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Ranking Anthrax means picking a side in an argument that has run for thirty-three years, because this is the only band in the Big Four with two beloved singers and no consensus about either of them. Twelve studio albums, three vocalists, a decade-long gap that just ended, and a fanbase that will fight you in a car park over 1993. This is every Anthrax album ranked worst to best, with the criteria stated before we start.

The criteria

The songs. Front to back, and how much of it you actually go back to.

What it did at the time. Whether the record moved anything — for the band, for thrash, for anyone who came after.

The production. Anthrax have been sabotaged by their own mixes more than once and it counts.

What it does now. On at volume in 2026, does it still work.

And one thing this list refuses to do: treat the John Bush era as a footnote. Nine years, four albums, their highest-charting record and their best-selling one. Any ranking that buries all of it below every Belladonna album isn’t ranking music, it’s ranking nostalgia. If that annoys you, wait until number three.

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12. Fistful of Metal (1984)

Best song: “Metal Thrashing Mad” Why it’s last: It’s a different band with a different singer, and you can hear them working out what they’re for.

The debut, and the only Anthrax album fronted by Neil Turbin. Produced on almost nothing, mixed thin, and sung in a high, wailing register that has almost nothing to do with what Anthrax became eighteen months later.

There’s real stuff on it. “Metal Thrashing Mad” is a genuine early thrash statement and “Death from Above” has the riffs. The Alice Cooper cover is a curiosity that tells you exactly which decade they came out of.

But it’s last because it’s a prototype. Dan Spitz had only just joined, Frank Bello wasn’t in the band yet, and the thing that makes Anthrax Anthrax — the New York hardcore swing underneath the thrash, the sense of humour, the melody — isn’t there yet.

Essential if you’re tracing how thrash actually got built. Not something you put on.

11. Volume 8: The Threat Is Real (1998)

Best song: “Inside Out” Why it’s here: Good songs, no album, and the label collapsed underneath it.

The most unlucky record in the catalogue. Volume 8 came out on Ignition Records, which went bankrupt almost immediately, and an album that needed promotion to find its audience simply vanished.

That’s the context. The content is genuinely patchy. “Inside Out” is one of the best things Bush ever sang, “Crush” has a monstrous riff, and Phil Anselmo turns up on “Killing Box.” Then there are the acoustic detours and the industrial textures that sound like a band throwing everything at a wall in 1998 because everybody else was.

Eleventh, not because Bush is on it, but because it’s the one Anthrax record where you can hear the strategy instead of the songs.

10. State of Euphoria (1988)

Best song: “Antisocial” Why it’s here: The follow-up to their masterpiece, made too fast and mixed too clean.

This is the placement that’ll annoy the people who grew up on “Antisocial,” so let me be clear: that song is enormous, it’s still in the set, and the Trust cover is better than the original.

The album around it is the problem. Charlie Benante has himself said they rushed it, and it sounds rushed — writing done on tour, a mix that sands the edges off, and a running order that puts the two best songs early and then wanders. “Be All, End All” is great. “Who Cares Wins” drags.

Coming eighteen months after Among the Living was always going to be brutal. Making it in a hurry made it worse.

9. Stomp 442 (1995)

Best song: “Fueled” Why it’s here: Underrated, genuinely good, and slighter than the record before it.

Stomp 442 has the worst reputation-to-quality ratio in the catalogue. It arrived into the middle of Elektra losing interest, got almost no push, and is the album most Anthrax fans have never properly sat with.

It’s lean and mean — stripped-back, groove-heavy, and Dimebag Darrell plays on it, which for 1995 was the strongest possible endorsement. “Fueled” and “Random Acts of Senseless Violence” would sit comfortably on any of the records above it.

Ninth because it’s short on ideas rather than short on quality. After the ambition of Sound of White Noise, this is a band consolidating rather than pushing, and it’s also the album where Dan Spitz’s departure left them without a lead guitarist.

8. For All Kings (2016)

Best song: “Breathing Lightning” Why it’s here: Everything works and nothing surprises.

The second Belladonna-reunion album, with Jonathan Donais of Shadows Fall now settled in on lead, and it’s a properly made, properly played thrash record by a band who know exactly what they are.

“Breathing Lightning” is the standout and “Evil Twin” has genuine bite. The production, by Jay Ruston, is the best-sounding Anthrax album in decades — you can hear Benante’s kick drum, which on a couple of these records you cannot.

Eighth because it’s the safest thing here. Worship Music had the drama of a reunion behind it. For All Kings is what a good Anthrax album sounds like when there’s nothing at stake, and that’s a lower ceiling.

7. Cursum Perficio (2026)

Best song: “The Edge Of Perfection” Why it’s here: A genuinely strong record that hasn’t had time to prove it lasts.

Their twelfth album, out via Nuclear Blast after a decade-long gap — only their fourth album of new material in twenty-five years, which tells you how the last ten years went. Scott Ian spent some of it in the reborn Mr. Bungle. Charlie Benante spent some of it drumming in Pantera.

Eleven tracks, same settled lineup that’s held for a decade.

“The Edge Of Perfection” is the reason it places this high. Nearly seven minutes, melodic, ambitious, and Dom Lawson called it arguably the finest song the band have written since Belladonna’s return in 2011. Scott Ian’s lyric is about the pitfalls and the crescendos of a long loving life, which is a very long way from Judge Dredd and a considerably braver place for a thrash band to go at this stage.

Elsewhere: “It’s For the Kids” is straight speed and the best pure thrash moment, “Everybody’s Got A Plan” is prime late-period Anthrax with Belladonna sounding ageless, and “NYC 93” and “Watch It Go” are the two most genuinely original things they’ve released in years.

The wobble is the front end. “The Long Goodbye” is a mid-paced opener that takes several listens to reveal itself, and “Infectious” and “T.O.M.B.” are slow-burners rather than adrenalin. On a thrash record, sequencing the patient songs early is a risk.

Seventh, provisionally. Ask me in 2029. If “The Edge Of Perfection” is still in the set and people are still arguing about it, this climbs.

6. Worship Music (2011)

Best song: “Fight ‘Em Till You Can’t” Why it’s here: The comeback that had no business working, and did.

Eight years in the making, two singers hired and unhired along the way, and then Belladonna back after nearly two decades. On paper it’s a disaster. In practice it’s the best Anthrax album since 1993.

“Fight ‘Em Till You Can’t” is one of the great late-period thrash songs — fast, furious, hooky, and built entirely for a room full of people. “In the End” is their tribute to Dio and Dimebag and it’s genuinely moving rather than dutiful. “The Devil You Know” still opens sets.

