Call it cliché, but the namesake of the first record Zakk Wylde ever performed on back in 1988 with Ozzy Osbourne could very easily be used to define his illustrious career to this point.  When Black Label Society releases Engines of Demolition on March 27th, it will mark the longest gap between albums for the group since they formed.  In that time between records, Wylde has toured the world with the surviving members of Pantera filling in for long-time friend Dimebag Darrell, torn through several Zakk Sabbath shows across North America, and played at perhaps the biggest rock and metal concert of all time at Back to the Beginning which would be Ozzy's last performance before passing.  Zakk laid his friend, collaborator, and godfather to one of his kids to rest two weeks after that performance, and upon returning home put the finishing touches on the closing song of the new BLS album, which bears the name of the Prince of Darkness, before getting back on the road with Pantera.  No rest for the wicked, indeed.

All of these events led to putting Black Label Society on the backburner, even though Zakk continued to write riffs and lyrics all the while.  The first single from the album, “The Gallows,” was released a year and a half ago, with subsequent singles following last year before “Name in Blood” in January 2026, the first new song to share a release year with the album. Despite this unconventional take on the album cycle, Wylde would argue that the additional time its taken to finish Engines of Demolition has let this new collection of songs marinate for longer than they typically would, allowing him more time to refine them.  The results are classic BLS that Berserkers worldwide have come to know and love since Sonic Brew. 

As the group prepares to finally release Engines of Demolition, I had a chance to catch up with Zakk on a rare off day for him to talk about the new record and a wide array of topics, including:

• how he found time to write the new BLS record, his general songwriting process, the catharsis of turning events and emotions into songs, and where the lyrical inspiration for “Stillborn” came from.
• the reaction to the new singles live, putting “No More Tears” back into the setlist, opening for himself pulling double duty, and a brewing feud between Zakk Sabbath and Black Label Society.
• writing “Ozzy’s Song” after returning home from Ozzy’s funeral, an old Ozzy story from the Ozzmosis days involving a poster Zakk bought, and a few suggestions for the Jones Beach Theater.
• memories of Alexi Laiho, the mythical power of his kilts, how he finds the energy to be seemingly everywhere, and reflections on his journey from practicing in his bedroom with posters of his idols to playing on the biggest stages in the world. 

This conversation was pure Zakk Wylde in every sense – rife with colorful analogies, Ozzy impressions, several sports references, and a description of how to make a ham sandwich correctly.   Once you get past all of that, though, at his core, Zakk is still the same incredibly driven guy who took the world by storm from the opening riff of “Miracle Man.”  In speaking with him, you can see that he takes none of this for granted and still bows down in worship to all his guitar idols who inspired him before anyone knew his name, even keeping those same posters in his home studio to remind him of where he started. 

 If I can make my own sports reference, Zakk’s attitude towards music, and life, reflects a quote that former NFL great J.J. Watt popularized during his playing days: “Success isn’t owned – it’s leased, and the rent is due every day.”

Throughout the long and storied history of American heavy metal legends Corrosion of Conformity’s existence, Woody Weatherman has been the only consistent member since the group started way back in 1982 in Raleigh, North Carolina.  Being the sole constant in the band, he’s been witness to a number of changes and transformations.  Bandmates have come and gone, and then come back again.  The musical style has mutated from hardcore roots to the southern-tinged metal that propelled Corrosion of Conformity to mainstream rock radio success in the early ‘90s, only to return to hardcore as a three-piece in the early 2010s after Pepper Keenan’s prolonged absence, before reverting back to metal after his return in 2015. 

Despite the group’s penchant for change and ability to adapt to keep the C.O.C. thing going throughout all of these obstacles, the set of circumstances facing them in recent years since the release of 2018’s No Cross No Crown were considerably more challenging, both musically and emotionally.  Founding drummer Reed Mullin passed away in January 2020 after battling a number of health issues, and original bassist Mike Dean departed the group in September 2024 citing difficulty coping with the loss of Mullin, whom the group had been playing with since they formed as teenagers.  Over the course of a few years, what many fans would consider the classic lineup of the band was no more. 

Faced with a half-full lineup and grieving the loss of their brother Reed, Weatherman and Keenan coped by jamming at Pepper’s home studio in Mississippi, compiling riffs that would become the groundwork for the band’s new record Good God/Baad Man.  Rounding out the recording lineup with Bobby Landgraf on bass and Stanton Moore, who admirably filled in for Mullin on 2005’s immortal In the Arms of God, on drums, Corrosion of Conformity have delivered an incredibly ambitious and fantastic addition to their legendary discography in Good God/Baad Man in seemingly the most dire of situations. 

