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2027 marks a unique triple anniversary for Udo Dirkschneider and U.D.O.: Udo turns 75, U.D.O. celebrates 40 years as a band, and Voodoo Ranger marks the release of the German heavy metal institution’s 20th studio album. This very special record release will be celebrated on January 8, 2027 via powerhouse label Reigning Phoenix Music.

Today, U.D.O. opens this milestone chapter with the first taste of Voodoo Ranger‘s new single “I’ll Die Trying.” Accompanied by an official music video, the track also marks the launch of the album pre-order.

Rather than launching Voodoo Ranger with an all-out metal attack, U.D.O. introduces the album with one of its most personal moments. “I’ll Die Trying” is a classic U.D.O. ballad about perseverance, self-belief, and staying true to your path, carried by the unmistakable voice of Udo Dirkschneider.

The song also became the album’s first single through an unexpected turn of events — a change of plans that, as Udo explains, ultimately felt like the right choice.

Udo Dirkschneider comments: “‘I’ll Die Trying’ is one of the most personal songs on Voodoo Ranger. It’s about never giving up, believing in yourself, and always moving forward, no matter what life throws at you. The last verse especially means a lot to me because it reflects what I’ve experienced on stage for so many years. Every concert is a special moment, and as long as people want to hear me sing, I’ll keep giving everything I’ve got. I’ve always believed that a great ballad can be just as powerful as the heaviest metal songs, and throughout my career, these songs have become some of the most memorable ones. ‘I’ll Die Trying’ is another one of those songs that comes straight from the heart.

We originally planned to launch Voodoo Ranger with a different song, but after Peter and Alen were injured during one of the recent concerts of the Balls To The Wall – 40th Anniversary Tour, we had to postpone the original video production. Rather than rush things, we decided to let ‘I’ll Die Trying’ lead the way. Looking back, it feels like the right choice. The song captures a side of U.D.O. that has always been important to me. Ballads have been part of my career from the very beginning, and our fans have always embraced them. At the same time, nobody should think this album is getting softer. Voodoo Ranger is packed with classic U.D.O. power and has plenty of surprises waiting.”

The album finds U.D.O. as unmistakable as ever, with their signature sound firmly intact. Powerful riffs, massive hooks, and Udo Dirkschneider’s unique voice meet heavier and darker moments.

Written by Udo Dirkschneider, Sven Dirkschneider, Peter Baltes, and Fabian “Dee” Dammers, with additional contributions from new guitarist Alen Brentini, Voodoo Ranger brings four decades of heavy metal experience to an album that sounds unmistakably U.D.O. The album was produced and mixed by Martin “Mattes” Pfeiffer, mastered by Stefan Kaufmann, while its artwork was painted by acclaimed artist Eliran Kantor.

The album is only one part of what will make 2027 an exceptional year for Udo Dirkschneider and U.D.O. The band will celebrate four decades of U.D.O. live with the extensive Triple Anniversary Tour 2027, taking the anniversary across Europe and bringing together material from throughout the band’s history. Find tickets and further information here.

At the same time, another major chapter in Dirkschneider’s story will be told away from the stage, his official autobiography, created together with Dan Dreyer, will be published in the very same month as Voodoo Ranger.

Album, book, and tour therefore meet at a unique point in his career. After more than five decades in heavy metal, Udo Dirkschneider has plenty of history to look back on, but Voodoo Ranger makes one thing equally clear: U.D.O. is still looking ahead.

The post U.D.O. Release New Single & Video “I’ll Die Trying” & Announces 20th Studio Album “Voodoo Ranger” appeared first on Sonic Perspectives.

Ministry Warns Of The Robotic Takeover On New Single “Singularity”

From Final Album Hate To Go (Take Out Or Delivery)

Coming October 30 On Cleopatra Records

Goodbye Europe Tour Begins April 2027 With Full U.S. Dates To Follow

• Green & Black Splatter LP
• Silver & Black Splatter LP
• Coke Bottle Green LP
• Box Set: Green Splatter LP, Picture LP, 7-inch, CD
• Box Set: Purple Marble LP, Picture LP, 7-inch, CD

The post Ministry Warns Of The Robotic Takeover On “Singularity” appeared first on Mayhem Music Magazine.

