Well, it’s been a long, long, long time coming, but Anthrax’s Worship Music is apparently FINALLY coming out on September 13. And now the studio version of the first single, “Fight ‘Em ‘Til You Can’t” — a song the band has been playing live for three years, since Dan Nelson’s brief tenure as their vocalist — is available for download here. (And, oh yeah, you hafta give up your e-mail address to get it.)

Not counting that “Ball of Confusion” cover Joey Belladonna recorded with John Bush for 1999′s Return of the Killer A’s, this is the first new Anthrax song with Belladonna in more than two decades. And it’s no secret that I’m not a Belladonna fan, but I’ll be curious to see if anyone defends his vocal performance here; I think it’s especially awful, and further demonstrates that, even if you are a Belladonna fan, his voice has not aged well. (And whoever decided he should whisper “I will end you” in sync with the drums before the second verse made a poor choice. SO CHEESY.)

But I also think the band made some weird choices in the production of the song, and those choices undermine its power. I don’t know if those guitars or keyboards under the chorus, for example, which is a bad sign; whatever they are, they make the track feel way too poppy. In fact, I’d say the whole song seems to be lacking any real edge.

But maybe it will grow on me. We’ll see.

Headbang here, then debate the quality of the song in the comments section below.

-AR

Thanks to Aleksander Sobecki for the tip!

You asked and Misha answered. Today, the Periphery guitarist/mastermind and #20 on our list of the Top 25 Modern Metal Guitarists, tackles more MS reader-submitted questions about gear, guitars, and more. This week: Misha’s preferred method for recording guitars directly to a computer, the best way to record drums on a budget, and how Misha created the sexy synth/drum loops on the Periphery and Animals as Leaders albums.

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Before there were blogs there were these things called magazines, and the only metal magazine we still get excited about reading every month is Decibel. Here’s managing editor Andrew Bonazelli…

As the killer gatefold above indicates, August’s Decibel (order here) presents an in-depth exploration of the bond between extreme music and extreme comics. Nick Green busted his ass to deliver multiple hilarious and informative profiles on the industry’s most brutally creative psychos. Today, in the interest of giving you a little cutting room floor action, here’s a quick Q&A with cover artist Tom Neely, of Henry & Glenn Forever infamy.

You submitted a variety of ideas for the Scott Ian cover. How did you settle upon the imagery you created for the foldout?

The only guideline I was given was that it had to include Scott Ian. Which, as much as I love Anthrax, was more difficult than I thought, because I don’t often make art that involves actual living people. I sketched out five or six ideas that I presented to Jamie [Leary, head designer] and Albert [Mudrian, editor in chief]. They picked my second favorite, which was actually my first sketch, and I think it ended up being the best idea overall.

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Photos by Brian Schroeter

Has anybody else been to a show that was extra awesome cuz the turnout sucked? Low sales suck for the bands, and that sucks suckbags. However, under-attendance creates gigs that feel more like parties: The room is easily navigated and the few faces are soon familiar to you; at first, there’s a chill — in the case of the Forbidden, Revocation, White Wizzard, and Havok mega-jam this weekend, I overheard two pre-show conversations about how the show wouldn’t be worth it for the bands — but that chill passes, and is replaced with the “hey there you are let’s headbang” vibe; by end of show, there’s a bit of fondness for the others in the room, except for the one guy who barfed on something important and the tipsy chick blabbing to/about her scenebro bf. Totally like a party. I love parties.

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If you are in a deathcore band, getting your image right means everything. It can make the difference between yet another run-of-the-mill, VERB THE NOUN band and becoming the next Suiside Silence — just ask Phil from Whitechapel, whose sick gauges have been reblogged thousands of times by eager teenagers all across the world.

It’s easy to get a new haircut or buy some new clothes, but perhaps the most important decision you’ll need to make is what tattoos to get. Fortunately, thanks to the people at PitCam Productions, a new TV series called “BEHIND THE INK” gives you all the exclusive, behind-the-scenes info you need to unlock and master the skin art secrets of deathcore’s hottest frontmen!

Check out juicy, in-depth interviews with Ricky Hoover of SUFFOKATE, Thanos of EMMURE, Oli Sykes of BRING ME THE ‘ORIZON, and Vincent of THE ACACIA STRAIN after the break!!

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I somehow missed the news that Batillus have a split 7″ with Mutilation Rites coming out next month; I thought their album Furnace, which is one my favorites of the year so far (read my review here), was all we was gettin’ from the doom crew in 2011.

But I was wrong! And gloriously so, if “Cast,” the new Batillus track streaming over at Stereogum, is any indication. Of course, it doesn’t hurt that Kat Katz (ex-Salome, still Agoraphobic Nosebleed) lends some guest vocals to the song, but even if she wasn’t on it, it would still be a great example of Batillus firing on all cylinders.

Headbob here, then come back and let us know what you think. There’s also a Mutilation Rites song, “Golitath,” streaming in the same location. The split comes out July 12 on Shinebox.

