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Creation and destruction. They’re fundamental building blocks of life, shaping all we have and determining all we know. You can sugarcoat it all you want, but the results are all the same—Life is created, life is destroyed, and the world goes on. In between? We live, we love, we laugh, we cry, we mourn. Life takes us on flights of uninhibited fancy, and life sends us down roads of unrelenting turmoil. Through the creation, through the destruction, and through the bittersweet ironies that consume us in the process… In the midst of it all, there is heavy metal.

And in the midst of the metal, there is Anthrax.

When their peers zigged, Anthrax zagged. Not to be contrary, but to be honest. What is life, if it can’t be lived with honesty, integrity, and a fundamental appreciation for where we came from, and where we’re going? And what is metal, if it isn’t honest?

“Anthrax? The cover of "Fistful of Metal" says it all. I bought that fucker when it came out in 84, without hearing even so much as a note. They haven't disappointed me since. Unmistakable riffs, mindfuck drumming and classic songs – they've opened too many doors to mention. Badasses. They are better than your band." — Dave Grohl, Foo Fighters

Anthrax are pioneers of the American metal scene, and patriots in music’s new world order. They fought for liberation before the music industry even knew it was shackled, breaking down barriers that, at the time, few of us even knew existed. In the ‘80s, Anthrax were amongst the leaders of the heavy metal insurgence. In the ‘90’s, they were among the few survivors of heavy metal’s apocalypse. And with the dawning of a new millennium, they’ve remained as unabashedly potent as they’d ever been.

“In the pantheon of modern metal, Anthrax are certainly a cornerstone, and if one listens, one can hear their influence on any number of up-and-coming bands of the new generation.” — Kirk Hammett, Metallica

In the summer of 2005, for the first time in over twenty years, that very cornerstone will once again tremble the very foundation of heavy metal as we know it. The evolution of metal’s revolution has been televised, but now it’s time to experience the resurgence in real time. Anthrax may have never gone away, but they’re about to reunite in a way many never thought possible — the classic lineup. The classic songs. Timeless metal, from a timeless band.

Joey Belladonna, Frank Bello, Charlie Benante, Scott Ian and Daniel Spitz… Among the living once again. Metal thrashing mad and spreading the disease.

“It’s time to go out onstage and stand with Charlie, Scott, Joey and Dan and create that vibe again,” says Frank Bello, who left Anthrax little more than a year ago, and in the short time since has been leaving his indelible mark as bassist in the seminal aggro-outfit Helmet. “This is gut-check time, and something in my gut tells me the time is right. There’s a magic with the five of us, an energy that can’t be touched. It’s a powerful, powerful buzz. We have something to finish, and a younger generation needs to see it… This is about completing unfinished business.”

“Anthrax is one of the most kick-ass American metal bands of all time. They have outlasted every trend to come along in the last twenty years, and are still relevant today.” — Vinnie Paul, Pantera/Damageplan

“I see a wah-wah pedal, and I’m like a kid again. I’m on fire,” says guitarist Daniel Spitz, who has spent the last decade in self-imposed isolation since his departure from Anthrax more than ten years ago. Not only did Spitz leave the band, but he left music in his past and didn’t turn back, tearing the stereos out of his cars, removing the music from his house, giving his guitars away, and going back to school, where he went from shredding through “Got The Time,” to mending time, becoming one of the world’s most coveted master watch makers. “The same passion that I used to have in Anthrax, I had about watch making. Now again, I have the same passion about getting onstage and pummeling people. It’s time to fire up the Spitz arsenal and destroy people once again — Anthrax is back.”

That’s not to say that Anthrax ever went anywhere.

Through the mid-‘80s to early-‘90s, Anthrax reigned as heavy metal hierarchy, their thrash metal tendencies crashing head-on with an uncanny ability to fuse molten rhythms, infectious melodies, and unbridled metal into damn-near perfect songs. After parting ways with frontman Joey Belladonna in 1992, they returned with Armored Saint frontman John Bush at the helm for the epic Sound Of White Noise in 1993. It was a new twist in a story that had no intention of ending.

