Nearly a decade after Faith No More last toured, frontman Mike Patton has reflected on the band’s final performances and the enduring creative journey that followed. In a conversation with Kyle Meredith, Patton described the elusive sense of closure that came with the group’s last run: “I didn’t really think so at the time, but, yeah, maybe.
“And I think that we all kind of felt it, but it was unspoken. And it’s funny: when you’ve been in a band or a musical situation for a period of time, you always, in the back of your head, you’re kind of thinking, ‘Well, maybe this is it.’ And I don’t mind that feeling. I don’t see it as a sad thing. I see it as being present and being able to really appreciate it while it’s happening.”
Patton also addressed his prolific output outside Faith No More, noting that for him, no project has ever been “secondary”: “I’d never really understood, and I had to figure this out very early on, was the concept of a side project, that’s assuming that there’s a main one. And for me, I really never had one…Everything that I’ve done was of equal importance to me. They just weren’t viewed that way.”
The band has been largely inactive since 2016. Keyboardist Roddy Bottum has confirmed that he does not anticipate a reunion anytime soon: “It’s not just me. I don’t think anyone’s sort of up for it at this point… I think we did a really good job. We played a bunch of reunion tours, and I think we did what we kind of set out to do… I just don’t see it happening again, honestly.”
Bottum fondly recalled the band’s earlier reunion tours, which began in 2009 after a 12-year break, describing the experience as both cathartic and creatively fulfilling: “At some point after Faith No More broke up, I kept having these dreams that I would show up, ‘Oh my God. Faith No More was doing a reunion tour, and I forgot to learn the songs.’
“It became this thing that sort of replaced that dream scenario for me…Plus, it was just really fun. Billy [Gould] and I have been friends since we were, like — I don’t know — nine or 10 years old. So, it was fun to sort of tap back into that friendship and just hang out.”
Drummer Mike Bordin offered insight into the band’s canceled 2021 shows, which were called off due to Patton‘s inability to perform at the time: “We were ready, we were prepared. And it came to pass that…our guy [Mike Patton] doesn’t show for the rehearsal…It was very clear that he was unable at that point to physically do it. We made the decision that, ‘Look, we’ve gotta support our guy.’”
Bordin emphasized that while it’s painful, the band respects Patton‘s current priorities: “I’m grateful for the time with Mike Patton. Yeah, because my life would be very different without it. But I can’t force him to do something that he, from where I’m sitting, doesn’t seem to wanna do.”
Bassist Billy Gould echoed the uncertainty, telling Radio Futuro in January 2025: “I don’t know. I honestly don’t know…Right now we’re in a really weird spot, a really strange spot, and I can’t really tell you what’s going on.”
Faith No More, who initially reunited in 2009 and released Sol Invictus in 2015, appear to be on what Bottum described as a “semi-permanent hiatus”. While fans may hope for another chapter in the band’s storied history, the members themselves seem content reflecting on their legacy while exploring individual creative paths.
Whether or not Faith No More will take the stage again remains uncertain, but as Patton notes, their impact and artistry continue to resonate.
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There’s a deluge of great releases coming up in the next month, so we’ve devised this handy guide for our most anticipated albums!
Black Label Society – Engines Of Demolition (March 27, 2026)
With Engines Of Demolition, Black Label Society mastermind Zakk Wylde channels the turbulence of the past four years into a record that spans triumphant highs and crushing lows. Written between 2022 and 2025 during Wylde‘s time on the Pantera Celebration World Tour, the album balances hulking riffs and road-hardened grit with some of his most personal material to date, including the heartfelt tribute “Ozzy’s Song.”
San Francisco’s elusive post-black metal collective Bosse-de-Nage return after eight years with Hidden Fires Burn Hottest, their most expansive and unbound work yet. Long affiliated with The Flenser, the band has evolved in relative isolation, allowing their sound to mutate beyond categorization. Tracked by Jack Shirley at Atomic Garden East and mixed/mastered by Richard Chowenhill, the album trades the taut restraint of Further Still for sprawl and strangeness, treating emotion as something tangible and spatial.
Dan Swanö – Moontower (Reissue) (March 6, 2026)
After 27 years, Dan Swanö‘s cult solo opus Moontower returns in a newly remastered edition, complete with a 16-track bonus disc. Originally conceived as “death metal from 1972,” the album captures Swanö at his most adventurous, weaving progressive rock ambition into extreme metal frameworks. Known for his work with acts like Opeth and Katatonia, Swanö revisits pivotal tracks such as “Sun of the Night” and “Uncreation” with renewed clarity, spotlighting the record’s swirling keys, humming guitars, and introspective menace.