-AR

A couple of weeks ago, Vince wrote this really great article called “The 16 Cardinal Rules for Running a Metal Record Label in 2011,” which a lot of readers, including music biz analyst extraordinaire Bob Lefsetz, (understandably) seemed to enjoy. And I don’t believe that Chris Dick intended his latest post for The Deciblog, “5 Things Musicians Need To Understand To ‘Succeed’,” to be a companion piece, but it sort of is, and, even if it isn’t, well, it’s a great read that anyone who is in a band or aspires to be in a band should check out.

Here’s a sample:

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What makes The Black Dahlia Murder the cream of metal’s crop is that, while never abandoning their face-ripping ways, they refuse to just spin their wheels from album to album. The dudes started out good, and they keep getting better. No amount of flowery verbiage myself could back that statement up more than just one listen to Ritual will. Because just one listen is all The Black Dahlia Murder needs to grab you by the throat, beat you senseless, and leave you lying on the pavement like some ninety-pound moron who just picked a fight with Georges St-Pierre. But, being the sadistic little fuck you are, you’re gonna pop right back up and listen again, aren’t you? Damn right you are, because this is hands down one of the most vicious slabs of metal we’ll get this year.

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A few weeks ago, I saw Ghost live for the first time. And towards the end of the show, the band covered “Here Comes the Sun,” and I sent out this tweet, in which I declare their version of the song superior to that of The Beatles. I fucking love The Beatles, I’m not knocking them, but I have really never liked that song. It will surprise no one to learn that I have a hard time relating to the lyrics.

What I didn’t realize at the time was that Ghost have actually recorded and released the cover, as a bonus track for Opus Eponymous. So now everyone can hear it! It’s a great example of how to do a cover correctly, and that Replicants cover of The Cars’ “Just What I Needed,” the changes to the music completely change the entire mood of the piece and seem to give the lyrics new meaning.

Check it out:

Ghost’s Opus Eponymous is out now, and despite what Grim Kim believes, no, I do not think that they are the new Liturgy.

-AR

Thanks: Clint Kaio

Tosh.0 is a terrible television program that desperately tries, and fails, to be The Soup. And I guess the recently turned its sights on metal, producing the below video. It starts with host/missing Winklevoss triplet Daniel Tosh making a string of painfully unfunny observations all based around the oldest and lamest clichés about metal. Then he interviews the teenagers from this popular viral sensation, and then he makes a joke which, as Metal Insider points out, seems to be a really, really tasteless reference to The Station fire.

So check it out if you’re really, really bored at work today, or if you need definitive proof that the people keeping this show on the air must be dummies.

-AR

The Chariot’s last video, for “David De La Hoz” (watch it and read Vince’s discussion with vocalist Josh Scogin about its creation here)  was so awesome that whatever clip the band released next, it was bound to be disappointing. So I’m willing to cut them some slack on their new video, “Evan Perks.” It’s basically just home movie-quality footage of the band playing in Australia; none of it is even shot from inside the pit to really convey the energy of the performance, the way, for example, Landmine Marathon’s “Shadows Fed to Tyrants” video does.

But even from such a distanced, third-person vantage point, these shows looks pretty crazy. If there’s one thing I know about Australians, it’s that those fuckers know how to party.

“Evan Perks” comes off the album Long Live, which is out now on Goodfight.

-AR

That’s right, little ones! We’re teaming up with our pals over at Metal Injection to bring you Toxic Holocaust’s upcoming five-week North American headlining tour. It’s in support of the band’s latest and greatest, Conjure and Command (out July 19 on Relapse), which impales aardvark babies left n’ right n’ left again. And these dudes seriously rule live.

And in case that wasn’t enough to entice you, they’re taking out the awesome awesome awesome Holy Grail for support, along with Krum Bums, a totally killer punk band is that is guaranteed to knock your socks clean off.

These shows are going to be INSANE, so make sure you don’t miss ‘em. Dates after the jump!

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Italian purveyors of awesome awesomeness Fleshgod Apocalypse have released the cover art for the their forthcoming Agony, and I gotta say, I’m really digging it. It was created by Marco Hasmann, who also did their covers for Mafia and Oracles, and its aesthetic is just the right mix of polished and homemade, if that makes sense.

Agony comes out August 9 on Nuclear Blast. Fleshgod Apocalypse will be part of this year’s MetalSucks-sponsored Summer Slaughter tour along with The Black Dahlia Murder, Whitechapel, Darkest Hour, Dying Fetus, Six Feet Under, Oceano, As Blood Runs Black, Powerglove, and Within the Ruins. Get dates here.

-AR

Interview with Jimmy Bower about Down… by HecticCase

I don’t think this news is gonna come as a galloping shock to anyone, but at least now it’s official after nearly two months of speculation: Rex Brown will not be returning to Down. Drummer Jimmy Bower, also of the great Eyehategod (among other bands), confirmed it in a recent video interview with Metalchroniques.fr (above). Here’s his quote:

“We just wish him to find peace within himself and be healthy, and we weren’t seeing that for Down. We have Pat [Bruders] now. Pat’s playing bass. Pat’s from New Orleans. Makes sense. He plays with Crowbar as well.