Kensrue has since undergone a battery of tests.

The post Thrice’s Dustin Kensrue Offers Update On Medical Concerns That Forced Last Night’s Show To Be Canceled appeared first on Theprp.com.

Sammy Hagar has answered Alex Van Halen calling him “a complete idiot,” and his response isn’t a counter-insult — it’s a request. Speaking to Eddie Trunk on SiriusXM’s Trunk Nation, Hagar asked the drummer to come clean and say publicly what the problem actually is, after 25 years of silence. He also accused Alex of damaging Van Halen’s legacy, pointed out that the Van Hagar era sold more than forty million records and produced four consecutive American number one albums, and raised an incident involving the band’s own photo archive that almost nobody has mentioned.

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What Hagar actually said

The first thing worth noting is the tone. Given what he was responding to, Hagar is remarkably measured.

He opens by declining the fight: he doesn’t know what Alex’s problem is, and if he wanted to get into a tug-of-war again there’s so much clickbait going around now that it turns on you every time.

On the book — 2011’s Red: My Uncensored Life In Rock, which most people assume is the cause of all this — he doesn’t retreat an inch. He says he’s always honest, that he never lied in it, that none of it was lies, and that all of those things happened whether or not the people involved are happy about it.

Then he makes the actual charge, and this is the paragraph that gives the story its headline.

Hagar says Alex acts as though there was never a Sammy Hagar. As though there was never a Van Hagar. His words: they sold forty-something million records and four number one albums, and Alex has scratched that off his own brother’s legacy by saying it never happened. That he won’t even acknowledge it.

His verdict on that: that’s deep, that’s weird, and it’s not right for Eddie, for him, for Mike Anthony, or for anybody.

What he’s asking for

The part most coverage is going to skip is that Hagar isn’t demanding an apology. He’s asking a question.

His words, roughly: he wants to call Alex out and ask him why. Come clean. What’s the problem? Just say it. Is it the book? Say it. If it’s Cabo Wabo, say it. Because maybe if he knew what the problem actually was, he could fix it.

And the frustration underneath: right now Alex just acts like there isn’t a problem. Like it never happened.

That’s a specific and fairly reasonable request from a man who has been asking the same question for a quarter of a century. He’s previously put it to former Van Halen manager Irving Azoff and got nowhere.

The Photoshop story, which is the thing nobody’s talking about

Here’s the part of Hagar’s answer that deserves considerably more attention than it’s getting.

Making his case that Alex has a habit of editing history, Hagar brought up something from when Wolfgang Van Halen joined the band in 2006.

He says Alex took the entire back catalogue — all the records, all the photos on the band’s website — and had Wolfgang Photoshopped in and Michael Anthony taken out.

According to Hagar, that stayed up for around two weeks, until the reaction from fans was severe enough that it got reversed.

His point in raising it: this is as stupid as that. Don’t pretend like something never happened.

Alex has never publicly addressed that claim, and nobody has asked him to. But it’s the single most concrete example in Hagar’s entire argument — not an interpretation of a book or a grievance about a tour, but an alleged attempt to remove a former member from the band’s own visual record. If it happened as described, it makes everything else Hagar says about the legacy considerably harder to dismiss.

It also reframes what this feud is actually about. Not a falling-out between two men. A question about who gets to decide what Van Halen was.

And the archival releases

Hagar’s second complaint is about what Alex has been doing since Eddie’s death in October 2020.

He takes issue with the steady stream of archival material — old photographs, old artefacts — and specifically with charging people for it. His argument: these are pictures you can find on the internet anyway, and even if they’re his, he should be putting them out for free.

That’s the sentence the headline comes from. In Hagar’s view, all of it adds up to doing a lot of things wrong for the legacy of Van Halen.

He’s careful to separate what is and isn’t his business, though. Whether Alex ever wants to play drums again is Alex’s business. Whether he wants to keep selling old photographs is Alex’s business. The one part Hagar claims as his own business is the question of why.