Egregore – It Echoes In The Wild (March 20, 2026)
Canadian occult extremists Egregore push further into sonic wilderness on It Echoes In The Wild, an elemental expansion of their blackened death metal assault. Featuring members connected to acts like Mitochondrion and Auroch, the band balances primitive force with vast, atmospheric breadth, conjuring diabolic landscapes both geographic and psychological. Engineered by Mariessa McLeod and mixed/mastered by Arthur Rizk, the album embraces esoteric madness and untamed spirituality, plunging listeners into a lawless dominion where occult fury and windswept ambience collide.
ERRA – silence outlives the earth (March 6, 2026)
On silence outlives the earth, Alabama progressive metalcore standouts ERRA sharpen both their thematic focus and sonic extremes. Opening with the liminal swirl of “stelliform,” the album navigates existential uncertainty with mystical restraint and crushing catharsis in equal measure. Produced once again by Daniel Braunstein, the record finds ERRA at their most cohesive – ethereal passages bloom into punishing crescendos, and personal reflection intertwines with commentary on a fractured world.
Exodus – Goliath (March 20, 2026)
Thrash legends Exodus return swinging with Goliath, a ferocious and collaborative statement four decades into their reign. Produced by the band and mixed/mastered by Mark Lewis, the album blends razor-wire riffing and mosh-pit savagery with dynamic flourishes–from the anthemic surge of “The Changing Me” to the colossal title track featuring ominous string arrangements. With contributions from stalwarts Gary Holt, Lee Altus, Tom Hunting, and Jack Gibson, Goliath proves Exodus remain fearless, evolving without sacrificing the explosive authenticity that defined their 1985 debut Bonded By Blood.
Fotocrime – Security (March 13, 2026)
Louisville post-punk force Fotocrime expands its sonic arsenal on Security, welcoming new members Benjamin Clark and David Cundiff into the fold. Spearheaded by Evan Patterson, the album boasts an eclectic cast of collaborators, including Jay Weinberg, Barney Greenway, and members of Sumac and Young Widows. Co-produced and engineered alongside J. Robbins, Security refines Fotocrime‘s brooding intensity with layered textures and guest-driven dynamism, marking another bold chapter for the ever-evolving project.
Gaerea – Loss (March 20, 2026)
Portuguese masked collective Gaerea shed and reshape their blackened skin on Loss, their first release with Century Media. Recorded with longtime collaborator Miguel Tereso, the album integrates their post-black metal roots with sharper production, haunting melodies, and even unexpected clean vocals and choruses. Still cloaked in anonymity and ritualistic presence, Gaerea continue to explore the frayed edges of the human psyche, inviting their “Vortex Society” into a deeply personal yet transcendent sonic experience.
Gold Pyramid – Gold Pyramid (March 5, 2026)
The instrumental duo Gold Pyramid – uniting drummer Evan Diprima and guitarist John D. Cronise – deliver a self-titled debut that fuses heavy rock muscle with sci-fi synth shimmer and Southern groove. Known respectively for their work with Moon Destroys and The Sword, the pair channel their knack for uplifting, expansive sounds into a wordless journey aimed at transcendence. The result is a cinematic, riff-driven record that feels both grounded and otherworldly, offering a restorative blast of instrumental heavy rock.
Gutvoid – Liminal Shrines (March 20, 2026)
With Liminal Shrines, Canadian death/doom explorers Gutvoid unleash the first half of an ambitious two-part concept. Across six immersive movements, the band refines their cosmic horror atmospheres with more progressive structures and melodic focus, as heard on “Spell Reliquary.” Recorded across multiple studios and mixed/mastered by Greg Dawson, the album expands their crushing foundation into intricate, transformative territory steeped in themes of metamorphosis and mysticism.
Heavy Metal Shrapnel – Heavy Metal Hairspray (March 27, 2026)
Spearheaded by Andrew Lee and featuring powerhouse vocalist Mark Boals, Heavy Metal Shrapnel inject classic US power metal with a lean, aggressive edge on Heavy Metal Hairspray. Eschewing symphonic excess, the album embraces riff-heavy directness reminiscent of Boals‘ era with Yngwie Malmsteen, bolstered by a guest appearance from keyboard virtuoso Derek Sherinian. It’s a defiant celebration of big hooks, bigger riffs, and unapologetic heavy metal thunder.
