emotions. “Lyrically, ‘Breath of Decay’ transports the listener to the backwaters of the Louisiana bayou while exploring themes of guilt, fear, and helplessness, invoking an unshakeable feeling of panic”.
Wasteland Empire was produced, mixed and mastered by DYSTOPIA A.D.. Additional percussion on “Breath of Decay” was performed by Gabriel R. The band’s logo is by Luciferium War Graphics, with the album cover artwork by Hans Trasid of Dis-Art Design.
Wasteland Empire – Track List:
1. The Last Citadel (3:44)
2. Breath of Decay (5:35)
3. Fires of the Astral Forge (6:16)
4. Wasteland Empire (5:04)
5. The March (5:12)About DYSTOPIA A.D.:
Formed in 2018 by Aki Shishido (ASH & ELM, STRAINS OF BELLUM) and Chris Whitby (HELLBORE, BLACK NEGATIVE DOMINATION)., the progressive death metal act from New Jersey, USA, incorporate an array of musical influences notably technical/melodic death metal with elements of progressive rock and power metal.DYSTOPIA A.D. draw inspiration from the likes of SEPULTURA, BLIND GUARDIAN, TESTAMENT, REVOCATION, and SHADOWS FALL. The genre fusion across the band’s sound heightens the impact of their music with relentless power and attack, emotion and understanding.
DYSTOPIA A.D.‘s first release Designing Ruin arrived in 2018, followed by Rise of the Merciless (2020) and the critically acclaimed Imperial Dawn in 2022. Now moving into their next chapter with the forthcoming full-length, Wasteland Empire, DYSTOPIA A.D. are joined by UK based Charlie Munro (HELLBORE), a longtime friend, collaborator, and producer. Wasteland Empire is set to arrive independently on January 15, 2027.
DYSTOPIA A.D. Is:
Aki Shishido – Lead guitar
Charlie Munro – Lead guitar
Chris Whitby – Vocals, rhythm and lead guitars, bass, keyboards, drum programmingDYSTOPIA A.D. Online:
Bandcamp: https://dystopiaad.bandcamp.com/E-Shop: https://dystopiaad.bandcamp.com/merch
Facebook: https://www.facebook.com/DystopiaAD
Instagram: https://www.instagram.com/dystopiaad/
Source: C Squared Music
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ANGRA Marks 30 Years Of “Holy Land” With First-Ever Vinyl Release
Thirty years after its original arrival, Holy Land is finally getting its first vinyl pressing. The 1996 album, a key release in Angra’s catalog and an important record in Brazilian metal, will be issued by Voice Music on October 30, 2026.
The anniversary edition answers a long-running demand from Angra fans. Holy Land helped establish the band’s broader musical identity by bringing heavy metal together with progressive influences, Brazilian musical traditions, orchestral passages, and themes connected to Brazil’s history and culture.
For its 30th anniversary, the album has been remastered and expanded into a double-vinyl package. The release comes in a gatefold sleeve with previously unreleased photos and a 30 x 60 cm insert, giving the classic record a physical edition designed specifically for collectors.
The vinyl will be available through Black Rock Store in two limited color variants: blue and red.
- Double vinyl
- Remastered audio
- Blue or red vinyl
- Gatefold sleeve
- Previously unreleased photographs
- 30 x 60 cm insert
- Limited pressing
Shipping begins October 29, 2026, with the official release following on October 30 through Voice Music. For Angra, the edition marks three decades of Holy Land with the album finally receiving the vinyl treatment it has long been missing.
The post ANGRA Marks 30 Years Of “Holy Land” With First-Ever Vinyl Release appeared first on Sonic Perspectives.
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DS Show Review: Tim Barry’s annual return to Manchester NH’s Shaskeen Pub (with Lenny Lashley and Matt Charette)
For as long as I can remember – 13 years? maybe? – the great Tim Barry has made an annual appearance at a traditional-style Irish pub in the old mill town of Manchester, New Hampshire. It’s a seemingly random place for Barry to make a stop that is almost exclusively a one-off, not part of a greater tour of the Northeast or a stop on the way to/from a place like Pouzza. And yet, in many respects, it’s almost a perfect spot, as Manchester shares a parallel history with Barry’s beloved hometown of Richmond, Virginia; Shaskeen is a nondescript spot on a main drag in a generationally working-class city that traces its roots to pre-Revolutionary times based around a mighty river and which has influenced numerous cycles of rise and fall and reinvention. (And yes, we know that Richmond has a neighborhood named Manchester that Barry named his third solo record after in 2008, although it seems that the two Manchesters draw their names from different sources, oddly enough.)