“Oh, I’ve given up”

And then the exchange that’s the real news here.

Trunk asked whether it matters to Hagar to make peace with Alex while they’re both still alive, or whether he’s given up on it.

His answer: “Oh, I’ve given up. I don’t really care anymore.”

His reasoning is that Alex is the one with the problem, not him. He goes out, he’s capable of singing all those songs, he does it, Mike Anthony is with him, and they have a great band. His line: you couldn’t put a better version of Van Halen together than what they’ve got — other than having Alex play drums, and everybody knows that isn’t going to happen.

So he carries on with the songs he wrote.

And that’s the note he keeps returning to, which is the one thing in all of this nobody disputes: these are songs he wrote with Eddie. Eddie and Sammy wrote them together, and that’s why he can go out and play them.

Why the Roth comparison makes this strange

This is the context that makes the whole business look considerably odder, and it’s worth laying out properly.

When Marcelo Vieira interviewed Alex for Brazilian magazine Roadie Crew — the interview that produced the “complete idiot” line — he asked about the various Van Halen memoirs.

On David Lee Roth’s 1997 book Crazy From The Heat, Alex was generous. He called it quite fun, said it accurately reflects Roth’s sense of humour, and described it as a very interesting perspective on that era, even while noting the text is somewhat abstract.

On Hagar’s book, he said he had no interest in reading it. That he doesn’t know what’s in it and doesn’t want to know. And then: in his opinion, Sammy Hagar is a complete idiot.

Now put this month next to it. Alex Van Halen appeared on a TEDx stage in Fargo alongside Roth and the muralist Robert Vargas, talking about why great art requires risk. The two of them sat together in public for the first time in years and had a warm, expansive conversation about creativity.

And here’s the detail that makes it absurd. Joe Satriani revealed a couple of years ago that a Van Halen tribute show had been planned featuring Alex and Roth — and that it never got off the ground, reportedly because Roth was holding up the approvals.

So: the man who by that account scuppered Alex’s own tribute show gets the book praise and the TEDx panel. The man who sang on four consecutive Billboard number ones and wrote them with Eddie gets called a complete idiot and left out of the memoir entirely.

I’ve got no idea what’s behind that and neither, apparently, does Hagar. But it’s the clearest evidence that whatever this is about, it isn’t about the quality of anybody’s writing.

What Alex has actually said about ending the story in 1984

To be fair to him, Alex has given an explanation — just not one that answers Hagar’s question.

“Brothers” stops in 1984, when Roth first left. It omits the Hagar years, the Gary Cherone album, and even the 2007 reunion with Roth.

His reasoning, to USA Today: for him, the spirit of the band ended in 1984. They did good work after that, but the primary spiritual aspect, the magic, the potential, the looking to the future together — that’s what made Van Halen. He and Eddie were outsiders. Dave was an outsider.

To Billboard, more bluntly: what happened after Dave left is not the same band. He wasn’t saying it was better or worse — but the magic was in the first years, when they didn’t know what they were doing and were willing to try anything.

And on the Best Of All Worlds tour, which features Hagar, Michael Anthony, Satriani and Kenny Aronoff: “I’m not interested. They’re not doing the band justice. They can do what they want to do. That’s not my business.”

To Rolling Stone, he didn’t say Hagar’s name at all: the heart and the soul and the creativity and the magic was Dave, Ed, Mike and him. In the book, the only reported acknowledgment of the Van Hagar era is the line, “We had a lot of other singers over the years.”

That’s a coherent artistic position. You can absolutely argue the original lineup was the real band. What it isn’t is an answer to why Hagar specifically gets the insult while Roth gets the panel.

The Cabo Wabo theory, and Hagar’s response to it

The most-repeated explanation for all this is money, and Hagar addressed it with Rolling Stone in April 2025.

The theory: Van Halen were all partners in Cabo Wabo when Hagar built it. When it was losing money they didn’t want it and handed it to him. He then turned it around and made a fortune. And Alex has been angry ever since.

