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Multi-GRAMMY® award-nominated New York heavy metal titans Anthrax – Scott Ian (guitar), Charlie Benante (drums), Frank Bello (bass), Joey Belladonna (vocals), and Jonathan Donais (guitar) – will unleash their long-awaited 12th full-length studio album Cursum Perficio on September 18th via Nuclear Blast Records and Megaforce Records (North America). It 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. Cursum Perficio will be available in various physical configurations to pre-order/pre-save; click HERE. 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.

For Cursum Perficio’s first single and video, ‘It’s For The Kids‘, the quintet bulldoze the way for the album’s impact. It’s a classic Anthrax ripper locked and loaded with buzzsaw-sharp riffs, explosive drumming, and a howling and head-banging hook. It undoubtedly has all the makings of a future live staple. Listen HERE. See the quotes below from the band about the single and album.

Anthrax have now released a high-octane video for ‘It’s For The Kids‘, harking back to the infamous video for their 1985 smash hit ‘Madhouse’.

Pre-order Cursum Perficio here:
https://anthrax.bfan.link/cplp

Stream ‘It’s For The Kids‘ here:
https://anthrax.bfan.link/iftksg

Watch the video for ‘It’s For The Kids‘ here:
https://youtu.be/Pj5u8OagODo

The band dove into recording Cursum Perficio in earnest during 2022, working out of Dave Grohl’s Studio 606 in Los Angeles. They carefully pieced together what would be this magnum opus, mining their history with reverence, delivering on fan expectations tenfold, and broadening the scope of their signature sound. Produced by Jay Ruston and Anthrax, the result is an album that’s as angry, aggressive, and alive as their most celebrated fare.

“It was quite a journey from the inception of this album to its completion,” Ian says. “We were supposed to make this in 2020, but the universe had other plans for everyone. After the Pandemic, we got to be a band again. When we started working on the record, we were just happy to be in a room together. It was so exciting that it was like being reborn in a way. All of that energy and emotion went into the music. The fear of being forced out of our lives and the joy of coming back together are present. The title ‘Cursum Perficio’ feels like ANTHRAX. It resembled what we went through to get to the point of finishing the record.”

“There was an awful lot of growth between Worship Music in 2011 and CURSUM PERFICIO,” Benante elaborated. “This album is a culmination of everything we’ve learned. I was watching a Marilyn Monroe documentary, and I saw ‘Cursum Perficio’ written on a tile in her last home. When I found out what the phrase meant, it immediately clicked with me. We aren’t saying this is our last record, but our journey has come to an end. I believe we’ve completed the task.”

“We had to make Fistful Of Metal and Spreading The Disease to be able to write Among The Living,” Ian goes on. “In the same respect, it took Worship Music and For All Kings for us to be able to write CURSUM PERFICIO. I very much compare this record to Among The Living.”

“We left it all on the table,” agreed Bello. “We really know who we are as ANTHRAX, what turns us on, and what we need to do. I don’t think anybody knows what’s next, but we’re hungrier than ever. From here on out, we’re going to go full throttle for every fucking minute.”

“A friend of mine said, ‘It’s For The Kids’ is a straight-up love letter to your fans,’” Ian says. “That’s exactly what I wanted it to be. The album needed a four-minute thrash song that harkened back to our first era. Whether it’s the aggression or the big chorus, it represents all the best parts of ANTHRAX in a very angry four-minute package. For the video, we wanted to throw back to our ‘Madhouse’ video–thematically it just made sense and this idea opened the door for us to share the experience with our fans. For all of us!”

“The video for ‘It’s For the Kids’ turned out really well,” Benante says. “I don’t necessarily like doing videos and this one had elements of things that I really love. There were fans in it, they showed up, they enjoyed it, it made me enjoy the video just seeing them enjoy it. Hearing the song for the first time, their reaction to it, and just the interaction with them was just great. I think the director did a great job on it. It’s kind of a throwback to our first ever video, ‘Madhouse.’ So I think fans are gonna see it and think ‘oh look at that, I see what they did.’  But yeah, great song and a great video. ‘It’s For the Kids’ is one of the songs that I felt was so strong, and the riff behind it and the rhythm behind it was almost like a tug of war, it’s like a push pull. It has this tension to it where the drums are just playing at a high pace speed, and the guitars are doing pretty much quarter notes with it. And the drums are just going full speed ahead. One of my favorite songs on the record and one of my favorite riffs. I really think this song is a gift to ANTHRAX fans who have been with us throughout the years. This basically is ANTHRAX at its best. Fast paced, thrashing, melodic fucking metal.”