Ahead of the release of Good God/Baad Man, I had a chance to catch up with Woody to talk about the record and a number of other topics, including: 

• the legacy of Reed Mullin and how his spirit in present on the new album, how he and Pepper took a new approach to songwriting this time around as opposed to No Cross No Crown, the plethora of material borne from that approach, and how they developed the theme for each record.
• the creative approach to spelling they took on some song titles, how Charlie Benante and Phil Anselmo helped them add new drummer Nick Shabatura, the band’s connection to Jason Everman from Nirvana and Soundgarden and his spoken word on “Run for Your Lives,” and the band’s new found social media success.
• the potential for “Baad Man” to be a huge next single, the writing process for 1991’s Blind, how the band wrote a Grammy-nominated song for 1996’s Wiseblood because the record company didn’t hear a single on the original tapes, and plans to celebrate the significant anniversaries of both of those records.
• the band’s connection to Metallica, the full circle moment of being influenced by them to potentially influencing them during the Load era, and reflections on the band’s longevity and how long they can keep going. 

As a longtime fan of Corrosion of Conformity in all its iterations, it was a pleasure for me to speak with Woody.   The new double album, Good God/Baad Man, will be released on April 3rd through Nuclear Blast Records.  Enjoy!

When two teenagers from the suburbs of Helsinki traveled three hours northeast to Lappeenranta during the summer of 1995 to knock on the door to the basement of a church, they might not have known at the time that the man who answered would become integral in helping them achieve their rock and roll dreams.  The young men, Alexi Laiho and Jaska Raaitikainen, arrived there in hopes of recording the second demo for IneartheD, the band that would become Children of Bodom, after they heard there was a young punk with an 8-track tape recorder at this most unlikely of locations.  The man who let them in, and ultimately helped them with that demo, was Anssi Kippo, who would fulfill several different roles for the band as they rose to international acclaim over the next decade.

Though the demo they recorded during those sessions did not garner much label attention, the group pressed on and produced another demo with Kippo to similar yawns from record executives.  It wasn’t until their self-produced debut album Something Wild that they caught the attention of the brass at Spinefarm, which started a string of releases that are now indispensable pieces of trailblazing metal that defied genre labels and influenced countless groups that followed.  Besides producing the debut record, Anssi was at the helm for Hatebreeder, an album that saw the Bodom boys take a sharper approach to songwriting and playing. Kippo often required an exhaustive amount of takes in order to get the band into an aggressive state that reflected the nature of the music, with the results on this classic record being proof that those methods worked.

After suggesting to Alexi that the band get a fresh set of ears on their material when recording Follow the Reaper, the band decided to return to Anssi for the most important release of their career, determining that they needed his firm hand to guide them.  This choice was wise, as Children of Bodom produced Hate Crew Deathroll, arguably the band’s best album and, more importantly, the one that catapulted them to international acclaim.

Though his strict guidance in the studio may appear to be the most impactful contribution Anssi had to the group, he played a number of other roles to help the band.  He acted as a tour manager, their front-of-house sound engineer, and their bus driver to gigs all around Finland. He accompanied them through foreign tours of Europe, South America, and another legendary run through Japan in 2001, proving to be a jack of all trades for the band as they navigated their way around the world. 

I had the pleasure of touring Astia with Anssi as my guide, even participating in one of his famous sound tests during my stay.  I also had a chance to interview him on the couch in Studio A, at my request, because it’s where members of Children of Bodom sat during the Hate Crew Deathroll album sessions.  We talked about this, and a number of topics, including:

• a recent award Anssi received in Finland, why he likes analog over digital media, and the reasons he decided to exclusively record that way.
• the first location of Astia-Studio, two young visitors he had in the summer of 1995, and Something Wild. 
• why he was called a tyrant during the Hatebreeder sessions, the reasons he gave Alexi for not wanting to record Follow the Reaper, and the group’s return to Astia to record Hate Crew Deathroll
• his memories of an important gig with Dimmu Borgir, the longest shift he ever had while driving the bus, the saddest tour in all of Finland, and how he keeps Alexi Laiho's memory alive.

Enjoy!