Sixth because the back half loosens and because Worship Music is a great comeback rather than a great album full stop. But it re-established them as a going concern and everything after it exists because this worked.

5. We’ve Come for You All (2003)

Best song: “Safe Home” Why it’s here: The Bush era’s proper goodbye, and one of the most complete records in the catalogue.

If you only know the Bush years by reputation, this is the album that ends the argument about whether they were any good.

“Safe Home” is the most fully-realised song Anthrax have written — melodic, enormous, and sung by a man who could do things Belladonna can’t. Dimebag Darrell plays on two tracks, including his last recorded guest appearances with them before his death the following year. “What Doesn’t Die” and “Superhero” both belong in any career-spanning set.

Fifth, and it’s the placement I’d defend second-hardest after number three. It’s more consistent than Worship Music and better written than anything in the bottom half. What keeps it out of the top four is that it arrived at the exact moment nobody was listening — Rob Caggiano’s first album, a label in trouble again, and an audience who’d moved on.

4. Spreading the Disease (1985)

Best song: “Madhouse” Why it’s here: Where Anthrax became Anthrax, and it’s still in the top four of anybody’s list.

Belladonna’s first album, Frank Bello’s first album, and the record where all the pieces arrive at once. “Madhouse” is the moment — that riff, that vocal, that sense that thrash could have a melody without softening. “A.I.R.” and “Gung-Ho” are both relentless. “Medusa” is criminally under-played.

It’s the album that separated them from the pack: faster than Metallica were being at the time, more tuneful than Slayer, and with a rhythmic swing that came out of New York hardcore rather than the Bay Area.

Fourth, which will read as low to a lot of people, and that’s entirely down to the next entry.

3. Sound of White Noise (1993)

Best song: “Only” Why it’s here: Their best-selling album, their highest-charting album, and the one the fanbase refuses to rank properly.

Here’s the argument, so let’s have it out.

John Bush’s first Anthrax album debuted at number seven on the Billboard 200 — the highest chart position the band has ever achieved — and went gold. Those aren’t opinions.

And then there’s “Only.” Dimebag Darrell called it a perfect song, which is about the highest compliment available in this genre from that source, and he was right. It has a riff, a chorus, a middle eight and a vocal performance that no thrash band in 1993 could have got near, and it still sounds enormous.

The rest of the album earns the placement without it. “Potters Field” opens it like a door coming off its hinges. “Black Lodge” was co-written with Angelo Badalamenti of Twin Peaks and it’s the strangest, most atmospheric thing Anthrax have ever recorded. “Hy Pro Glo” and “Packaged Rebellion” both work. Dave Jerden’s production gives it a low end and a physical weight that Persistence of Time and State of Euphoria simply don’t have.

So why does it get buried? Because Belladonna came back in 2010, and the moment he did, a chunk of the fanbase retroactively decided nine years and four albums didn’t count. That isn’t a musical judgement, it’s a loyalty one.

I’ll put it plainly. If this album had Joey Belladonna singing on it, it would be in everybody’s top three and nobody would blink. It’s the best-produced record Anthrax made, it’s their commercial peak, it contains their single best song, and it was brave — a thrash band in 1993 hiring the singer from Armored Saint and making a record that didn’t chase the trend in either direction.

Third, above Spreading the Disease, and I’d argue it all night.

2. Persistence of Time (1990)

Best song: “In My World” Why it’s here: The darkest, most ambitious thing they ever made.

After the rush of State of Euphoria, Anthrax took their time and made a record about anger, paranoia and time running out — and then a fire destroyed their rehearsal space and equipment while they were making it, which you can hear in the thing.

“In My World” is eight minutes of controlled dread. “Got the Time” is the Joe Jackson cover that became one of their signature songs and shouldn’t work at all. “Belly of the Beast,” “Keep It in the Family,” “Blood” — there’s no filler and no jokes.

It earned them a Grammy nomination and it’s the album critics reach for when they want to argue Anthrax were the most musically serious band in the Big Four.

Second, and if you told me it was first I wouldn’t put up much of a fight. The only thing above it is untouchable.

1. Among the Living (1987)

Best song: “Caught in a Mosh” Why it’s here: One of the five most important thrash albums ever made, and the most fun of them by a mile.

Nine songs. Forty-nine minutes. Not one wasted second.

“Caught in a Mosh” is the best song Anthrax ever wrote and possibly the best song in this entire subgenre — that riff, that stop-start, that vocal, and a chorus that a stadium can sing while actively injuring each other. Then “I Am the Law” about Judge Dredd, “Indians” with the war dance that still stops rooms, “Efilnikufesin (N.F.L.)” about John Belushi, and “Among the Living” about The Stand.

That’s the thing about this record. Every other Big Four band was angry. Anthrax were angry and having the time of their lives, and Among the Living is the only thrash album from that era you could put on at a party. The Stephen King references, the shorts, the skate art, the sense of humour — none of it makes it less heavy. Put “Caught in a Mosh” on at volume and the riff at 0:38 still takes the floor out.

It is also, straightforwardly, the album that taught hardcore kids it was fine to like metal and metal kids it was fine to like hardcore, and half of what came afterward exists because of that crossover.

Thirty-nine years on, nothing in this catalogue is close.

The three singers, because this is the actual argument

You cannot rank Anthrax without addressing it, so here it is straight.

Joey Belladonna sang on 1985’s Spreading the Disease through 1990’s Persistence of Time, was out from 1992 to 2010, and has been back since — seven of the twelve albums in total. He’s a genuine metal singer with genuine range, and he’s the voice of the era that made the band.

John Bush, of Armored Saint, sang on four albums from 1993 to 2003. He’s a lower, grittier, more soulful singer — closer to hard rock than thrash — and his arrival is the single most divisive decision this band ever made.

Neil Turbin sang on the 1984 debut and nothing else.

The honest position is that they’re not competing for the same job. Belladonna is the better fit for what Anthrax were built to be. Bush is the better singer of a certain kind of song, and “Only” and “Safe Home” are two of the five best things the band has ever put its name to.

Any ranking that puts all seven Belladonna albums above all four Bush albums is telling you about allegiance, not quality. Volume 8 is worse than State of Euphoria. Sound of White Noise is better than Spreading the Disease. Both of those are true and neither has anything to do with who’s holding the microphone.

Where this ranking will start arguments

Sound of White Noise at three is the whole page and I’ve made the case above. Highest-charting, best-selling, contains “Only,” and it gets buried for reasons that aren’t about the music.