“When I hear certain tracks, I immediately go, ‘I want to do this song. It might have a shot,”  Belladonna notes. “Even the first time I started singing a tune like ‘Madhouse,’ I figured it was going to be a strong one. You just know. There’s a lot of variety to each of our records. To me, ‘It’s For The Kids’ is nice, straight-up ANTHRAX. It has a lot of fire and a punch to it. Vocally, it’s really cooking. It was definitely fun to hammer down on this one and put a lot of drive into it.”

Donais adds, “‘It’s For The Kids’ is a right to the point thrasher. It’s fast, aggressive, catchy and definitely going to be a fun one live. I love the ‘madhouse’ inspired throwback vibe of this video. Involving the fans and capturing their reactions to a new song adds some energy that really stands out.”

“I’m psyched for people to hear ‘It’s For The Kids!’” Bello comments. “This is a heavy, driving song with a big hook chorus-a combination of classic ANTHRAX and current- I can’t wait to play it live! Had a (cold!) blast filming the video too. It’s a great, energy packed video with a bunch of amazing ANTHRAX fans having a good time on a freezing day in Pennsylvania. The metal kept us all warm.”

Their journey has brought them to Cursum Perficio – a powerful, pummelling, and poetic milestone in Anthrax’s 45-year career.

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The post ANTHRAX Release Video For New Track ‘It’s For The Kids appeared first on The Rockpit.

Last night, Bruce Springsteen was the musical guest on the penultimate episode of The Late Show With Stephen Colbert. CBS was not subtle in its attempt to cozy up to Donald Trump, announcing the cancellation of The Late Show last summer, a move widely interpreted as a bid to appease the president. Colbert is making the most of his final week on the show, which included burning down the house with icon David Byrne a couple of nights ago. Last night’s episode featured a performance by Springsteen that was no less gripping despite its grave tone.

The post Bruce Springsteen Brings Protest and Solidarity to Stephen Colbert’s Penultimate Late Show appeared first on Stereogum.

In Clarksdale, Mississippi, where the Delta air hangs thick and the ghosts don’t bother hiding, Charlie Musselwhite sits easy and watches it all come back around. “I’m in Clarksdale, Mississippi. This is where I live,” he says. “Clarksdale just keeps getting better… we really love living in the Delta.” That’s not nostalgia talking. Not quite. […]

The stormy, theatrical Brighton post-punkers Opus Kink are still a couple of months away from releasing their debut album The Sweet Goodbye, but they’re in blitz mode, releasing a bunch of early singles. We’ve already posted their songs “I’m A Pretty Showboy,” “Come Over, Do Me Wrong,” and “The Head Tree.” Today, they share the…

The post Opus Kink – “The Sweet Goodbye” appeared first on Stereogum.

Australian rock outfit Datura4 is premiering their new single “Getting Through” ahead of the release of their upcoming album High On The Low Brow, due out June 19 via Alive Naturalsound Records.

Driven by thick fuzz riffs, pounding grooves, and psychedelic textures, “Getting Through” delivers the heavy retro-inspired sound that has become a hallmark of the band’s music. The track blends gritty hard rock with spacey keyboard flourishes and an infectious groove while exploring themes of unrequited love and respect.

Frontman Dom Mariani said, “‘Getting Through’ came from an early studio jam. The fuzz riff I had, combined with Warren’s drum groove and Bob’s electric piano and spacey Moog lines worked great together from the get-go. It was one of those intuitive moments that resulted in something special. There’s a cool heaviness about the track that underpins the vocal and theme about unrequited love and respect. The guitar solos are full throttle fuzz to melt your brain.”

“Getting Through” is the latest preview of High On The Low Brow, which arrives June 19th from Alive Naturalsound Records. The album continues Datura4’s blend of heavy rock, garage rock, and psychedelia, fueled by fuzz-drenched guitars and vintage-inspired grooves.

Listen to the premiere of “Getting Through” below.

The post Premiere: Datura4 – “Getting Through” appeared first on Blues Rock Review.

UK progressive metallers Haken have returned with their first new music in 3 years, in the shape of “In A Fever Dream”. This new track sees the band working with a producer for the very first time, bringing George Lever (Loathe, Sleep Token) on board to help shape the next stage of the band, crafting some of the most emotionally direct material of the band’s career so far.

For this track, the band enlisted renowned bassist Bryan Beller (The Aristocrats, Dethklok, Joe Satriani) to contribute. Watch the visualiser for ‘in a fever dream’ (created by Oli Kember) below.