Hagar’s response is the most heated he’s been on any of this. How could they be angry about that? They gave him the thing. They walked out on him and left him with it. They made him indemnify them in case he got sued and lost everything. They made him sign off, in his words, big time.

And then: he hopes it isn’t that.

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What Hagar thinks the real reason is

He’s offered a theory, and it isn’t flattering — though he doesn’t present it as cruelty.

Speaking to Rolling Stone, Hagar said he thinks Alex is angry because he and Mike Anthony are out doing it and Alex can’t. Alex isn’t a singer, isn’t a guitar player, isn’t really a band leader — and he seems not to want to play drums any more, or not to be able to. Alex wasn’t the songwriter in the band. He was the drummer.

Then, crucially, he added something that most coverage of that quote leaves out: he’d feel bad too. If he put himself in Alex’s shoes, he’d feel terrible if he couldn’t do it any more. And he acknowledged that being the happiest one out of all of them is its own irritant — people don’t like it when you’re too happy.

When interviewer Andy Greene noted that Alex has had genuine health issues and has reasons to feel bitter, Hagar agreed. His words: yeah, he’d say so, and he’s okay with it. Al, you’re fine. Just leave me alone, I’ll leave you alone, everything’s good.

And then, with the timing of a man who’s had 25 years to work on it: I’m making you money, by the way, Al. I’m out there selling Van Halen records and keeping the name alive.

The part everybody forgets

One last thing, because it’s the piece of this story that actually matters and it gets lost every time.

Hagar made peace with Eddie Van Halen months before Eddie died in October 2020.

Whatever is unresolved here is unresolved between Sammy and Alex. It was settled with Eddie while there was still time, and Hagar has been open about the cost of what he wrote.

In a 2021 interview he apologized from the bottom of his heart for exposing Eddie’s dark side — while refusing to claim he’d lied. His position: it’s all true, and he isn’t going to pretend otherwise. But if he wrote the book today, he’d only put in the good of Eddie Van Halen, because he was a brilliant, genius guitar player and a great friend and a great partner.

And then the memory he keeps returning to, which is the warmest thing in this entire archive. When Eddie walked into his dressing room at Anaheim Stadium — Hagar on a bill with Boston and Black Sabbath — he was one of the sweetest, most humble people Hagar had ever met. How can this guy play so badass and be that humble? He assumed there must be a fire inside that wasn’t showing.

When that fire came out, he said, it was quite the fire. A volcano.

The numbers, for the record

Because Hagar’s central claim rests on them.

He replaced David Lee Roth in 1985 and made four studio albums with Van Halen: 5150, OU812, For Unlawful Carnal Knowledge and Balance.

All four went to number one in the United States. The Roth-era lineup never managed it once.

That era sold more than forty million records. It’s the commercial peak of one of the most important bands America produced, and it’s the period the band’s own drummer has written out of the history.

Sammy, Eddie, Alex and Michael last played together on the 2004 US summer tour — a run Hagar later described as some of the most miserable, back-stabbing material he’d ever been involved with. Michael Anthony reportedly had to accept a pay cut and sign away his rights to the band name and logo in order to take part.

Which, given what Hagar says happened to Anthony’s photographs two years later, is its own kind of pattern.

TL;DR

• Sammy Hagar has responded to Alex Van Halen calling him “a complete idiot,” telling SiriusXM’s Trunk Nation that he wants the drummer to “come clean” and say publicly what the problem is.
• His central charge: that Alex acts as though the Van Hagar era never happened, despite four consecutive US number one albums and more than forty million records sold — and that erasing it damages Eddie’s legacy, not just Sammy’s.
• The detail nobody’s covering: Hagar says that when Wolfgang Van Halen joined in 2006, Alex had the band’s entire photo archive edited to insert Wolfgang and remove Michael Anthony, and reversed it about two weeks later after fan backlash. Alex has never addressed the claim.
• He also criticises the archival releases, arguing Alex is charging for photographs that are freely available and should be released for nothing.
• Asked about making peace before they die: “Oh, I’ve given up. I don’t really care anymore.”
• The asymmetry: Alex praised David Lee Roth’s memoir as “quite fun,” refused to read Hagar’s, and appeared on a TEDx panel with Roth this month — despite Joe Satriani’s claim that a planned Alex-and-Roth tribute show collapsed because Roth held up approvals.
• Hagar acknowledges Alex’s health problems and says he understands the bitterness. He also made peace with Eddie months before his death in October 2020.

