Okay, so watching streamed performances over the internet isn’t the best way to enjoy live shows. That’s a given. Every one of us would rather be in the middle of a sweaty moshpit, getting drunk with friends while being accidentally kicked in the head by overenthusiastic crowd surfers. Yes you would. Don’t lie.
June 2021 sees the return of the beardos in Crobot with their latest EP Rat Child (Mascot Label Group), a mix of pieces that could have appeared on Motherbrain in an alternate universe and products of the pandemic and long distance friendships. You’re lucky if I bother to actually put on pants, much less try to engage in any kind of creative endeavor over Zoom/Skype/smoke signal so I have to give credit where credit is due.
Anthrax will unleash their killer’s first-ever graphic novel on July 6th Worldwide. Created in collaboration with Z2 Comics (Steve Aoki, Andy Black, Blondie, Avatar, BABYMETAL) “Among The Living” inspired by the titans of thrash metal’s landmark 1987 album. In an effort to support the comic book specialty market, which had been hardest hit by the COVID-19 health crisis of the past year, Anthrax and Z2 shipped a surprise limited number of copies early that stores could make available for sale this week. In addition to the song Judge Dredd, The NOT Man, and album covers by Alex Ross, and countless other geek moments, Scott Ian has written comic books for years and charlie Benante is also a noted album. Continue reading
Anthrax bassist Frank Bello will release his memoir Fathers, Brothers, And Sons will be released this October 12th via Rare Bird Literature. The full title is Fathers, Brothers, And Sons: Surviving Anguish, Abandonment, And Anthrax written by Bello and Joel McIver. The foreword was written by KISS bassist/vocalist Gene Simmons.
The Hall of Heavy Metal History Metal Hall of Fame Gala takes place every winter around The NAMM show in Anaheim, CA. Hosted by television, radio personality and heavy metal champion Eddie Trunk (Trunk Nation That Metal Show), and will feature appearances by heavy metal greats of today and years past. The event will feature performances by legendary drummers and Hall of Heavy Metal History inductees Carmine Appice and Vinny Appice, as well as a performance by hard rock/punk icon Jean Beauvoir. Los Angeles heavy rock/metal group Budderside will open the show. The full list of inductees is below This is fast becoming one of the biggest events in the yearly metal calendar.
At The Paramount
All Photos By Danielle Volpe/DEV PhotographyContinue reading
Anthrax is heading out soon on their first full headline tour of Europe in over a decade. Watch bassist Frank Bello walk fans through the upcoming tour in this video: Continue reading
In 2016, for the first time since the eighties, New York thrashers Anthrax find themselves with a genuine burden of expectancy being placed upon their shoulders. Not since John Bush joined in 1992 have the eyes of so many been fixed on the band.
The reason for this is all thanks to 2011’s Worship Music (Megaforce, Nuclear Blast). After the rather colourless Stomp 442 (Elektra/Warner) and its largely forgettable follow-up Volume 8 – The Threat is Real (Ignition), the band released the perennially underrated We’ve Come for You All (Sanctuary/Nuclear Blast). Although clearly superior to their previous couple of outings, its reception was still mixed and far from anything they had enjoyed during the 80s and the turn of the 90s.
However, when Worship Music landed, all that changed. Although possibly helped by a combination of expectancy levels being at an all time low due to more publicized unrest and personnel changes within the camp, as well as there being a gap of eight years between records, the 2011 “comeback” album helped itself no end by simply being one of the strongest records the band had released to date. All of a sudden, the messy upheavals and well documented hirings and firings were forgotten as fans were treated to one of the best Metal albums of the year. Worship Music was a roaring success.
So, having firmly re-established themselves with a critically lauded new album and almost constant touring, the band’s next trick had to be how to maintain that momentum from inside the studio again. A pretty mammoth task they just about succeed in achieving with latest album For All Kings (Megaforce).
After a restrained drum and cello introduction, a typically Anthrax riff takes over and opener ‘You Gotta Believe’ begins properly, hammering away at you until you can catch your breath during its quiet middle section, before it builds back up to a suitably big finish. I’m afraid that by the time vocalist Joey Belladonna belts out “your golden halo is burned and melted” during ‘Monster at the End’ it’s already all over for you as the chorus digs its claws in, almost physically forcing you to sing along, regardless of where you are and how many strange looks you may attract.
Initially led by Belladonna, the title track is simply a monster, with drummer Charlie Benante quickly taking centre stage, owning the song completely with one of his most confident performances in recent years. ‘Breathing Lightning’ and ‘Suzerain’ are big songs with big choruses, and the thrashy as hell ‘Evil Twin’ is as close to old school Anthrax as you could possibly wish for. ‘Blood Eagle Wings’ is a lengthy, but worthwhile eight minutes, and ‘Defend Avenge’ has an opening riff reminiscent of ‘Among the Living’ but is also the album’s first throwaway track, although it does contain a quality guitar solo and improves as it goes along. ‘All Of Them Thieves’ is another (slight) disappointment, but again features another great solo from new boy Jon Donais (Shadows Fall) and gets better towards the end.
Bassist Frank Bello takes control of the intro to ‘This Battle Chose Us’, an improvement on the previous two tracks, and proceedings are brought to an impressive close with a short, sharp burst from the satisfyingly speedy ‘Zero Tolerance’.
A couple of wobbles during the second half aside, ‘For All Kings’ is every bit the worthy successor to Worship Music, although there could be a question as to how much material (if indeed any) was salvaged from the studio at the end of those previous sessions, such are the distinct similarities between the two records in places.
Mainman Scott Ian might come in for a lot of (mostly anonymous, and online) flak when it comes to decisions within the band (his band to be fair), but whatever missteps he may or may not have made in the past, he’s certainly helped make sure the band have a firm footing both for now and a few years to come.
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