Haken will return to the stage on September 27th to headline the Euroblast Festival in Germany.

The post HAKEN Shares Visualizer Video For New Single “In A Fever Dream” appeared first on Sonic Perspectives.

During a rare and exclusive interview with UCR, the guitar legend tells us about how his new band developed with the first two albums they released. Continue reading…

PERTH, WA — Friday June 12 will see the Rosemount Hotel transformed into a powerhouse celebration of hard rock and heavy metal as TITANS OF STEEL delivers an explosive night dedicated to four of the biggest names in rock history — Metallica, Iron Maiden, Whitesnake and AC/DC.

Featuring four of Perth’s premier tribute acts, TITANS OF STEEL promises wall-to-wall anthems, blistering musicianship and arena-sized energy in one unforgettable night of live music.

Tickets available HERE

Leading the charge are SOME KIND OF TRIBUTE performing METALLICA, bringing together some of Perth’s most accomplished musicians to honour one of the greatest metal bands of all time. Covering everything from iconic fan favourites to deep cuts spanning Metallica’s legendary catalogue, the band delivers a performance built on passion, precision and respect for the music that shaped generations of metal fans.

Representing the New Wave of British Heavy Metal are POWERSLAVE performing IRON MAIDEN. Known as Perth’s ultimate Maiden tribute experience, POWERSLAVE recreates the soaring vocals, galloping rhythms and twin guitar attack that made Iron Maiden global icons. Fans can also expect a special appearance from Maiden’s infamous mascot ‘EDDIE’, adding another layer of theatrical spectacle to the night.

Bringing the glamour and swagger of classic 80s hard rock is COVIDale performing WHITESNAKE — an all-star tribute lineup featuring Dom Giorgi (Dark of the Day), Ama Quinsee (Legs Electric), Simon Hallett (Psychonaut), Leon Todd (Ragdoll) and Fremantle Dockers crowd favourite Troy Nababan. Performing massive hits including Here I Go Again and Still of the Night, COVIDale combines powerhouse vocals, huge riffs and pure rock ‘n’ roll energy for a full-scale arena rock experience.

Rounding out the line-up are Australia’s electrifying all-female AC/DC tribute act BALLBREAKER. Featuring Scottish-born vocalist Kathryn Lamb alongside guitarists Krissy Sanfead (Parabelum) and Bec Moroney, a brand new bassist (to be announced shortly) and drummer Lauren Reece, BALLBREAKER celebrates the raw energy and cheeky spirit of the Bon Scott era with classics including TNT, Jailbreak, Can I Sit Next To You Girl and She’s Got Balls. Loud, wild and unapologetically fun, BALLBREAKER delivers the ultimate AC/DC party atmosphere.

With four legendary tributes sharing one stage, TITANS OF STEEL is shaping up as one of Perth’s must-see live rock events of the year.

TITANS OF STEEL
Friday June 12, 2026
Rosemount Hotel, Perth WA

Featuring tributes to:
METALLICA • IRON MAIDEN • WHITESNAKE • AC/DC

Prepare for a night of heavy riffs, soaring vocals, thunderous drums and timeless rock anthems performed by some of WA’s finest live musicians.

Tickets available HERE

The post TITANS OF STEEL Brings The Ultimate Rock & Metal Tribute Experience To The Rosemount Hotel This June appeared first on The Rockpit.

UK progressive, alternative metal band HAKEN return with their first new music in 3 years, in the shape of ‘in a fever dream’. This new track sees the band working with a producer for the very first time, bringing George Lever (Loathe, Sleep Token) on board to help shape the next stage of the band, crafting some of the most emotionally direct material of the bands career so far. For this track, the band enlisted renowned bassist Bryan Beller (The Aristocrats, Dethklok, Joe Satriani) to contribute.

Watch the visualiser for ‘in a fever dream’ (created by Oli Kember) here:

 

Stream the track here: https://haken.lnk.to/inafeverdream-Single

Haken will return to the stage on the 27th September to headline Euroblast Festival in Germany.

HAKEN are:
Ross Jennings
Richard Henshall
Pete Jones
Ray Hearne

The post HAKEN return with new single ‘in a fever dream’; first new music since 2023 appeared first on The Prog Report.

Hailing from Detroit, Michigan, the Suicide Machines broke out onto the scene in 1991. Originally named Jack Kevorkian and the Suicide Machines, after the infamous “Doctor Death,” they had streamlined their title by the time their debut album dropped in 1996. After a few lineup changes and a short breakup in 2006, the band reunited in 2009. Throughout their career, they’ve released seven full-length albums along with a collection of singles, splits, and EPs. This year marks the 30th anniversary of their celebrated debut, Destruction by Definition.