FAQ

Four number ones, forty million records, and a drummer who won’t say his name. Is Hagar right that this damages Eddie’s legacy, or is Alex entitled to draw the line wherever he wants? Tell me below. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Sammy Hagar Fires Back at Alex Van Halen’s Vicious Insult and Exposes What’s Really Wrong With the Band’s Legacy appeared first on Loaded Radio.

Love songs usually get nervous around obsession because nobody wants to admit how close the two can live together. Everybody likes devotion when it comes with flowers, candy, and clean shirts. Start remembering somebody’s freckles individually, and suddenly the room gets quieter.

New York’s Some Days Are Darker explores that uneasy proximity on Memorize You, a song with the posture of romance and the blood pressure of somebody who has been awake far too long thinking about one person. Lear Mason sings, “I want to memorize you, your freckles and scars, the longing in your eyes, the rhythm of your heart,” and the sweetness of the line grows more complicated with each detail. There is love in there, certainly, but there is also the ancient human urge to pin beauty to the wall before it can leave.

A thick, metallic bassline gives Memorize You its physical weight, while the drums tighten the tension and chiming synth melodies introduce a nervous sweetness. Mason’s croon carries the seductive assurance of early ’90s alternative rock, making even the most exposed confession sound as though it has been rehearsed for one particular listener. Around him, Chris Martin and Robbie Williamson build pressure through the interplay of bass, drums, guitars, and keyboards, gradually filling the space his voice initially leaves open. The arrangement gives the song’s gothic romanticism a muscular foundation, allowing its tenderness and possessiveness to press uncomfortably close together. What begins as an intimate confession grows into a feverish rush, increasingly expansive and overwhelming, until desire and desperation become difficult to separate.

The largely black-and-white video gives this fixation a distinctly New York setting, following a woman through Washington Square Park and beneath its familiar marble arch. Daylight smiles and close-ups alternate with nighttime walks past illuminated storefronts, parked cars, and iron railings, while Mason sings to the camera in a tightly framed interior. The repeated attention to her face makes a visual counterpart to the lyrics, collecting expressions as though enough looking might finally amount to knowing someone. But a masked figure brings a more literal threat into view, and her glances over her shoulder become increasingly uneasy.

That unease develops into a pursuit through the streets and into narrow basement corridors, where exposed pipes and bare walls replace the park’s open space. The closing switch to colour brings pursuer and pursued face to face: two women whose similar hair and red lipstick give the encounter the unsettling suggestion of a double. It is a fitting complication for a song so concerned with committing another person to memory, leaving the desire to recognize someone tangled up with the fear of what recognition might reveal.

Watch the video for Memorize You below:

Mason began Some Days Are Darker in 2019 as a solitary songwriting project after years playing metalcore guitar. It has since become a three-piece built around his chemistry with bassist, guitarist, and keyboardist Chris Martin and drummer, multi-instrumentalist, and producer Robbie Williamson. Between them, the musicians bring decades of experience to songs that draw on gothic grandeur, synth-driven alternative rock, and the charged intimacy of noir cinema. Their self-titled 2022 debut introduced a musical world in which longing can become obsession and physical closeness offers no guarantee against feeling alone.

That combination has found a home on stages alongside The Chameleons, Vision Video, and House of Harm, with the trio also touring the US East Coast and Canada with Pink Turns Blue and the US West Coast with Theatre of Hate. Further East Coast dates are planned around the November release of their forthcoming album, Black Box Warning.