Spreading the Disease at four follows from that. It’s a top-four album on any honest list and it’s here rather than higher because of what’s above it, not because of anything wrong with it.

State of Euphoria at ten will upset the “Antisocial” crowd. The song’s great. The album was made in a hurry and Benante has said so himself.

Cursum Perficio at seven is provisional and stated as such. New records need time.

Among the Living at one isn’t seriously contested, and I’ve never met anybody who’s lived with this catalogue and argued otherwise.

If you want more of this, the full Loaded Radio rankings archive is here, and the Megadeth discography is the natural companion.

Every Anthrax album, ranked

Anthrax albums in release order

Fistful of Metal — 1984 · Neil Turbin
Spreading the Disease — 1985 · Joey Belladonna
Among the Living — 1987 · Belladonna
State of Euphoria — 1988 · Belladonna
Persistence of Time — 1990 · Belladonna
Sound of White Noise — 1993 · John Bush
Stomp 442 — 1995 · Bush
Volume 8: The Threat Is Real — 1998 · Bush
We’ve Come for You All — 2003 · Bush
Worship Music — 2011 · Belladonna
For All Kings — 2016 · Belladonna
Cursum Perficio — 2026 · Belladonna

Seven with Belladonna. Four with Bush. One with Turbin.

Where Anthrax are now

Cursum Perficio lands this week via Nuclear Blast, ending a ten-year wait and marking only their fourth album of new material in a quarter of a century.

The lineup has been settled for a decade: Joey Belladonna, Scott Ian, Charlie Benante, Frank Bello and Jonathan Donais. Which is its own achievement for a band whose history is mostly personnel drama.

Both Ian and Benante have been busy elsewhere — Ian in the reformed Mr. Bungle, Benante behind the kit in Pantera — and the band have spent the gap doing what they do best, which is playing live to people who lose their minds. They remain, by a long way, the most enjoyable of the Big Four to stand in a room with.

Forty-two years, twelve albums, three singers, one Grammy nomination and a crossover legacy that runs through groove metal, metalcore and most of what came after.

TL;DR

• Twelve studio albums from 1984’s Fistful of Metal to 2026’s Cursum Perficio.
• Best: Among the Living (1987). Nine songs, no filler, “Caught in a Mosh,” and the only thrash album from that era you could put on at a party.
• Worst: Fistful of Metal (1984), the Neil Turbin debut — a prototype rather than an Anthrax album.
• The contested call: Sound of White Noise (1993) at number three. John Bush’s first album is their highest-charting and best-selling record, contains “Only,” and gets buried for reasons of allegiance rather than quality.
• The new one: Cursum Perficio at seven, provisionally. Blabbermouth gave it 8/10 and “The Edge Of Perfection” was called the best song they’ve written since Belladonna’s 2011 return.
• Three singers: Joey Belladonna on seven albums, John Bush on four, Neil Turbin on one.
• Ten-year gap between For All Kings and Cursum Perficio — only their fourth album of new material in twenty-five years.

FAQ

Twelve albums, three singers, and a Bush record in the top three. Have I lost my mind, or has everyone else been ranking this catalogue wrong for thirty years? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Anthrax Albums Ranked: All 12 From Worst To Best appeared first on Loaded Radio.

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

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Growing up in New York during the heat of the thrash metal explosion, it seemed like every speed merchant hailed from either California or Germany. Maybe that’s why New Yorkers latched onto Queens-based Anthrax so hard when they hit the scene and challenged the West Coast for thrash supremacy. Sure, they weren’t as evil as Slayer, and they lacked the mammoth highs like Metallica, but Thrax had their own special thing going on, and it smelled like NYC hot dog water and urine-soaked subways. Albums like Spreading the Disease and Among the Living became timeless pieces of my teen years, and while I didn’t support Thrax dabbling in rap and sporting those ridiculous Jams shorts on stage, they were my local idiots for better or worse. Nowadays, everyone questions whether they ever deserved their place in the Big Four, but they earned it with those essential early releases, and now Anthrax is the last one left standing.¹ Funny how life works, isn’t it? If this was too long for you to read, here’s the pithy placeholder blurb Grin Reaper left for my intro: New York rulez, New Jersey sux. Incoherent monkey noises.

– Steel Druhm

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The Rankings

Steel Druhm, Gung-Hobo

Anthrax and I have had our ups and downs over the decades. Their early albums were foundational staples of my teen years, and State of Euphoria and Persistence of Time were part of my drunken college years. With the advent of the John Bush era, things got dicey and my interest waxed and waned greatly. I never completely lost faith in the band, though I came close several times. Recent years have been very kind to Thrax, even as other once-great thrash luminaries aged out or degenerated into wet sacks of absolute garbage. Through the good, the bad, and the ugly, Anthrax never sold as many albums as Metallica, but they also never sold out as hard as Metallica did. That’s a feather in their cap no one can ever remove. Onward!

#11. Vol. 8 – The Threat is Real (1998) — The 90s saw Anthrax struggle for identity like most metal acts did. It was a decade that became unfriendly to metal as a genre, with grunge and alt-rock being the only things labels and radio stations wanted to know about. This forced bands to try to find their place in this new world order, and some managed better than others. Vol. 8 was the third album helmed by John Bush, and it was a troubled time for the band. The album very much sounds like the work of a group in search of a new direction, with various styles and ideas clashing badly. There are groove metal elements rubbing against straight-up thrash, alt-metal ideas, and nods to country rock for some unknown reason. Very little of it worked, and seriously, what the holy fook is with the country edge here? There are a few “hits” that stuck with me, like “Crush” and “Catharsis,” but so much of Vol. 8 is just forgettable filler, and this album still makes me scratch my head and wonder what the band was thinking. This barely qualifies as a demo, let alone an actual release from a band of their stature.

#10. We’ve Come for You All (2003) — This was the final release with Bush on vocals. At times it sounds like a flashback to The Sound of White Noise, and at others, it sounds tired and confused. It’s a slightly better showing than Vol. 8, though that isn’t saying much. You get a burner like “What Doesn’t Die” that makes you remember why you loved Anthrax in the first place, and “Safe Home” is a sneaky underdog that’s become one of my favorite metal anthems over the last 20 years. Sadly, the rest of the album sounds more like generic hard/alt rock akin to Audioslave or Seether than anything Anthrax-related. Be honest, do you ever want to hear any track off here besides the 2 mentioned prior? There are so many non-essential entries present that the whole thing ends up feeling washed out and badly forced. It was sad to see Bush go out like this, but things just weren’t working, and life is tough for him outside of Armored Saint.

