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

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


New Anthrax Single Drops May 2026

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


Album Release Slated for September 2026

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


“Not for the Faint of Heart”

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


A Strange Title with Real Meaning

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


Unique Artwork Inspired by Vintage Posters

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


Writing Process Evolved After the Pandemic

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


Band Chemistry Still Driving the Sound

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


Touring Plans and Live Previews

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


A Legacy Band That Still Has Something to Prove

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


Final Thoughts

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

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

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

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

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

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

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

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

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

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

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

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

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

YuMe’s Shelter unfolds with a quiet, almost fragile beauty, guided by a minimalist piano approach that values space as much as sound. Each note is placed with care, allowed to linger and dissolve into soft silence, creating a gentle, flowing continuity. There is a calming, introspective quality throughout, as if the piece exists to slow everything down and soften the edges of the moment. Nothing feels forced or overstated.

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

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

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

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

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

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

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

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William .

The post William Shatner to team up with Rob Halford for reimagined version of “You’ve Got Another Thing Comin’” first appeared on Sleaze Roxx.

MNTN GOAT’s The Witch crawls out of the shadows with a thick, swampy presence, where fuzz-drenched riffs coil around a hypnotic, ritualistic groove. The track feels less like a song and more like an invocation, driven by raw, unfiltered energy and a sense of looming tension. Guitars snarl and smolder while the rhythm section locks into a slow-burning pulse that refuses to break. There is something primal at its core, equal parts menace and seduction.

The Witch thrives in its own darkness, pulling listeners into a hazy, nocturnal trance that lingers long after the final note.

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