Recorded with Dave Catching at Rancho de la Luna in Joshua Tree, California, Black Box Warning expands these concerns across twelve songs about desire and its consequences, making room for love, loss, lust, and the possibility of beginning again. The desert studio, whose visitors have included Iggy Pop, Queens of the Stone Age, and PJ Harvey, provides the setting for some of the band’s most intense and expansive material alongside its most exposed performances. A solo acoustic piece and a closing piano ballad extend the album’s emotional range, bringing the same difficult questions into quieter rooms.

For Some Days Are Darker, the attraction lies in that uncertainty: whether giving yourself over to someone will bring you closer to life or further from yourself. Memorize You makes the surrender sound seductive enough to postpone the question. Learning someone by heart is a beautiful ambition; expecting the heart to survive the exercise unaltered is another matter.

Follow Some Days Are Darker:

• Instagram
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• Bandcamp
• Spotify

The post “Every Freckle, Every Scar” — NYC’s Some Days Are Darker Explore the Anatomy of Obsession in Video for “Memorize You” appeared first on Post-Punk.com.

BILLY IDOL UNVEILS “CRADLE OF LOVE”
R3HAB REMIX VIA UMe

IDOL CONTINUES SUMMER TOUR: IT’S A NICE DAY TO…TOUR AGAIN!

ELECTED TO ROCK & ROLL HALL OF FAME
ALONGSIDE LONGTIME GUITARIST/COLLABORATOR STEVE STEVENS

Rock legend Billy Idol is unveiling a new remix of his classic 1990 single “Cradle of Love.” The “Cradle Of Love” R3HAB Remix is out now via UMe. Accompanying the remix is a new video visualizer that pays homage to the spirit and iconic imagery of the original 1990 MTV-era classic “Cradle of Love” music video while reimagining its provocative energy.

“Billy Idol is a living legend, one of the defining voices of a massively influential era of rock music,” notes R3HAB. “His catalog speaks for itself. It’s been a few years since I’ve worked on a rock record, and ‘Cradle Of Love’ is a classic, so this remix presented a fun and fresh challenge for me. My goal was to keep the spirit of the original while updating the production to bridge the song to a new audience. We love how it turned out and are happy to share it today.”

In addition to the new remix, Idol is currently on the road for his highly successful world tour, It’s A Nice Day To…Tour Again!, which saw him sell out venues across the U.S., Europe and Latin America throughout the past year. Villanelle and Grocery Bag support Idol on select dates. Produced by Live Nation, the current leg of arena and amphitheater performances sees Idol performing tonight at the Dos Equis Pavilion in Dallas. Tickets are available now at billyidol.net/tour; see below for a complete list of dates.

Later this year, Idol and Stevens will be inducted into the Rock & Roll Hall of Fame as members of the Class of 2026 along with Phil Collins, Iron Maiden, Joy Division/New Order, Oasis, Sade, Luther Vandross and the Wu-Tang Clan; as well as Celia Cruz, Fela Kuti, Queen Latifah, MC Lyte and Gram Parsons with the Early Influence Award; Linda Creed, Arif Mardin, Jimmy Miller and Rick Rubin with the Musical Excellence Award; and Ed Sullivan with the Ahmet Ertegun Award. The 2026 Rock & Roll Hall of Fame Induction will tape on November 14 at the Peacock Theater in Los Angeles. The 2026 ceremony will then debut in December on ABC and Disney+. In 2027, the Induction Ceremony will return to Cleveland.

Ticket on-sale information for the 2026 Induction Ceremony will be announced at a later date. Select Rock & Roll Hall of Fame donors and members receive exclusive Induction ticket opportunities. Visit rockhall.com/membership to learn more.

“Being inducted into the Rock & Roll Hall of Fame alongside so many of my heroes and influences is a tremendous honor,” notes Idol. “And to be inducted alongside my longtime compatriot Steve Stevens makes this all even more special. When I first started playing with Generation X 50 years ago, it was purely out of love for the music we were making and the scene that we were lucky enough to be a part of. Nobody, especially me, thought it would take me to where I am today. I’m incredibly grateful to all the people who have been behind me over the years, because none of this would have been possible without them. This honor is for my fans, and everyone who has been on this journey with me, as much as it is for me.”