#9. Stomp 442 (1995) — Since I came around on Sound of White Noise and learned to like, if not love, the Bush era of Anthrax, I came into Stomp 442 with a fairly open mind. I loved “Fueled” from jump, and it still sits on my workout and cardio playlists. It’s the superior “fuel” song to that other Big Four product, and it has way more punch and scrotal wattage. In fact, the directional shift in tone toward Pantera paid dividends for Anthrax, and there are a bunch of cuts here that are mean and gritty enough to win you over. “Random Acts of Senseless Violence” is a legit killer tune, “In a Zone” feels mean and hungry, and “Tester” would be a good song on any Thrax album. I even like the way things end on a tender note with “Bare.” It just feels right after all the raging, beefbrained riffing. This album gets way more hate than it deserves, and it’s only slightly lower in quality than Sound of White Noise. Give this another chance, and you might be surprised. Do it for Dimebag!

#8. Sound of White Noise (1993) — I remember hating the idea of John Bush joining Anthrax when it was announced. As a big fan of Armored Saint, I didn’t want to see them get wrecked to keep Anthrax aloft. When the lead single “Only” dropped, I was utterly unimpressed. I was working a night shift job when the album dropped, and the Siena College radio station ran a metal show after 11 PM that played the living hell out of Sound. Said airplay slowly wore me down to the point where I grudgingly accepted and ultimately enjoyed the album. It’s a consistent and entertaining record with a few big-ticket moments like “Room for One More” and “1000 Points of Hate.” “Black Lodge” has had legs over the years, and “C11 H17 N2 O2 S Na” is a very good tune as well. I don’t go back to Sound much these days since my true love is the Belladonna eras of Anthrax, but I do respect what the band pulled off here.

#7. Persistence of Time (1990) — I’m of the opinion that Persistence of Time may be one of the most overrated albums in metal history. It seems to be universally beloved, even by those who aren’t much into Anthrax, and I never understood why this one got placed so high on a pedestal. Yes, it’s the last release in the original Belladonna era, and yes, it’s darker than the prior Thrax albums, and sure, it’s good, but is it a great album? Not really. It has its good moments like “In My World” and “Belly of the Beast,” and their cover of Joe Jackson’s “Got the Time” has become an enduring staple of live shows. None of these are really “prime” Anthrax though, and the rest of Persistence is pretty middling and overly bloated. The longer track times don’t always work in the band’s favor, and the added darkness doesn’t help if the material feels flat. Too many of the cuts here are just passable. Case in point, “Keep it in the Family” sounds like 4 songs duct-taped together, and none of them work well alone or together. Who knows, maybe I’m the strange one. No, it’s the masses who are wrong.

#6. Worship Music (2011) — With all the drama surrounding the recording of this one, it’s beyond amazing we got anything worthwhile at all. Anthrax recorded one version with Bush, then another with some unknown dude from Long Island, before finally bringing Joey Belladonna back to lay down the vocals. And you can quickly tell these songs were written with Bush in mind, and Joey really worked to make them fit his voice. Despite all that, Worship Music was one helluva comeback for a band most everyone had written off as extremely fucking dead. Since I was slated to review this, I dreaded another Vol. 8-level bomb landing at my feet and forcing me to kick a dead horse. To my surprise (and everyone else’s), this thing kicks a shocking amount of ass. It often sounds like the natural follow-up to Among the Living, and some of the cuts are pretty damn heavy. “The Devil You Know” and “Fight Em Til You Can’t” are classic Thrax from soup to nuts, and “I’m Alive” and “In the End” show a different side to the band without sounding like shitty radio rock. The back half has some issues, but overall this is way better than it had a right to be. Thanks, Joey!

#5. Fistful of Metal (1984) — Ah, the mostly forgotten debut. This one is often overlooked since it doesn’t sound like the version of Anthrax most folks know, as this is basically a classic heavy metal album. That all said, this is a righteous slab o’ metal in its own right with a series of classic songs that Thrax still break out live now and then. There’s no disputing that “Deathrider” is a great song full of 80s power and one of the best the band ever penned. It’s like Motörhead meeting Exciter and Omen in battle, and only the listener survives. “Metal Thrashing Mad” went on to become a pillar of their live sets, and “Soldiers of Metal” is so 80s it hurts right in that 80s place. Neil Turbin’s rough, battle-ready vocals channel Paul Di’Anno, and the material feels mean, gritty, and street-lethal. Deep cut “Howling Furies” is one of my favorite metal tunes ever, and that line about the butcher knife is pure fucking poetry. This one deserves your love, but do YOU deserve a Fistful of Metal?

#4. State of Euphoria (1988) — This is what I consider the last release of the band’s golden age. It was the logical sequel to the surprisingly successful Among the Living, and I admired Anthrax for not trying to sell out here when they so easily could have, given their newfound fame. Euphoria has their classic sound and energy, but with a darker edge which they would continue to explore on Persistence of Time; the hooks here are still razor-sharp and plentiful. The writing is geared toward memorable moments with big choruses, and they all land, but it never feels like Anthrax is writing for greater radio play since they included a cover of Trust’s punk anthem “Antisocial” to lube the airwaves for them instead. Tracks like “Now It’s Dark” and Misery Loves Company” were plenty dark, but you could sing those catchy choruses loudly in a grocery store or at the local church. Did the lyrics get too cutesy and try-hard clever at times? Absolutely, and there are some truly cringe-worthy lines, especially on “Finale,” but that’s part of the Anthrax experience. Take it or leave it, chumbo.

#3. For All Kings (2016) — It kills a small part of my rusted, raged soul to rank this above enduring classics like Fistful and State of Euphoria, but truth must be spoken to the filthy, rotting masses. Yes, the second installment of the Joey Belladonna redemption arc is that good. I hoped for something as solid as Worship Music, and got clobbered by a vital, adventurous version of Anthrax that sounds like the 80s are back, but the band is older, wiser, and better able to expand their sound in smart ways. From how they come out swinging on “You Gotta Believe” and into “Monster at the End,” you can’t help but be impressed by just how classically Anthrax the material is. What seals the deal for me is how the album sounds like classic Thrax, but a more mature, world-weary version of the band. The 80s/90s version could never have pulled off a massive mood piece like “Blood Eagle Wings,” but now they can. They even inject wistful melancholy into cuts like “Breathing Lightning” without disrupting the album’s identity. For All Kings isn’t perfect, but it’s light-years better than anything the Big Four released since the early 90s. Look who had the last laugh!