Growing up in the Detroit suburbs during the mid-90s punk revival was a riot. Known as the birthplace of legends like Iggy Pop, the Stooges, and the MC5, Detroit has produced its fair share of local punk bands. In the 90s, the Suicide Machines were the most prominent, solidifying their status as the best to emerge from the city in years, and delivering their ska-punk sound to local kids, playing small shows at venues across the state. I remember frequently taking the tunnel bus to catch them live several times a weekend, early in their career.

When Destruction by Definition made its debut, it shot the Suicide Machines into the punk rock spotlight and placed them on a major label—Hollywood Records. Dubbed a quintessential ‘90s punk-ska album for a reason, it perfectly blends the best of both genres while capturing the sound of the era. With its melodic ska hooks and the raw energy of classic punk angst, this album is a flawless debut from beginning to end. Merging these musical elements laid the groundwork for what many refer to as “skacore”, but regardless of what you call it, Destruction by Definition nailed it. While the tracks lean heavily on punk, the ska influence runs strong throughout, with each song averaging just over two minutes – it’s a lot packed into a short runtime. Lyrically, the album remains relevant today, addressing substantial issues like hate, social conflict, and racism, alongside everyday struggles such as broken relationships and mental strain. A little something we can all relate to. Yay!

Destruction by Definition kicks off with an intro that everyone recognizes, thanks to Tony Hawk’s Pro Skater. “New Girl” is the first track, aggressive vocals thrashed together against an upbeat tempo. Next up is “S.O.S,” – more pertinent now than ever. It’s a ‘call-to-action’ against hate and racism, backed by an energetic hardcore punk style. “Break the Glass” has always, in this girl’s opinion, epitomized the energy of their live performances. With a frantic rhythm and upbeat vocals, it stands out on the album and even landed a spot on the American Werewolf in Paris soundtrack.  

Songs like “No Face” capture the quick-tempoed skate punk energy with rapid-fire lyrics. Gaining them airplay in the early 90s, and propelling the Suicide Machines onto centre stage. Then there’s “Hey,” which starts as a heavier track before diving into ska bliss, filled with upbeat, powerful horn arrangements—definitely giving off those free-mozzarella-stick vibes. Both of these songs are personal favourites of yours truly.  

Whereas songs like “Our Time,” “Too Much,” and “Islands” tackle the intense pressures of social expectations and anxieties, all set to frenzied guitar riffs. Tracks like “The Real You,” “Face Value,” and “Punk Out” explore personal and peer relationships. These punk anthems, with their fast drumbeats and prominent bass lines, feature ska rhythms showcasing their signature energetic sound. While personal struggles come to the forefront in “Insecurities,” “Inside/Outside,” and “Zero”, diving into self-doubt, integrity, and seeking inner peace, all driven by high-energy instrumentals and angsty, melodic vocals. 

No review of Destruction by Definition would be complete without acknowledging the “Vans Song.” In my opinion, it’s a classic that will always be a favourite. You can’t go wrong with a song about sneakers, especially ones as iconic as Vans. I’m sure it will go down in some sort of punk rock history. Since Destruction’s release, hearing the track “So Long” always signifies that it’s time to wrap it up. Although I’m sure there’s a deeper meaning, it’s been tied to the end of shows for decades, a bittersweet way to close out the night. 

But before the record stops spinning, there’s one more track. The Suicide Machines grace us with a cover of Minor Threat’s “I Don’t Wanna Hear It.” Infusing it with their own skacore style, meshing it perfectly. Not to mention, it helped turn a generation of kids onto Minor Threat – if they weren’t hooked already.

Reflecting on the release of this album, it’s tough to find anyone who didn’t love this record when it first hit the shelves. Through the lens of an impressionable teenager, it had a lasting impact, both musically and culturally. A soundtrack reminiscent of late nights, skate parks and circle pits. Now, listening to this record as an adult, I find it still radiates that confidence, motivating listeners to stay authentic to themselves with an overall positive vibe and attitude.

In celebration of their anniversary, the Suicide Machines have rereleased several vinyl variants of Destruction by Definition. However, I suspect that most styles might already be sold out. They have also announced a North American tour with the Bouncing Souls, along with some headlining shows. Expect to hear Destruction by Definition performed in full at every stop on this tour. With over 30 dates scheduled so far, there’s a good chance they’ll be hitting a city near you soon. Make sure you don’t miss out!