Hellripper – Coronach (March 27, 2026)
The brainchild of James McBain, Hellripper storms forward with Coronach, a black/speed metal barrage steeped in Scottish history and old-school ferocity. Recorded at McBain‘s Coronach Studios and mastered by Damien Herring, the album draws inspiration from the raw attack of early Metallica and Venom while sharpening Hellripper‘s own blood-soaked identity. As their Century Media debut, it promises high-octane riffing and fearless extremity.
Intoxicated – The Dome (March 27, 2026)
Florida death-thrash veterans Intoxicated return with The Dome, their third full-length and a reaffirmation of their place in the state’s storied extreme metal lineage. Originally formed in 1993 and mentored early on by Chuck Schuldiner of Death, the band delivers unrelenting speed, razor-sharp riffs, and concise songwriting rooted in classic death-thrash tradition. The Dome channels decades of experience into a focused, high-impact assault.
Këkht Aräkh – Morning Star (March 27, 2026)
On Morning Star, Këkht Aräkh merges 90s black metal devotion with lo-fi warmth and experimental textures. Collaborators VS–55 and Varg2TM contribute abstract sampling and grainy atmospherics, while James Ginzburg‘s mastering enhances the album’s depth. The result is a deeply personal work that honors tradition while embracing subtle sonic evolution, marking both a continuation and an arrival for the project.
Lamb Of God – Into Oblivion (March 13, 2026)
Richmond metal titans Lamb Of God confront societal fracture head-on with Into Oblivion. Vocalist Randy Blythe frames the album as a commentary on the erosion of the social contract, a theme underscored by blistering singles like “Sepsis” and “Parasocial Christ.” Produced and mixed by longtime collaborator Josh Wilbur, the record was tracked across locations deeply tied to the band’s identity, delivering a furious yet reflective statement from modern metal mainstays.
Monstrosity – Screams From Beneath The Surface (March 13, 2026)
Florida death metal titans Monstrosity return after seven years with Screams From Beneath The Surface, a ferocious reaffirmation of their genre-defining brutality. Led by drummer and founder Lee Harrison, the revitalized lineup features longtime guitarist Matt Barnes, returning original bassist Mark Van Erp, and new vocalist Ed Webb (ex-Massacre), whose guttural power injects fresh venom into the band’s sound. Tracked between Audiohammer Studios with producer Jason Suecof and Morrisound Studios alongside Jim Morris, the album fuses classic and modern production muscle, cementing Monstrosity’s enduring dominance in extreme metal.
Emerging from the depths of Chile’s extreme metal underground, MORS.VOID.DISCIPLINE unleash their debut full-length Txketh)ëké, a 20-minute obliteration of bestial war metal and 90s-inspired goregrind. Preceded by the premiere of “Sanguinem In Anum Caprae Putrescentis Eiaculans,” the album has already been hailed as “inhuman, unhinged, hideously toxic, and perversely addictive.” Drawing on influences like Blasphemy and early Carcass, the band blends mangled riffs, pitch-shifted vocals, and occultly inflected horror into a cryptic, arcane soundscape.
Poison The Well – Peace In Place (March 20, 2026)
After years of milestone tours and sustained influence, metalcore pioneers Poison The Well return with Peace In Place, their sixth full-length. Produced by Grammy-winner Will Putney, the album channels the spirit of genre-defining releases like The Opposite of December… A Season of Separation while refracting it through decades of growth and perspective. Following a lengthy hiatus, the band’s renewed creative unity signals a powerful next chapter for a group whose legacy continues to resonate.
The Silver – Looking Glass Hymnal Blue (March 20, 2026)
Philadelphia’s The Silver aim for mythic scope on Looking Glass Hymnal Blue, an ornate and emotionally excavating work that builds on the exploratory spirit of their prior release. Recorded with engineer Richie DeVon and adorned with unified artwork by Paul Romano, the album blends ambitious compositions with introspective lyricism centered on reflection, memory, and fractured identity. Each song functions as both hymn and key, inviting listeners to confront the mirror and what lies beyond.
Temple Of Void – The Crawl (March 6, 2026)
Detroit doom/death crushers Temple Of Void delve into allegory and existential dread on The Crawl. Tracked in a frigid January week at Kurt Ballou‘s GodCity Studio, the album favors a raw, human feel, with massive guitar tones and in-the-room percussion. Lyrically grappling with life, consequence, and humanity’s darker impulses, The Crawl balances psychological horror with crushing sonic weight.