#2. Among the Living (1987) — This is likely to be the winner in most Anthrax catalog rankings, and I certainly understand why. This was the album that truly broke the band through to mainstream consciousness with MTV running “hit” single “Indians” heavily outside of Headbangers Ball. The track listing reads like a who’s who of their best-known cuts like the title track, “Caught in a Mosh,” and “I Am the Law.” This is the sound of a band sure of their identity and writing from a place of confident inspiration. The material has a rowdy, carefree vibe that could only come from a New York upbringing, as if they’re poking you in the chest and daring you to find fault with what they were doing. My friends and I beat this album to absolute death the year it came out as we watched Anthrax’s public profile rise and escape the confines of underground metal. It seemed like the world was their oyster and that these cats would be bigger than Jesus. I still love this one and always will, but the back half is less amazing than the front, and I’ll never think of it as their best output.

#1. Spreading the Disease (1985) — This is the real magic bullet in the Thrax arsenal. Coming off the decidedly different Fistful of Metal debut, Neil Turbin was streeted, and in came Joey Belladonna with his much larger range and charisma. The sound shifted to a more thrashed out focus with a punk energy under the surface, and the writing was sharp and tight. Opener “A.I.R” grabs you around the neck and holds you in place as the band introduces you to the new sound, and there’s no denying they found the secret recipe here. Even the clunky, chunky production by Carl Canedy works somehow, giving everything a loveably rough, unfinished sound. Joey blows the doors off on eternal classics like “Madhouse,” “Aftershock,” “Armed and Dangerous,” and “Medusa,” and Thrax even dabble in moody prog on the brilliant cut “The Enemy.” Then there’s the closer “Gung Ho,” which at the time was the fastest shit anyone had ever heard. This is a flawless album that successfully marries the classic heavy metal sound of Fistful of Metal with thrash, and this is where Anthrax was and always will be at their very best. Blast “Medusa” at ear-bleeding volumes and tell me I’m wrong. Yeah, I thought so. Everything is in the right place at exactly the right time here, and it will forever go down as one of the best albums of the 80s. There is no other correct choice, folks.

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Grin Reaper, Charmed and Dangerous

Although Anthrax took the longest of the Big Four to click with me, their discography, along with Megadeth’s, is the one I revisit most. My first forays into Thraxland were by way of non-album tracks like “Bring the Noise” and “I’m the Man,” and while I’ve come around on those songs, they didn’t compel me to explore any further at the time. Eventually, though, I caught wind of Anthrax’s potent rhythm section, riveting me to tracks like “Caught in a Mosh” and “Got the Time,” as well as the one-man riff engine known as Scott Ian. The rest, as they say, is history. With new album Cursio Perficio just around the corner, I’ve thoroughly enjoyed revisiting the Not Men and their back catalog. So make sure you take the Time to check out my End All, Be All list, and if you disagree with any of it then head to the comments and Make Me Laugh.

#11. Volume 8 – The Threat Is Real (1998) — Most Bush-era Anthrax output would have fared better if they’d formed a new band like Audioslave did after de la Rocha left Rage Against the Machine. As is, the albums between The Persistence of Time and Worship Music sound like a product of the times, and even though Anthrax recorded some strong tracks during this time, Volume 8 never threatens to rise higher than the bottom of the barrel. Every time I start Volume 8 I feel my hopes rise, thinking it might be better than I remember. Such is the power of “Crush.” The main riff and animated drumming drive momentum across the Volume 8’s opener, which proves a fantastic at hype song and a song I revisit regularly. “Piss N Vinegar” sports burly, ass-kicking crunch and “Born Again Idiot” reminds me a bit of Clutch’s “Milk of Human Kindness,” but mostly Volume 8 sounds like late 90s alternative rock filler—the bloat is real.

#10. Stomp 442 (1995) — Though Stomp 442 starts promisingly enough, Anthrax’s seventh album wears thin ahead of its midpoint. More economical than Volume 8 at a still overlong fifty minutes,² Stomp 442 kicks off with “Random Acts of Senseless Violence,” “Fueled,” and “King Size,” all of which feel urgent and pissed off. “Riding Shotgun” bats clean-up, and though the song is fine enough, the uniformity of Stomp 442 starts to set in here and never relents. I attribute the diminished returns to the absence of longtime lead guitarist Dan Spitz. Scott Ian is a metal icon and a maestro of riffs, but where Sound of White Noise proved Anthrax could still put out bruising cuts under a new musical direction, Stomp 442 struggles to sustain that success.

#9. We’ve Come for You All (2003) — Five years after releasing Volume 8, Anthrax bounced back with We’ve Come for You All. Where Stomp starts strong and peters out, We’ve Come for You All more evenly distributes its load, coaxing a more balanced experience that maintains a safe home floor of quality. Nothing on We’ve Come for You All hits the same highs as Stomp’s opening triad, but “Refuse to Be Denied,” “Safe Home,” and “Strap It On” prove solid enough singalong fodder while “Cadillac Rock Box” features Dimebag and Bush engaging in reckless country swagger. The album also ends with a strong duo in “Think About an End” and the title track, and while these songs would never wind up on a best-of compilation, they’re a satisfying send-off for what would be John Bush’s final original contributions with Anthrax.³

#8. Sound of White Noise (1993) — Unequivocally the best album of Anthrax’s Bush years, Sound of White Noise flaunts some killer tracks that might rank higher if they fit better within Anthrax’s milieu. After Joey Belladonna was dismissed in 1992 for creative differences, Anthrax recruited John Bush for his more aggressive vocal delivery that the band felt meshed better with their desired direction. Though Anthrax’s signature sound is a far cry from Belladonna’s reign, Sound of White Noise captured the angst and contempt of the 90s with bangers like “Only,” “Hy Pro Glo,” and “Sodium Pentothal.” While even the best songs here never threaten to outdo what Belladonna accomplished with the band, Sound of White Noise teems with satisfying tunes that serve as obvious highlights from John Bush’s time with Thrax.

#7. Worship Music (2011) — Belladonna’s return on Worship Music heralded a triumphant to Anthrax’s classic sound and energy. “Earth on Hell,” “The Devil You Know,” and “Fight ‘em ‘til You Can’t” remain some of my favorite tracks in Anthrax’s arsenal, and deeper cuts like “Judas Priest,” “The Giant,” and “In the End” qualify as certified bops, as well. The separation between Worship Music, Fistful of Metal, and For All Kings is razor thin and might change by the day, but ultimately I give the edge to the other two because “Hymn 2” doesn’t do enough to justify its own dedicated track, and there’s just a teensy hint of unevenness in the album’s back third. Even so, Worship Music still sounds vibrant fifteen years later, and its placement in the ranking stands as a testament to the strength of the rest of their output. Eight long years after We’ve Come for You All, Thrax crawled out from the shadows and restored faith that they’re still the sleazy devils you know.