“We love Rex to death, man, and wish him the best. He has a new project as well — Kill Devil Hill with Vinny Appice— and I know he’s having fun doing that. He gave Pat his blessing, so it was on a good term. But he will not be back.”

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Arch Enemy have never made an album I’ve disliked; in fact, they fall squarely into the category of “I Don’t Know Why Anyone Would Ever Complain About This Band.” They’re one of those groups, like Slayer, who just always manage to both stay true to themselves and bring the goods.

In fact, on their latest album, Khaos Legions, they’ve more than brought the goods — they’ve actually upped their game. This is the best-written, most-complete sounding album the band has made since 2001′s Wages of Sins. What spurred on this further increase in quality? Could it be because, for the first time in their existence, Arch Enemy took more than two years in-between releases? Or could it be because guitarist Michael Amott and drummer Daniel Erlandsson picked up a little extra awesome juice during their recent tours with Amott’s old band, the unfuckwithable Carcass?

As I learned when we spoke on the phone a few weeks ago, Amott himself is the first to confirm that both of these facts were contributing factors to Legions‘ excellence. I also got to ask him about reuniting with producer Rickard Bengtsson (who was on board for 2005′s Doomsday Machine), how the band are handling being their own managers now, and, oh yeah, about what fans can expect from AE’s upcoming, MetalSucks co-presented North American Khaos tour with DevilDriver, Skeletonwitch, and Chthonic (dates here).

Read the full transcript of our chat after the jump!

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As we mentioned a few weeks ago, Metal Injection has launched this great new video series, “Ask the Artist,” in which they give you helpful tips for getting out tough stains. No, I’m kidding, they ask fucking artists things, that’s why it’s called “Ask the Artist.”

ANYWAY, the latest installment of the series has the MI dudes posing the question “What band got you into metal?” to current and former members of Dying Fetus, Killswitch Engage, Job for a Cowboy, Cephalic Carnage, Revocation, The Ocean, Lazarus A.D., and more.

My personal favorite answer probably comes from A Life Once Lost’s Doug Sabolick, not because I have any special affinity for the album he cites, but because a) it’s a pretty unique answer and b) I remember exactly where I was the first time I heard that album, and I like thinking that while I was rocking out to it with Vince in my parents’ living room, Sabolick was somewhere having his mind blown and his life forever changed. I like that we have that connection now. We’re like Fievel and Tanya from An American Tail, singing “Somewhere Out There.” Only not really at all.

Check out the rest of Metal Injection’s “Ask the Artist” series here. And, hey, while we’re on the topic, feel free to discuss the bands and albums that got you into metal in our comments section below.

-AR

I stole this photo from Invisible Oranges.

I wasn’t a big fan of last year’s Maryland Deathfest: The Movie. But I haven’t seen Maryland Deathfest: The Movie II, so for all I know, filmmaker David Hall knocked the ball out of the park the second go-round. And one way or the other, I respect that Hall is trying to do something different from most metal concert films, and I respect that Hall is working with some very cool bands (he’s also directed films for Today is the Day and Fuck the Facts) for what I’m assuming is pretty much no money. If your goal is to be a wealthy man, you don’t make documentaries about death metal festivals. Clearly, Hall loves his subject matter.

So I was pretty bummed to read “Don’t Be a Dick: A Tale of Indie Filmmaking, Extortion and MDF,” a guest post he wrote for The Deciblog today in which he tells the completely awful and depressing story of why the footage he shot at last month’s Maryland Deathfest 9 will never see the light of day.

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In November, Devin Townsend will film a pair of shows in London for DVD release. That live stuff will be full bonerz to watch, but I hope that the set includes a ton of Oh Say Can You Scream-style Townsend hijinks/nerdery. Y’know, the type of caged Canadian heat depicted in Townsend’s new “dumb little tour vid” (above). It’s worth like fifty yuks though only a few minutes long and completely confined to one drive (Vancouver to L.A.?) on the tour with Children of Bodom, Septicflesh, and Obscura. Watch and you’ll be in the mood for a good bro-job.

-ADF

The sexy Children of Bodom tour with Devin Townsend Project, Septicflesh, and Obscura starts Thursday in West Hollywood (dates here). Double rainbows, brah.

Vince is still away, so, once again, “Neilstein SoundScam” is on me this week.Check out some of the more noteworthy sales stats from the latest Top Hard Music charts, including albums by Foo Fighters, Morbid Angel, Of Mice & Men, and more after the jump!

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Last year (and the year before) I got way too busy with this thing called life and missed out on a lot of quality music. I am here to rectify the error of my ways, month by month.

Here are the May 2011 releases that got under my skin, burrowed their way into my brain, made my ears bleed, or simply tickled my unmentionables:

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