Vreid – The Skies Turn Black (March 6, 2026)
Norwegian stalwarts Vreid describe The Skies Turn Black as one of their most demanding yet rewarding creations. Emerging from a turbulent writing period, the album’s eleven tracks reflect struggle, recalibration, and artistic renewal. Produced alongside Anders Nordengen and adorned with artwork by Kim Holm, the record marks a confident evolution five years after their previous release, setting the stage for a major European tour.
Winterfylleth – The Unyielding Season (March 27, 2026)
UK atmospheric black metal torchbearers Winterfylleth offer pointed social commentary on The Unyielding Season, their ninth album and first with Napalm Records. Expanding on themes introduced in The Imperious Horizon, the band confronts the manifestation of looming malevolence with meticulously crafted poetry and sweeping compositions. It’s a rebellious, reflective work that continues their legacy of blending historical consciousness with cinematic black metal grandeur.
Witchcraft – A Sinner’s Child (March 13, 2026)
Swedish heavy rock icons Witchcraft return with the intimate five-track EP A Sinner’s Child. Following the acclaim of 2025’s IDAG, founder Magnus Pelander strips the sound to its essence, moving between proto-doom weight, luminous folk passages, and soulful acoustic dirges. Deeply personal and emotionally resonant, the EP serves as both epilogue and distillation–proof of the enduring power of melody, vulnerability, and stripped-down heaviness.
The Los Angeles-based death metal band SkeletalRemains have landed themselves in some hot water after reports surfaced from both 70,000 Tons of Metal cruise staff and the cruise’s patrons that the frontman and guitarist, Chris Monroy, was intoxicated and sexually assaulted numerous women while on board.
The original reports surfaced in the 70,000 Tons Of Metal 2027 unofficial Facebook group in which an anonymous user and another woman posted about their experiences. These details were then shared to Reddit, where others shared their own encounters with Monroy.
The anonymous user on Facebook said that: “I’d like to give a big sarcastic shout out to the guitar player of Skeletal Remains for being a total drunk piece of shit who was groping women on the boat. Learn some consent before we ass fuck you next time you come around. Fuck you and your band.” This post is not available to view as the Facebook group is private, however in the details shared to Reddit, the original poster included a screenshot of the original post.
The Reddit user then links a public Facebook post from a woman on board, with a photo saying, “You are cordially invited to fight me,” and the caption reading, “Oh and BTW fuck ChrisMonroy. He’s a fucking predator and a wasted piece of shit. First hand account. Stop listening to SkeletalRemains period.”
A Reddit user in the Facebook group claims that other women were commenting on the above posts, confirming the reports with incidents of their own, before another Reddit user comments with their own experience while on board as a staff member of 70,000 Tons Of Metal.
“Posting here bc privacy versus other social media outlets. I was the one who reported him on the ship. He would not leave me alone after I got off of my volunteer shift and went to the casino bar with one of my best friends. Chris continued to approach me and grab me by the waist on my bare skin. I told him to fuck off multiple times. He would then continue to walk by me and grab me as he was walking by several times.
“I then sat at the bar with my friend, and he grabbed my cigarette out of my hand and my drink, and began to smoke my cigarette and drink my drink and grab me by the waist at the same time. I was telling him to fuck off extremely loud and he simply would not get the point. People sitting next to us started to notice and asked if we needed security and I said yes I told the bartender also to call security and they never showed up. I then decided to take action the next day and reported it to the higher ups of 70 K because I knew action needed to be taken.
“It is really upsetting to then hear that his behavior was happening in other instances on the ship and in previous events. Why no one has come forward before me? I’m not sure but there’s tons of video footage of what happened that entire ship has cameras everywhere. As per the security/police team and the information that they told me when they were reviewing my statement, not to mention, that ship also has 75% audio accompanying that footage so if anyone questions this decision made by 70000Tons Of Metal and their decision believe me that it’s official.”
“With heavy hearts, we share the news that BradArnold, founder, lead singer, and songwriter of 3 Doors Down, passed away on Saturday, February 7th, at the age of 47.
“With his beloved wife Jennifer and his family by his side, he passed away peacefully, surrounded by loved ones, in his sleep after his courageous battle with cancer.
“As a founding member, vocalist, and original drummer of 3DoorsDown, Brad helped redefine mainstream rock music, blending post-grunge accessibility with emotionally direct songwriting and lyrical themes that resonated with everyday listeners. Brad’s songwriting became a cultural touchstone for a generation, producing some of the most enduring hits of the 2000s, including the band’s breakout hit, “Kryptonite,” which he wrote in his math class when he was just 15 years old. His music reverberated far beyond the stage, creating moments of connection, joy, faith, and shared experiences that will live on long after the stages he performed on.