#6. Fistful of Metal (1984) — Anthrax’s debut leans heavily into thrash metal’s roots as the nascent movement synthesized influences from NWoBHM, speed metal, hardcore and punk. “Deathrider” and “Panic” evince bruising blends of Motörhead and Priest, with Benante’s double-bass fusillade recalling “Overkill” and the soaring, melodic leads and spry riffing suggesting Screaming for Vengeance. “Metal Thrashing Mad” meshes New York hardcore and punk influences with sinewy riffcraft while “Soldiers of Metal” and “Death from Above” sound like early Saxon trading in their slinky sways for higher velocities. The entire album coalesces into a curiosity within Anthrax’s discography—a stepping stone with its influences on its sleeve that sounds both fresh for its time and righteous on its own. Though I rarely reach for Fistful of Metal as a standalone listen, every time I spin it I’m delighted at just how metal thrashing rad it is.

#5. For All Kings (2016) — I’ve mentioned it before, but 2016 evidenced a ridiculously strong year for thrash metal titans. Megadeth and Testament put out very strong records, and Anthrax also carried the torch with For All Kings. The continuity of quality from Worship Music to For All Kings satisfies in every, and the album is laden with earworms and creative riffing bolstered by a sense of drama Anthrax never previously deployed. Outside the band’s elite material, For All Kings is the album I return to most often, and that’s largely thanks to “Breathing Lightning.” This tune unabashedly rips and remains a staple in my road trip playlists, and the Dark Tower references intensify my affection even further. Several other tracks draw me back as well, including “Monster at the End,” “Blood Eagle Wings,” and especially “All of Them Thieves.” For a band thirty-five years in,⁴ For All Kings shines like a beacon, highlighting that age is only a number.

#4. Persistence of Time (1990) — Many folks may have Persistence of Time ranked even higher. Honestly, there are killer tracks on this album that come close to pushing it up, but too many of them suffer from too much bloat. “Blood,” “Keep It in the Family,” and “In My World” survive as stone-cold classics, yet they’d pack even more punch if Anthrax shaved a minute from their runtimes. Even so, Persistence of Time takes a direct approach that bursts with earnestness, consistently sweeping me away despite any faults. “Got the Time” supplies a relevant cover that’s as improbable as it is effective, and really Persistence of Time’s theme is more poignant and charged than anything Anthrax had written up until this point. Though it has some warts, Persistence of Time is an enduring thrash album that deserves your attention.

#3. State of Euphoria (1988) — Riding the success of Among the Living, State of Euphoria retains the bravado and infectiousness of Anthrax’s preceding couple of albums and layers in more blunted social commentary on tracks like “Make Me Laugh” and “Schism,” seeming as relevant today as they did nearly forty years ago. In classic Anthrax fashion, the band holds a mirror up to ugly truths without feeling too preachy while surrounding them with riffs and moxie. Additionally, State of Euphoria demonstrates subtly slick melodicism. “Be All, End All” sports super-sticky vocal lines, and variations of the motifs introduced here persist through “Now It’s Dark” and “Misery Loves Company,” giving the album a depth and continuity I admire. Frank Bello also lays down grade-A grooves on State of Euphoria, endowing a brawny richness to its compositions. While the heights here don’t quite reach the pinnacle of Anthrax’s heap, State of Euphoria is a potent and overlooked album in their discography.

#2. Spreading the Disease (1985) — Spreading the Disease wasn’t Belladonna’s introduction to fans, as the Armed and Dangerous EP did that months earlier, but what a convincing and impressive slab it is. “Madhouse,” “A.I.R.,” and “Medusa” foreshadow the indelible hooks Anthrax would bring to life on their following album, but deeper cuts like “Lone Justice” and “Aftershock” galvanize me to raise the horns by instinct. Anthrax accomplishes all of this within a respectable forty-four minutes and ends Spreading the Disease with an implacable blitzkrieg of thrash metal thunder. I had this album in constant combat with Among the Living for my #1 spot, and although the latter eventually won out, the battle proved fierce and endlessly engaging. The truth is that neither of these Anthrax albums disappoint, and regardless of which one tops your own personal list, both of them leave you itching to Spread the Disease with libertine recklessness.

#1. Among the Living (1987) — I’d wager this is the de facto #1 record in many a ranking. If someone knows only one Anthrax album, it’s almost certainly Among the Living—and for good reason. This platter boasts one scorching track after another, and each one wedges its way into my gray matter with greedy barbs. Among the Living opens with a mid-paced, self-titled barnstormer that sources Stephen King’s The Stand as its inspiration, and it slays. All-timer “Caught in a Mosh” follows, discharging an infectious chorus while “I Am the Law” and “Efilnikufesin (N.F.L.)” submit rousing, raucous tunes that are a blast to play ad nauseam. Among the Living sounds vibrant and balanced with its fat bass tone, blistering drum grooves, and riff after riff of implacable headbangability, carrying momentum through every second of its runtime. In the end, Among the Living cements itself as an extraordinary feat of 80s thrash that should inspire metalheads everywhere to get caught in a mosh.

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Creeping Ivy, Caught in a Knosh

Anthrax was my gateway band. In the late 90s, nu metal tried to latch its sinister wallet chains into my (admittedly) oversized jeans. Punk was helping me recognize how lame nu metal was, but I had no Trve experience. But then, my bestie made me an American Big Four mixtape, with several choice Thrax cuts. I liked the tape, but metal still felt sterile to me. Frank’s chromatic bass line in “Caught in a Mosh,” however, revved me up, and Charlie’s explosive fill into the thrashy verses—coupled with Joey’s anthemic chorus and Scott’s mosh stomps—got me goin’. It was Anthrax that connected the punk/metal dots for me, and I never looked back. With gratitude, I offer this ranking.

#11. Volume 8: The Threat is Real (1998) — At best, Volume 8 is boring biker metal. At worst, it occasionally borders on nu metal. And at absolute worst, there’s “604” and lyrics about big orgasms on “Hog Tied.” It’s a bad sign when my favorite song is the CD-era secret track, “Pieces.” Other than this radio rock ballad, I don’t have many positive things to say about this record. If you haven’t listened to Volume 8, take the rest of the album title at its word—approach at your peril.