For the last handful of these annual Shaskeen shows, Tim Barry has been joined by a couple of New England heavyweight singer/songwriters, Matt Charette and Lenny Lashley. Like Barry, both play largely acoustic Americana-tinged music that doesn’t stray too far from their respective punk rock roots. Charette was first up on this night, and in a unique turn, he was joined on acoustic guitar for the evening by his partner, Isabella Febbroriello. The pair were both severely injured in a motorcycle accident back in May and a broken bone in his left wrist has left Charette unable to play guitar for the foreseeable future. Luckily Febbroriello is no slouch with a guitar, which she normally dons in her own band, The Welcoming Committee. The duo kicked things off with “I’ll Sleep When I’m Dead” from Charette’s brilliant 2015 record Back East, a three-and-a-half-minute singalong that is always heavy and is especially poignant given the events of the last year. Same goes for the equally singalongable “4X4” that closed the set. While maybe frustrated that he couldn’t play and stomp along as he’s been accustomed to for a few decades, Charette soudned as good as ever and appeared appreciative of the opportunity to get back out on stage, now with Febbroriello by his side.
Lenny Lashley filled the middle spot on the bill. Len’s been one of the more unique and vital voices in the Boston punk scene for as long as I’ve been around it, even as a 61-year-old roofer by day circa 2026. Lashley’s brand of punk-tinged Americana works in a variety of settings and musical formats; we’ve seen him run a gamut that ranges from totally solo to fronting full rock bands featuring horn sections, and we’ve seen him pair with any number of stringed instruments manned by talented local artists. That was front-and-center at Shaskeen on this occasion, when he was backed by Tom West on accordion and Troy Caruana on pedal steel. This particular combination allows Lashley to lean into the sometimes melancholy side of his songwriter chops, adding a certain beautiful heaviness to the texture. Particularly weighty were “Gone World” from his latest full-length, last year’s Pray For Death, and “Bruiser” which is an ode to a lost pup as written but took on extra gravity given the very recent loss of Boston scene icon Babs O’Brien, which left nary a dry eye in the house.
As he is wont to do, Tim Barry kicked things off with “Dog Bumped,” a barn-burning anthemic ode to a friend who’s doing a few decades of prison time for doing what he had to do. It’s been more than two decades since began his full-time solo career as a Martin-wielding working class troubadour. Barry is at his best – and his most punk rock – in venues like Shaskeen and among crowds like that from the greater Manchester area. Blue collar, honest people who aren’t afraid to dance and sing at the top of their lungs about love and loss and redemption and picking yourself up and keeping things moving. There’s frequently very little difference between audience and performer at a Tim Barry show. There’s a sense that we’ve all worked through some shit – and maybe that we’re still working through some shit – and that it’s better to do that in a communal setting. It leads to maybe not a religious feel but certainly a revivalist one, even to the new Clear Blocks Ahead tracks like “WW Pool” and “Waltzing The Cell” and “Hello From Roanoke” and especially the somber “Loads East, Empties West,” that are already peppered into the setlist like the classic singalong staples that they’re destined to be. Barry seemed as happy as we’ve seen him in a minute and it lead to maybe the best set we’ve seen from him in a long time; free, passionate, energetic, at one with the crowd.
Check out more shots from a cathartic night at the galleries below!
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Carlos Santana Shares Cure For Cancer
Sometimes Carlos Santana makes regrettable comments, like when he dissed Beyoncé and then apologized in 2017. Well, he may have to apologize for this. At Red Rocks on Monday (Aug. 24), the Santana frontman shared an extremely dubious “cure” for cancer.
The post Carlos Santana Shares Cure For Cancer appeared first on Stereogum.
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Album Review: In This Moment – Witch
It’s hard to believe that Witch is In This Moment’s ninth album and I’ve still not seen them live yet. I’m sure the last time they were due to play Glasgow, the tour was cancelled / postponed and no follow-up dates were announced… and that was years ago. Yes, I know they supported Halestorm back in … Continue reading Album Review: In This Moment – Witch -
No Road Back: GREY SHORES Welcome the Chaos on “Herald the Dark”
Some decisions leave no path of retreat. That moment of irreversible change lies at the centre of “Herald the Dark,” the new song from Swedish atmospheric black metal duo GREY SHORES. The track offers another passage into the band’s forthcoming debut album, Dark Waters of Night, which will be independently released on September 4, 2026. […]