“Above all, he was a devoted husband to Jennifer, and his kindness, humor, and generosity touched everyone fortunate enough to know him. Those closest to him will remember not only his talent, but his warmth, humility, faith, and deep love for his family and friends.
“The family is deeply grateful for the outpouring of love and support during this difficult time and kindly asks that their privacy be respected.
“He will be deeply missed and forever remembered.”
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After more than 15 years of rumors, delays, and near-misses, the long-lost Slipknot offshoot album Look Outside Your Window finally has an official release date.
The record will not be released under the Slipknot name, instead arriving as a self-titled project, and will be available exclusively on vinyl for Record Store Day, April 18 via LOYW. For Slipknot fans, the announcement cements an album that has long carried near-mythical status within the band’s lore. No word on if that means it’ll be out digitally and all that as well, but we’ll see.
Look Outside Your Window was originally recorded during sessions for Slipknot‘s 2008 album All Hope Is Gone. At the time, Corey Taylor, Jim Root, M. Shawn “Clown” Crahan, and Sid Wilson branched off from the main band to explore a radically different creative direction — one that members have previously described as having a “Radiohead vibe.”
Speaking collectively about the project, the four musicians explained the mindset behind the album: “We knew we were heading down a different creative path, entirely apart from Slipknot, and we followed it eagerly. We called the project Look Outside Your Window as a tribute to this experimental spirit.
Created during a chaotic time in our shared history, the songs were born late at night, in a house on a farm in the middle of nowhere. Peering out through a big picture window, we wondered about what, or who, might be lurking outside. That sense of the unknown seeped into the music itself.
There were no rules; ideas could come from anywhere: subtle drum loops, bits of organ or abstract guitar noise, even samples of frogs or crickets. Guided by emotion and instinct, we let the sounds themselves point the way.”
According to a newly announced product listing, the album captures a moment of pure creative freedom, removed from expectations tied to the Slipknot brand: “Look Outside Your Window is Corey Taylor, Jim Root, Sid Wilson, and Shawn “Clown’ Crahan, who in the downtime during recording sessions for Slipknot‘s 2008 album All Hope Is Gone, began to freely create songs for themselves, exploring new directions with no outside expectations.”
That demand will finally be met more than a decade later. The Record Store Day pressing will feature splatter vinyl, a die-cut jacket, purple foil detailing on the front, purple flood inside the jacket, and embossed text on the back.
The full track listing reads:
11th March
Moth
Dirge
Christina
Is Real
Away
In Reverse
Toad
Juliette
U Can’t Stop This
For a project once thought destined to remain locked in the vaults, Look Outside Your Window now stands as one of the most intriguing and anticipated releases in the extended Slipknot universe.
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Have Ghost accidentally hexed an NBA franchise? According to at least one employee at Orlando’s Kia Center, the answer might be yes… or definitely yes, if you believe this one person on the Internet. Not me, this other person.
In a moment that feels ripped straight from the ’80s-era Satanic Panic, a now-deleted Reddit post has gone viral after proposing that the Orlando Magic’s recent struggles could be traced back to a concert by Tobias Forge–led theatrical metal giants Ghost, who played the arena earlier that week.
The post surfaced shortly after the Magic suffered a home loss to the Charlotte Hornets on January 22, and while it didn’t last long on Reddit, it was quickly preserved and shared by The Noise on social media.
Teased with the headline “Kia Center Needs Holy Water,” the anonymous author claimed to work at the venue and expressed frustration not just with the team’s performance, but with the lingering effects of Ghost‘s show.
“So I work at Kia,” the post read. “The night before we got blown out by Charlotte there was a concert there by this rock band called Ghost & I’m not even exaggerating super satanic vibes.”
The employee went on to describe the concert’s visuals in less-than-enthusiastic terms, citing “devil imagery, stained-glass church setup, chanting ‘Lucifer,’ all types of weird shit I’m not into at all.” They added, “I was mad as hell I was forced to sit through that lol.”
From there, the theory took a sharp turn into sports-mysticism territory. As if this wasn’t ridiculous enough: “So my theory is that whatever energy they left in the building carried over into the game because there’s no other explanation for how bad we looked,” the author continued. “Is this a valid excuse or are we just inconsistent af?”