#10. We’ve Come for You All (2003) — I remember seeing the video for “What Doesn’t Die” on Headbanger’s Ball and being excited. It seemed like Anthrax was tapping into their past and borrowing from modern metal while keeping Bush’s powerful cords at the forefront. Alas, We’ve Come for You All hit me as mostly another Bushthrax album. Charlie certainly brings it on this album, and the black metal blasts of “Black Dahlia” stand as a late-album highlight. But even in spite of cameos from Dimebag and Roger Daltrey, We’ve Come for You All is another nearly hour-long slog.

#9. Stomp 442 (1995) — With one exception, the Bushthrax albums sit at the bottom of my list. It’s not John Bush’s fault. He’s a great vocalist, but Anthrax fronted by his husky, nimble yarl is just not what I want Anthrax to be. Sure, “Riding Shotgun” and “In a Zone” have some solid hooks. But at 51 minutes, I find Stomp 442 to be a chore. “American Pompeii” has a lyric about sitting through a four-hour movie the speaker has seen before—that sums up my experience with this album pretty well.

#8. For All Kings (2016) — This one almost ranked a spot higher, but I decided against it. For All Kings is a solid record overall; “Monster at the End” in particular does a great job melding Joey’s classic yelps and Scott Ian’s signature stomps with an almost traditional/power metal vibe new for Anthrax. And yet, I can’t help but feel like this album plays it safe while still being far too long (at nearly an hour). I can appreciate that Anthrax aren’t interested in rehashing the past too directly; the Game of Thrones-style opening to “You Gotta Believe” feels fresh. With more listens, this one could move up; for now, For All Kings isn’t quite for me.

#7. Sound of White Noise (1993) — If I want to hear Anthrax in Chains play Soundgarden of White Noise, this is the album I reach for. “Only” is a (Hetfield-certified!) banger, and I dig the guitar shuffling in “Room for One More,” as well as the vocal flexes on “Invisible.” But Bush, despite his expertly-expressed chin warbling, can’t elevate the largely bland riffing on display here. At a bloated 56 minutes, “This is Not an Exit” is an aptly titled closer—it takes forever for this song/album to end. I’m not a big fan of this record, but I can understand the change the band made (it was the ’90s, after all), and Sound of White Noise is easily my favorite Bushthrax record.

#6. Worship Music (2011) — This was the surprise discovery of my Anthrax discography dive. I was out on the band after We’ve Come for You All, so I missed the Belladonna return albums in real time. Lo and behold, Worship Music has some of the band’s strongest material since Persistence of Time. “Earth on Hell” opens things in vintage thrash fashion, and “The Devil You Know” and “Fight ‘Em Til You Can’t” both have soaring, memorable choruses. The back half dips, but I love the choice (and execution) of the (hidden!) Refused cover—it reminded me of how and why I got into Anthrax via punk. I don’t worship this album, but it’s the modern Anthrax record I’d reach for first.

#5. Fistful of Metal (1984) — A 35-minute Anthrax album? Sold! Released in 1984, it’s hard not to hear the band’s one Neil Turbin-fronted album as their less sexy version of Kill ‘Em All. Even still, Fistful of Metal is a rollicking good time, with killer bursts of energy (“Panic”) and righteous fist-pumpers (“Howling Furies”). Frank Bello is, of course, an iconic thrash/metal bassist, but Dan Lilker’s one performance on an Anthrax record brings the four-string fire (“Deathrider”). The Alice Cooper cover is fun, even if it disrupts the metal-thrashing madness of the album as its third track. A concise time capsule of Anthrax before they developed their signature sound, Fistful of Metal is a whole lot of fun.

#4. Persistence of Time (1990) — The third best Anthrax album is somewhere in here. It’s the persistence of the runtime, however, that keeps the band’s fifth album from my top 3. It really feels like Anthrax is trolling listeners with that title. “Time,” “Blood,” and “Keep It in the Family” effectively meld guitar and vocal earworms, but they all could’ve been a minute shorter. “Gridlock” offers serviceable thrash but congests the album’s flow. The under-three-minute “Got the Time”—the iconic Anthrax cover—breathes life into the album, though its punk energy sticks out like a sore thumb. And yet, Persistence of Time is still an enjoyably bludgeoning experience overall. It’s just unfortunate that it began Anthrax’s never-ending battle with bloat.

#3. State of Euphoria (1988) — Anthrax’s fourth full-length suffers from a hangover. Released a year and change after Among the Living, State of Euphoria adopts the previous album’s scope while bringing Spreading the Disease energy. The result is flawed but charming: my third favorite Anthrax album, by a pretty healthy margin. Classing things up with the cello opening to “Be All, End All,” State of Euphoria has some hidden gems, especially the ear-bending vocal hook of “Misery Loves Company” and the bangin’ “Finale.” As an expression of social dissatisfaction and a gesture towards the pre-history of Iron Maiden, their cover of Trust’s “Antisocial” hits the spot. State of Euphoria may be hungover, but it still valiantly brings the party.

#2. Spreading the Disease (1985) — In perhaps the greatest leap forward for any of the Big Four American thrash bands between debut to sophomore records, Spreading the Disease is arguably Anthrax’s best work. Chalk that up to adding Joey’s powerful pipes and Frank’s booming bass into the mix, immediately making their presence felt on opener “A.I.R.” From there, it’s banger after banger. “Madhouse” may be my favorite Thrax song, “S.S.C./Stand or Fall” is an underrated rager, and “Medusa” stops me stone-cold in my tracks with its hypnotizing groove every time. Anthrax never came close to distilling their muscular, fun brand of east-coast thrash into as tight a package as Spreading the Disease. For this reason, it’s damn close to my favorite of theirs.

#1. Among the Living (1987) — Upon undertaking this ranking, I fully expected the older, wiser me to prefer the tighter Anthrax classic. Alas, the ‘stalg factor was too overwhelming to keep Among the Living from my top spot. Popping it on again instantly brought me back to high school in the late-90s, hearing muscular late-80s riffage through my puny Walkman headphones. From the hype buildup of the opening title track to the menacing chuggery of “I Am the Law” and the ungodly speed of “Imitation of Life,” Anthrax’s third album always satisfies. The one-two punch of “Indians” and “One World” provides a gravitas the band hasn’t reached on any other album. Among the Living kicked my teenage ass, and it still does today. Mublanikufesin, Anthrax!