Before meeting him, a future bandmate of Chuck Billy’s recalled seeing him work his way to front row of a KISS concert in this way: 

“One figure stood out among the carnage, someone so large, he could push his way through anyone else in that crowd.  With a height of 6’4”, wild black hair, and a chest like a gladiator, he stood out.  Slithering to the front row, he ruthlessly pushed aside anyone who stood in his way.  Beers were knocked over, their contents spilling out… this was not someone to be messed with."

That’s the perspective of a young Alex Skolnick, who would receive a phone call from Chuck seven years after that show, when Steve “Zetro” Souza left to join Exodus, about the band that would become Testament’s frontman vacancy.  Though there have been many departures and returns of group members and twists and turns to their musical style, Chuck and guitarist Eric Peterson have been the mainstays guiding Testament for over four decades. Their fourteenth studio album, Para Bellum, was released in October 2025  to much acclaim, showcasing a set of songs that collectively may represent the band’s most diverse offering in their storied catalog. 

Ahead of the group’s upcoming Thrash of the Titans 2026 tour with Overkill and Destruction, I had a chance to catch up with Chuck and speak about a number of topics, including:  

• the songwriting process for Para Bellum, the diverse nature of the songs on the record and how each stands alone, the inspiration behind “Infanticide A.I.,” and why it was time to include another ballad on a Testament record.
• his process for developing lyrics to songs, how working with the riffs from Eric Peterson helps him create vocal melodies, and the trial and error of deciding what vocal style to use.
• how the addition of drummer Chris Dovas has influenced and reinvigorated the group, the irony of now being influenced by bands Testament once inspired, and how the band is curating the setlist for Thrash of the Titans. 
• the Practice What You Preach 35th anniversary tour, the beauty of a show ending at 10:00pm, the possibility of future anniversary tours for Souls of Black and The Ritual, and Chuck’s recent appearance with Metal Allegiance at NAMM.
• Testament’s cover of “Seek and Destroy” for a compilation dedicated to Kill ‘Em All, the importance of Metallica in the Bay Area thrash scene, memories of Cliff Burton, a pop quiz about the quote mentioned above, and reflections on how long Testament can keep going.

Chuck was a pleasure to speak with and I thank him for taking the time to answer all of my questions thoroughly and carefully.  Be sure to check out Testament on tour in the United States this spring! 

Enjoy!

The concept of death and Mayhem have been intertwined since most of the world first learned about them.  It’s been an integral part of the black metal pioneers’ story that has become so synonymous with the group that for a long time, it overshadowed their actual music, as many of the infamous events the world came to know them for occurred prior to the band actually releasing a full-length album.  One of those tragedies was the suicide of frontman Pelle Yngve “Dead” Ohlin, which is what ultimately led Attila Csihar to travel from his native Hungary to Norway to join Mayhem to record vocals for what would become one of the most influential black metal releases of all time – De Mysteriis Dom Sathanas.    

But before that record would see the light of day, tensions within the burgeoning black metal scene, which Mayhem was integral in creating, would reach a point of no return that led to international infamy.  Varg Vikernes of Burzum, who also played bass on De Mysteriis, would travel to Oslo and murder Mayhem guitarist Euronymous on August 10, 1993 by stabbing him over twenty times in supposed self-defense.   As news spread of the event, Euronymous’ death brought worldwide scrutiny and examination of the Norwegian black metal scene, casting light upon other crimes committed by members of its so-called Inner Circle, which included murder and serial church burnings. 

Ironically, founding bassist Necrobutcher, who left Mayhem after Dead’s suicide based on how Euronymous publicized it, would end up rejoining and restarting the group following a discussion with drummer Hellhammer at the guitarist’s funeral.  The two began discussing how to proceed with releasing the album in the coming year, reuniting due to death.  Finally, after ten years together, De Mysteriis Dom Sathanas finally saw the light of day in May 1994 as the group’s first full length LP. 

While all of this was happening, Attila heard nothing from the band.  He eventually was told second-hand about what had occurred, and unbeknownst to him, Mayhem had reformed.  Upon establishing contact with his former bandmates during a tour in 1998, it was agreed upon that Attila would return to the band if the opportunity arose, which it did by 2004.