While Ghost themselves have yet to comment on their alleged new career as NBA curse-bringers, they don’t need to. You know they cursed that stadium. What a bunch of bastards. Go see Ghost curse some other shit on tour. Get your tickets here.
1/21 Orlando FL Kia Center 1/22 Jacksonville FL VyStar Veterans Memorial Arena 1/24 Knoxville TN Thompson Boling Arena at Food City Center 1/25 Charlotte NC Spectrum Center 1/26 Greenville SC Bon Secours Wellness Arena 1/28 Uncasville CT Mohegan Sun Arena 1/30 Montreal QC Bell Centre 1/31 Toronto ON Scotiabank Arena 2/2 Columbus OH Nationwide Arena 2/4 Cincinnati OH Heritage Bank Center 2/5 Peoria IL Peoria Civic Center Arena 2/7 Tulsa OK BOK Center 2/10 Salt Lake City UT Delta Center 2/12 Spokane WA Spokane Arena 2/14 Vancouver BC Rogers Arena 2/15 Seattle WA Climate Pledge Arena 2/17 Portland OR Moda Center 2/20 Sacramento CA Golden 1 Center 2/21 Anaheim CA Honda Center 2/23 Inglewood CA Intuit Dome
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Architects, the chart-topping British metalcore powerhouse, are returning to North America for a short headline tour this spring. The trek kicks off April 28 in Reno, NV, with support from Holywatr, and includes appearances at major festivals such as Welcome To Rockville and Sonic Temple.
The tour kicks off on April 28 at Grand Theatre in Reno, NV and wraps up on May 16 at Sonic Temple. Get your tickets here.
4/28 Reno, NV Grand Theatre 4/29 Las Vegas, NV House of Blues 5/2 Albuquerque, NM Revel 5/4 Austin, TX Stubb’s 5/5 Corpus Christi, TX Concrete Street 5/7 Birmingham, AL Iron City 5/8 Raleigh, NC The Ritz 5/10 Daytona Beach, FL Welcome To Rockville 5/12 St. Louis, MO The Hawthorn 5/14 Milwaukee, WI Eagles Ballroom 5/15 Indianapolis, IN Egyptian Room 5/16 Columbus, OH Sonic Temple
The announcement coincides with the release of the official music video for “Broken Mirror”, the band’s latest single. Directed by Jensen Noen, who also directed the band’s hit video “Black Hole”, the “Broken Mirror” video unfolds like a cinematic short film. The narrative follows Carter through intense militia-style training, culminating in a tense firefight that mirrors the song’s emotional intensity.
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Iconic power metal vocalist ZP Theart recently celebrated two decades of his legendary track “Through the Fire and Flames” with a 20th anniversary reimagining.
Far from a straight cover, the new version features a full sonic overhaul by producer and multi-instrumentalist Syndrone, plus dazzling guest solos from Sophie Burrell and Bradley Hall, bringing a fresh technical edge to the fan-favorite classic. The release is available now on all major streaming platforms.
Not surprisingly, the track caught the attention of Dragonforce guitarist Herman Li, who shared his thoughts on the modernized take. Li praised the performances of both Burrell and Hall, calling their solos “shredding, totally cool,” and described Syndrone as “obviously a good player, great player.”
“What do I think about it? I think ZP still sounds great,” said Li, as transcribed by Metal Injection. “The guitar solos by the guests Bradley Hall and Sophie Burrell were shredding, totally cool.
“The artist Synchron – I’m not familiar with him, obviously good player, great player. We wouldn’t play the song that way, so they had to interpret it their own way. What I think about that I mean, no we just wouldn’t play it that way. We just don’t use a drum machine. It sounds like a drum machine to me, so it’s kind of electronic sounding. I think it’s got its own thing, but Dragonforce – we wouldn’t play that way.”
He continued: “Obviously, they’re not doing our solos. And that is totally what they should be doing because it’s a pain to learn someone’s solo from, all note by note. And when you a play guitar solo, you got to express your own way to make it your own. So, that’s how it should be done, which is cool.
“We wouldn’t do it that way. I would say the only thing criticism is it sounded like drum machine to me. So, I wouldn’t use a drum machine on a song like that, you know? That’s it.”
For Theart, the 20th anniversary reimagining was a heartfelt gift to fans. “This song changed so many lives, along with my own, and I thought it was time to give it a proper re-visit,” he said.
He described the project as a way to honor longtime supporters while modernizing the sound: “Working with Syndrone to modernize the sound while having Sophie and Bradley add their incredible styles was the perfect way to celebrate this 20-year milestone.”
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