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Angry Metal Guy Staff Ranking

You’ve sampled the ingredients, but what does Anthrax taste like when you put all our opinions together?⁵

1. 1. Volume 8: The Threat is Real (1998)
   2. We’ve Come for You All (2003)
   3. Stomp 442 (1995)
   4. Sound of White Noise (1993)
   5. Worship Music (2011)
   6. Fistful of Metal (1984)
   7. For All Kings (2016)
   8. Persistence of Time (1990)
   9. State of Euphoria (1988)
   10. Spreading the Disease (1985)
   11. Among the Living (1987)

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If you’re looking for a fair mix of Anthrax’s greatest hits and choice deep cuts, look no further than AMG’s Thrax primer:

Steel Addendum: For whatever reason, Nuclear Blast saw fit to skip sending us a promo for Cursum Perficio, so we will be experiencing it in real time with you all. I’ll get a review up next week after I’ve had some time to marinate in whatever Anthrax cooked up. Have patience.

The post AMG Goes Ranking – Anthrax appeared first on Angry Metal Guy.

Featuring support from Sun Abstruct

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After releasing an album of live poetry back in June, Melbourne singer-songwriter Ruby Gill is building up to the release of her next musical collection, Fishing is not about fishing. In August, she released an early preview in the form of “Carol / not carol,” an engaging character sketch she wrote with her wife. “Carol likes the way the light looks/ When it’s heating up the dash,” that one begins. “Playing poker in the evenings/ She says we could use the extra cash.”

The post Ruby Gill – “Jamie” appeared first on Stereogum.

Posted on September 17th 2026, 4:21pm

That song title above: That’s a quote from something, right? A movie, maybe? A Simpsons episode? I could swear that I’ve heard those words delivered as a punchline before, with the emphasis on back. I don’t know. Maybe not. Google is turning nothing up. In any case, “Mom, I’m Going Back To Therapy”! Good title!

The post Julia Cumming – “Mom, I’m Going Back To Therapy” appeared first on Stereogum.

FOR IMMEDIATE RELEASE



PHENOMY ANNOUNCES NEW SINGLE “DEATH MAY DIE” FOR OCTOBER 2, 2026

Lebanese metal band draws on destruction, survival, and the possibility of resurrection with a powerful new single

LEBANON | September 2026 | Lebanese metal band Phenomy will release their new single “Death May Die” on October 2, 2026 , delivering a dark and evocative piece inspired by the relentless cycle of destruction, survival, and rebirth.
For Lebanon, death is not an abstract idea. It is something woven into generations of experience, where lives and communities have endured falling, fracturing, rebuilding, and rising again from the ruins. “Death May Die” draws from that reality and transforms it into a broader reflection on resilience and the human capacity to survive even when everything appears lost.
At the heart of the song is the idea that nothing is necessarily permanent, not even death itself. Beneath the wreckage, something can remain alive: a pulse, a memory, a spark of hope. As long as that pulse survives, the possibility of resurrection remains.
Musically, Phenomy channels these themes through a heavy metal framework that gives the song a sense of darkness and tension while leaving room for its underlying message of endurance to emerge.
“Death May Die” will be released worldwide on October 2, 2026 .
Listen / Pre-Save

https://distrokid.com/hyperfollow/phenomy/death-may-die?ref=release
About Phenomy

Phenomy is a Lebanese metal band whose music reflects the darkness, intensity, and resilience found within their surroundings. With “Death May Die,” the band turns a deeply familiar cycle of destruction and survival into a statement about the possibility of rising again.
For fans of: Heavy, dark, and emotionally driven metal.
Release Details

Artist: Phenomy
Single: Death May Die
Release Date: October 2, 2026
Genre: Metal
Origin: Lebanon

Connect: 
https://distrokid.com/hyperfollow/phenomy/death-may-die
https://www.facebook.com/Phenomyofficial
https://www.instagram.com/phenomyofficial
https://www.phenomyofficial.com/
Contact: phenomyband@gmail.com

As Nightwish celebrate three decades of symphonic metal, we travel to the small Finnish town of Kitee, where it all began. Known for moonshine and, now, riffs, Tuomas Holopainen and Floor Jansen reflect on a journey that’s involved everything from controversial singer swaps to opulent royal banquets.

The spotlight didn’t come easy to Tuomas. He remembers feeling nervous before Nightwish’s first-ever show, at a local recording studio on New Year’s Eve 1997. The band’s debut album, Angels Fall First, had been released a couple of months earlier and reached No. 5 in the Finnish charts.

“I was so scared I thought I was going to die,” Tuomas admits. “I think I vomited before the show. I’d played shows before, but I was just the keyboardist in those bands, I wasn’t responsible for those songs. Nightwish was my baby, I was like, ‘I can’t fucking do this!’”

Items from the band’s career are showcased in the world’s only dedicated Nightwish museum, in Kitee – Tuomas gives us a personal tour.

Also in this issue, we recall the demons, gremlins and erections involved in making and releasing Slayer’s infamous Reign In Blood.

In This Moment frontwoman Maria Brink gets the Hammer Interview treatment, explaining what it was like to be a teen mum, how she moved to Los Angeles at 25 to pursue her musical dreams – and why she’s always felt like a witch.

Atreyu are our guides at Amsterdam’s massive MagiCon, the Magic: The Gathering convention bringing together fans of wizards, spells, and… metalcore?

Satyricon reveal how they ended up playing a fashion show, Orbit Culture frontman Niklas Karlsson explains how he went from working in a slaughterhouse to playing on a stage, and Swedish metalcore innovators Imminence tell us how they invented a new genre: violincore.

Elsewhere, Beartooth’s Caleb Shomo opens up about living as his authentic self after coming out to his fans via social media, and Tony Iommi takes us inside his first solo album in 20 years.

Legendary director/composer John Carpenter confesses that he’d love to direct a video for Metallica, and Bimbocore inventor Scene Queen talks boobs, Botox and Britney.

All this, along with Cancer Bats, Saint Agnes, Amon Amarth, Anthrax, Tom Morello, Chelsea Wolfe, Powerwolf, our big Bloodstock review and much, much more.

Only in the new issue of Metal Hammer, on sale now. Order it online and have it delivered straight to your door.

We’re beyond thrilled to premiere “All Is Fair In Love, War & The Mundane,” a debut album by

Back in April, the Oakland alt-country band Mildred released their new album Fenceline. If you’re into the booming cottage industry that is post-Pavement/Silver Jews 2020s slacker twang, you’ll want to hear it. Mildred play with an easygoing looseness, even as lightweight melancholia hangs over everything, and their rotation of four singer-songwriters drawls with a tender melodic touch. Imagine if Friendship sounded a good deal more country and a bit less depressed, and you’d be in the ballpark.

The post Mildred – “Bird Laugh” appeared first on Stereogum.