Now, after 40 years in existence and after several studio albums that have followed their elusive first, Mayhem are back with Liturgy of Death, which examines a topic that has been so prevalent and attached to the band throughout its existence.  Ahead of its release, I had a chance to talk to Attila about a number of topics, including:

• the lyrical theme for the new album, why it was time to tackle death at this point of his career, the beliefs that informed his philosophy, and some deep metaphysical pondering about the universe.
• the intention of references like “dead church burn” and “deathlike silence” to the group's controversial past, the religious language used in the lyrics and their significance, and opinions about embracing death as an inevitability.
• Mayhem’s 40th anniversary tour, playing with Dead’s original band Morbid in Stockholm, musings about why Dead joined Mayhem, and an upcoming Tormentor and Morbid show on Friday the 13th of next year. 
• his initial reasons for going to Norway from Hungary when joining the band, any apprehension he had about entering the Norwegian black metal scene, his thoughts on Euronymous and Varg, and the recording of the legendary De Mysteriis.
• the long path he took back to reuniting with Mayhem in 2004, how he feels Liturgy of Death adds to Mayhem’s legacy, reflections on the group’s history, and how l

Imperial Triumphant has been pushing the limits of metal since they formed in New York City in 2005.  By incorporating avant garde, jazz, and experimental sounds into their black metal delivery, the trio has risen to prominence with their last string of releases, culminating with this year’s Goldstar which has been praised by critics and fans alike as one of the top metal releases of 2025.  Though frontman and guitarist Zachary Ezrin was inspired to pursue black metal by the bands that dominated the Norwegian scene of the early 1990s, Imperial Triumphant delivers a brand of the genre that focuses on the group’s hometown:  New York City.  Or, as they like to put it, they “only play the sounds of New York City as [they] hear them.”

After touring all over the world this year, including an opening spot for Mayhem on their North American tour, Imperial Triumphant played a hometown show at Le Poisson Rouge in the heart of Greenwich Village on December 12th.  Billed as the Jazz from Hell Festival, the concert featured Kilter and Jerseyband in opening slots, alongside the Goldstar Metropole Orchestra, a brass section conglomerated of the players from the two aforementioned bands accompanying Imperial Triumphant on stage for their headlining set.  Ahead of the festival, I had a chance to speak with Zachary about the hometown show and a number of other topics, including:

• being able to play a show in the friendly confines of New York City after touring the world, the band’s writing process for Goldstar, recording at the legendary Menegroth studio hidden in Woodhaven and being the last ever album made there.
• shooting a video on top of the Chrysler Building, the band’s knowledge of architecture, the black metal elements of New York City, and collaborating with Dave Lombardo from Slayer.
• the new graphic novel called Merkurius Gilded that Zach wrote the story for, the juxtaposition of decadence and decay present in the city, and how Kenny G. ended up on one of their songs.
• a discussion of Imperial Triumphant’s masks and their significance, and a very important mathematical question.  

Imperial Triumphant continues to push the boundaries of what metal can be, and with Goldstar being their tightest and most streamlined album yet, fans of the band should be very excited for whatever comes next.  Enjoy!

Chama, the title of Soulfly’s thirteenth studio album released on October 24th through Nuclear Blast Records, is a Brazilian word with a dual meaning: it means both ‘flame’ and ‘a calling.’  The album is accompanied by a short story describing the journey of young man searching for meaning and direction in life traveling from the Brazilian slums to the jungle seeking inspiration, led by a flame.  When you consider Soulfly frontman Max Cavalera’s musical career, the name and story are perfectly apropos, even mirroring his own odyssey to where he is today in the metal world.

Max found himself in a situation similar to the protagonist of Chama tale after the loss of his father at an early age in his native Brazil.  His family had to move to a less affluent town in his teenage years, and he was left with anger and sadness as a teenager searching for direction and purpose.  That calling turned out to be heavy metal, as he and his brother Iggor channeled their emotions into creating the music that would make Sepultura the most famous metal act to emerge from their home country.   Infusing traditional Brazilian sounds and instrumentation with killer riffs and anti-establishment lyrics led Sepultura to international renown before Max left the band in late 1996.  