Stevens adds, “I am deeply honored to be inducted into the Rock & Roll Hall of Fame with Billy Idol. If there’s anyone that deserves to be in the HOF it’s Billy. For more than four decades, we have shared a remarkable journey full of music, creativity and unforgettable experiences. Thank you to the Rock Hall, to the fans, and to everyone who’s been part of the story!”

The new feature-length documentary film Billy Idol Should Be Dead, directed by three-time Grammy-winner Jonas Åkerlund and produced by Live Nation Studios, is streaming now on Hulu following a successful theatrical run. The documentary—hailed by critic Jeffrey Lyons as “informative and engaging,” while Forbes calls it “poignant” and “moving”—traces the life and career of punk pioneer turned rock ‘n’ roll icon Billy Idol. Through never-before-seen archival and personal interviews with Idol, his family, peers and collaborators, the documentary digs deep into his emergence as a prototypical punk rocker, his meteoric rise as a global superstar in the MTV era and the myriad of challenges Idol had to overcome to not just survive, but to remain one of the most beloved figures in rock ‘n’ roll, fifty years into his career.

Idol’s greatest hits compilation Idolize Yourself: The Very Best Of Billy Idol is also available now via UMe.

The post Billy Idol Unveils “Cradle of Love” R3hab Remix appeared first on Mayhem Music Magazine.

Visa issues reared their ugly head.

The post Blackbraid To Replace Moonspell On Cradle Of Filth’s Fall North American Tour appeared first on Theprp.com.

Anthrax has today (September 18) released their long-awaited 12th full-length studio album Cursum Perficio via Megaforce Records along with a riveting video for the album’s title track. To celebrate the album’s release, the multi-GRAMMY Award-nominated New York hard rock titans last night joined fans at a late-night in-store signing at Louisville’s Guestroom Records following their September 17 performance at the city’s annual Louder than Life festival.

For the album’s title track Cursum Perficio, the band has debuted a new black-and-white video that captures the song’s tone and message. Director Don Argott (Taylor Swift docu-series) utilized his vérité-style footage with narrative elements for the clip that stars actor London May (American musician and actor who’s also known as the drummer and bassist for Glenn Danzig’s post–Misfits / pre–Danzig band Samhain).

“Cursum Perficio brought out the beast in me,” says London May. “I broke my finger the very first day and had to beg them to keep shooting. That was real chain [the chain he is shackled with in the video was real metal…heavy and real…not a prop chain] and real pain. I went through hell and back for Anthrax and Don Argott—and I’d happily do it all again!”

“The video for “Cursum Perficio” captures all of the themes I’m exploring in the lyric,” Scott Ian notes. “They’re epic in scope…how do you quantify your life? How do you measure oceans of time and what did you do with it? And were all the struggles worth it in the end?”

“What I love about this video is that it matches the tone of the song so well,” Charlie Benante says. “This song has always been the dark horse of the record; this video may be as well.”

Cursum Perficio marks the band’s first record in ten years since 2016’s For All Kings, which debuted in the Top 10 of the Billboard 200. The phrase Cursum Perficio is Latin for “My journey has come to an end,” “My journey is over,” or “I complete my journey.” It proves apropos for such a complete body of work.

It will be available as a standard CD; Target exclusive CD with a fabric patch of the album cover; standard black double LP with pop-up gatefold; Target exclusive double LP, red zoetrope with pop up gatefold; Amazon exclusive double LP, purple zoetrope LP with pop-up gatefold; merch exclusive lilac vinyl double LP with pop-up gatefold; Metal Injection exclusive white vinyl double LP with pop-up gatefold; Talk Shop Live exclusive signed with red ripple vinyl double LP with pop-up gatefold; Indie exclusive – red, orange yellow vinyl double LP with pop-up gatefold. It is now available to order here.

The post ANTHRAX’S Much-Anticipated Album “Cursum Perficio” & New Video For The Album’s Title Track Arrives Today appeared first on Sonic Perspectives.

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