ANTHRAX, the thrash metal veterans who probably have more riffs in their back pocket than some bands have Instagram followers, are finally dropping a new album in May. Yes, it’s been 10 years—about the same amount of time it takes for a vinyl record to warp in a damp basement. The album will be released via Megaforce in North America and Nuclear Blast in Europe, because nothing says “we’re still relevant” like splitting up territories like it’s 1986.
Recording took place at Dave Grohl’s Studio 606 in Northridge, California, because if you’re going to make a metal record, you might as well do it where the Foo Fighters keep their secret stash of vintage drum kits. The band once again teamed up with producer Jay Ruston, who’s basically their George Martin at this point. If ANTHRAX were THE BEATLES, Ruston would be the guy making sure they don’t accidentally record “Helter Skelter” at half-speed.
Bassist Frank Bello, who looks like he could bench-press a Marshall stack, spilled the beans during an interview with Dan Coniglio from Long & McQuade. According to Frank, the album is “so heavy” that some parts are “really hard to play.” Shocking, right? Who would’ve thought that a band whose logo looks like it was designed by a chainsaw-wielding font enthusiast would make something heavy? He also praised Joey Belladonna’s vocals, marveling at how the guy can still sing like he’s trying to shatter bulletproof glass. Honestly, if Joey can hit those notes at 60, I’m considering taking up opera.
The creative process, as Frank explained, is basically like making a cake. You start with the foundation (the three core members throwing riffs at each other like dodgeballs), then add melodies, then lyrics, and finally, you frost it with ego-checking and brutal editing. Because let’s be real, nothing says “we’re professionals” like cutting out a riff you love because it doesn’t serve the song. It’s like throwing out your favorite action figure because it doesn’t fit the storyline of your backyard epic.
ANTHRAX had to navigate the joys of COVID-19, which apparently made jamming together as fun as trying to play Jenga over Zoom. Latency issues meant they couldn’t feel the vibe, so they resorted to sending files back and forth like musical pen pals. Once it was safe to gather again, the three amigos—Charlie Benante, Scott Ian, and Frank Bello—got together to trade riffs like Pokémon cards. The result? A record that Charlie claims is “so good” that people will be like, “Oh my God, this was worth the wait.” Bold claim, Charlie. Let’s hope it’s not another “St. Anger” situation.
Speaking of bold claims, Charlie also revealed that the album cover is “fucking trippy as hell.” He designed it with artist Mark Stutzman, who apparently does conceptual art for David Blaine‘s magic shows. Because when you think of ANTHRAX, you obviously think of mind-bending illusions and sleight of hand. The cover is so trippy, it might make you question whether you’re actually listening to metal or just hallucinating from too much caffeine.
The band has been hyping this album like it’s the second coming of thrash metal. Joey Belladonna claims his vocals on this record are some of his best ever, which is saying something considering he’s been hitting high notes since before most of us were born. Frank Bello is so excited, he’s practically vibrating. He says the album is “challenging” to play, which is probably an understatement. If you thought their last album was a workout, this one might require a gym membership.
In case you forgot, ANTHRAX is celebrating 40 years of existence. That’s right, they’ve been around since 1981, which means they’ve been thrashing longer than some of their fans have been alive. They’ve released 11 studio albums, earned multiple gold and platinum certifications, and even played Yankee Stadium with the “Big Four.” Not bad for a band that started in Queens, New York, probably in someone’s garage with more amps than sense.
The last album, “For All Kings”, was hailed by critics as ANTHRAX‘s strongest work to date. It came after a five-year period of rebirth, which included the “Big Four” tour and the release of “Worship Music.” So, if this new album is even better, we might need to start building a statue in their honor. Or at least a really cool mural in a subway station.
In conclusion, ANTHRAX‘s new album is shaping up to be a thrash metal masterpiece, assuming they don’t accidentally record it at half-speed. With heavy riffs, soaring vocals, and a trippy album cover, it’s got all the makings of a classic. Just don’t expect them to release it on cassette—because even ANTHRAX knows that would be taking nostalgia too far.
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