Again faced with a difficult, emotional obstacle to overcome, the fire still burned within Max to continue to create the music he believed in.  Soulfly was born from that passion in 1997, with the goal of creating a band without permanent members that relied on collaboration and innovation with numerous artists who shared his vision.  Thirteen records later, Chama continues the tradition set forth from the first Soulfly record, merging industrial and jungle sounds with a host of guest collaborators.  I had a chance to speak with Max about the new album, and a number of other topics, including:

• the reception of the Chama and the new songs Soulfly have been performing live, the companion story written by Max’s son Igor that complements the music on the record, the potential for an animated piece to accompany the music of Chama, and a discussion of old school stage sets versus new age screen presentations for live bands.
• the guest solo from Michael Amott of Arch Enemy on “Ghenna,” the different collaborators used on the new record, his struggle trying to get idol Tom Araya to sing some classic Slayer lines on “Terrorist,” and his bucket list of dream guest appearances for future Soulfly albums. 
• how it feels to be able to play music with his sons Zyon and Igor, a sparsely attended autograph session he had on his first trip to New York at Slipped Disc in Valley Stream, a tale of two albums he bought based on how cool the album covers were, and a healthy discussion of vinyl records.
• Max’s feelings about the prospect of retirement and reflections on how it feels to be widely known and respected for music that celebrates his heritage and have it be embraced on a global scale by fans. 

It was an honor to speak to such a legend in the metal world, and Max seems as down to earth as you would imagine from his lyrics and general outlook on life.  After forty years and an innumerable number of classic records, it’s clear from speaking to Max that he found that flame and his calling early on in life way back in those hungry days in Brazil, and from the fire and passion he exudes while talking about Chama, it sounds like he has no intentions looking back or slowing down anytime soon.

Enjoy! 

When Agalloch surprisingly disbanded in 2016, there was a collective sign of disappointment from those in the know in the metal community at losing one of its most creative, authentic, and genuinely unique bands.  Agalloch rose to prominence through a progressive metal alchemy that combined black metal, neo-folk, and atmospheric elements which set them apart from their peers in the late 1990s and early 2000s, specifically with their debut album Pale Folklore (1999) and its landmark follow-up, The Mantle (2002).   Subsequent album and EP releases, and gradually more frequent live performances, continued to elevate their status in the metal world up through 2014’s The Serpent & the Sphere, all while retaining the artistic integrity that created one of the most loyal fan bases in the world of heavy music. 

John Haughm, who founded Agalloch in 1996, had been arguably the biggest  creative force in the group, whether through his work on guitar, clean and harsh vocals, songwriting and lyrical compositions, or designing the artwork of every release.  Once Agalloch disbanded, Haughm dedicated himself to a solo project he had started after a particularly inspiring trip to the desert.  He would become more prolific with his solo venture, releasing what he’s dubbed the Nomad Trilogy, which culminated with the release of The Devil’s Coil last year.  Somewhere along the line, his friendships with founding Agalloch members Don Anderson and Jason William Walton were mended as well, leading to a reformation of Agalloch for select live shows in 2023, much to their devoted fanbase’s delight.

Over the last two years since reuniting, Agalloch have performed in Brazil, Australia, made appearances at festivals across the United States and Europe, and played select shows along the West Coast with Haughm performing his solo material as an opening act.  Many of these destinations had been points of contention during the band’s 2016 demise, but are now being fulfilled with the clarity of a decade for their founding members.  I had a chance to catch up with John to discuss Agalloch’s resurgence, as well as a number of other topics, including:

• his most recent solo release recorded at a local college, his experience doing similar recording projects when he was a college student in Seattle, and a surprise Alice in Chains anecdote.
• the concept behind the Nomad Trilogy, how he uses visual images as a source of musical inspiration, the cyclical nature of the storyline, and the meaning behind the map coordinates in the title of The Devil’s Coil.
• the reception of his solo work live, how it feels to perform the material, his experience opening shows for Agalloch and other groups, and the genesis of his collaboration with Obsidian Tongue.
• how the Agalloch reunion became a viable option for the original members, memories from their initial reunion shows in 2023, opening for Emperor, and the new mix of Marrow of the Spirit and how it became a reality from a chance conversation in Europe.
• the initial reception to The Mantle, the inspiration he drew from the Portland area for both the music and imagery of the album, plans for future Agalloch music and shows, and reflections about the artistic integrity of Agalloch and his solo work. 

As an unabashed Agalloch fan, it was surreal to get to speak with John about a band that has produced some of my favorite metal records of all time.   As you’ll be able to see with our discussion of The Mantle, I hold their work in very high regard and am excited to see what the future holds for the group now that they’ve returned. Enjoy!

Amorphis' fifteenth studio album, Borderland, was released on Friday, September 26th. To celebrate this milestone release in the band's 35th year of existence, founding member and guitarist Esa Holopainen and keyboardist Santeri Kallio made an appearance across the pond at Lucky 13 Saloon in Brooklyn, a metal institution since 2003, on Friday evening. Labeled as a record release party, the two key songwriters from Amorphis mingled with fans from New York City and its surrounding areas, talked about their fantastic new record that was played in full at the event, posed for pictures, and shared drinks with Finnish metal enthusiasts who were in attendance like myself.

Prior to the record release party, I had a chance to speak with Esa about Borderland and a number of other topics, including:

• the band's recent festival date in Turkey, the crowd's reaction to their new material, and traveling across the globe within a week's time.
• New York airport traffic, Esa and Santeri's adventure into New York City to Times Square and the Empire State Building, and the best time and places to visit in Helsinki.
• the band's history of playing in Brooklyn including a show at the famous L'Amour, the cancelled dates from the Tales from the Thousand Lakes 30th anniversary tour, and a Borderland North American tour in 2026.
• his personal approach to songwriting for the new record, a question about the beer vending machine they had to install in the group's old rehearsal studio in Nosturi, and the lost art of sneaking into rock shows.

Special thanks to Esa for being so patient while I dealt with technical issues and gracious with his time both on and off camera, and eternal gratitude to C-Squared Music and Reigning Phoenix Music for allowing me to attend such a special event. Borderland is a beautiful record and a fantastic addition to Amorphis' already sparkling discography that further cements to group's legendary status as titans of Finnish extreme metal. It's proof of the band's commitment to evolving with each and every record, as they have for the past thirty-five years, and shows they have no intentions of slowing down anytime soon.

Mark Menghi certainly didn’t take the traditional route to prominence in the rock and metal world.  In fact, if you look back at his story, it might sound pretty familiar.  For starters, he worked at a record store he frequented often, the legendary Looney Tunes in West Babylon on Long Island.  Inspired by the likes of Black Sabbath, Iron Maiden, and Cliff Burton-era Metallica, he began playing in local bands during his youth that scrapped their way through every tiny venue with the same do-it-yourself ethos that every other band starting up tends to inherently have. 

Though his journey as a musician stalled for a bit, Mark found himself with an opportunity to work on the business side of the music industry. He began to build a rolodex of contacts that read like a “Who’s Who” of the rock and metal world.  In time, Menghi would call upon these friends to form Metal Allegiance, which first performed in 2015.  He would also tour with Joe Satriani, one of his first contacts from the business side of the music world, in 2023 and get to perform in front of a crowd at his hometown theater at Jones Beach. 

But despite all the star-studded recordings and performances in the rock and metal world, the one artist who remained a constant in Mark’s world as a music fan was Chris Cornell.  As any rock music fan of the 1990s and 2000s, Cornell’s music was as inescapable as it was beyond reproach, as Soundgarden, Temple of the Dog, Audioslave, and his solo material dominated the airwaves and eardrums of every self-respecting music fan during that time.  Menghi’s introduction to Cornell came a bit before the casual grunge fan during his days working at Looney Tunes.  His friend and co-worker handed him a cassette of Louder than Love, Soundgarden’s 1989 major label debut for A&M.  From that day forward, Cornell would become Menghi’s musical constant. 

That love for his music has now inspired Menghi’s latest musical endeavor.  Named King Ultramega, the project features famous guest musicians from the rock and metal community who share his admiration for Chris Cornell covering songs from his many projects.  I had a chance to speak to Mark about this new project and many other topics, including: 

• his musical journey, local Long Island record stores and concert venues, and the importance of the Jones Beach Theater.
• how his love for Soundgarden developed, his impetus to start the King Ultramega project, and how he decided to turn it into a full album’s worth of songs.
• having the blessings of Vicky Cornell and Kim Thayil for King Ultramega, the gravity of having Kim re-record one of his own songs for it, and the great care needed to curate a project with such a legendary name attached to it. 
• recording “Rusty Cage” with William DuVall, Bill Kelliher, and Charlie Benante, the adventurous decision to have Joe Satriani cover Chris’ vocal line in “Be Yourself,” and speculation on my part as to what song Alissa White-Gluz from Arch Enemy will be featured on.
• the timeline for King Ultramega’s releases including the hyped October single, talk of the new Metal Allegiance record that will be released in 2026, playing Cliff Burton’s bass, and commiserating over missing Ozzy’s final show.
• mourning the loss of Brent Hinds, compassion for his friends in Mastodon, revealing that Brent was supposed to be featured on a track from King Ultramega, and reflections on Mark’s journey to where he is today in the music world.

Speaking with Mark, it’s clear that he understands what this project mean