“We’re still making records, we’re still touring, and we’re still relevant after twenty years,” says guitarist Scott Ian, the only founding member of Anthrax to be with the band throughout their entire career. “Even this reunion, though, is organic — We just celebrated our 20th Anniversary as a band, we’re all alive, and we can do this. What better reason is there?”

How many reasons do you need? Anthrax have sold more than 10 million records worldwide, been nominated for three Grammy Awards, crossed the globe on more than fifty tours spanning 32 countries on five continents, released ten studio albums, and have left an indelible mark on the music industry. They said rap and metal could never mix, but Anthrax made it happen first, their 1991 collaboration with Public Enemy on the rappers’ “Bring The Noise” toppling social barriers between styles that few thought could co-exist. By the end of the decade, Anthrax could be credited with breaking ground on a whole new genre in the world of hard rock and heavy metal.

Yet, through it all, they never took themselves too seriously.

While their contemporaries seemed to be in competition amongst themselves to be the baddest band in the land, Anthrax defied the trends by stepping onstage in the same clothes they walked the streets in.

“It was never an idea of wanting to be different, it was just what we looked like,” says Ian of the band’s onstage fashion. “We’re the same as our audience, regular guys. It wasn’t about leather, bullet belts and spikes, it was about shorts, sneakers and t-shirts. That’s who we were, and that’s what we wore—Why should we look any different onstage? It was never about putting on a band face, it was just about being ourselves.”

“The world of music, to me, is about pioneers and groundbreakers doing bold and daring things in the face of critics and nay-sayers, only to have everybody snatch credit when that innovation is overstood as the fabric of the terrain. There is no question in my mind regarding my friends Anthrax in this regard, dragging me along in the process of making history. They pushed the envelope, and they set a high bar on killer shows and max-throttled songs that have not only entertained, but inspired, as well.” — Chuck D, Public Enemy

It was 1987, and Anthrax were fresh off the success of their Among The Living breakthrough when they blew the roof off metal convention with their Rodney Dangerfield-inspired rap send-off “I’m The Man.” It was a far cry from “Madhouse” and “Indians,” and Joey Belladonna remembers it well.

“I remember thinking, ‘What are you guys doing?!? Did I walk into the wrong room?” Raised on a diet of classic rock — Belladonna auditioned for Anthrax with an a capella rendition of Journey, and was hired on the spot — the frontman admittedly didn’t share the band’s love for the sounds of the inner cities (he was, after all, upstate New York, to their Big Apple roots), but the magic of the moment was hardly lost in the translation. “Everybody talks about it as the big rap thing, but the fact of the matter is, they pulled it off, and it gave us a bit of a sense of humor, and I think that was very important. We were just enjoying ourselves, and I like that. I can only hope that continues to come through today.”

“We were one of the first, if not the first, to come out wearing shorts, playing aggressive music, and smiling while we were doing it,” says drummer Charlie Benante, whose tenure in the band is second only to Ian.

Without hesitation, Benante credits his decision to reunite, in a large part, to the recent murder of longtime friend and Anthrax fan and Pantera/Damageplan guitarist Dimebag Darrell. “When Dime was killed, that really changed the way I thought about things. Dealing with that, having to face mortality, it was a very emotional time… They always say that with the bad, comes good — Is it just how life goes, and you’re supposed to meet up with these people again? Does it take a tragedy to bring people back together? I don’t know, but who knows when we’ll have the chance to do this again…”

“Anthrax is, to me, one of the most influential bands of my generation, albeit one of the most underrated, with no real reason to be—They are concise, they are fast, they’re just all-around fuckin’ bad-ass. Whether they had Belladonna or Bush, they remain one of the best bands out there, bar none.” — Corey Taylor, Slipknot

“We started this band as kids, and that’s all I knew,” says Spitz. “A band is the sum of the parts, and every part has its own magic that makes it memorable. Everyone offers something that makes it what it is in the end, and if you substitute any one person, that changes the results. There was a magic with us in Anthrax, and while that collaboration was a mystery at times, it worked… And I just can’t wait to do it again.”

For the past two decades, heavy metal has been the soundtrack to vast creation and mass destruction. And through it all, some things have never changed — Anthrax are still armed, Anthrax are still dangerous, and the war dance is brewing…

What is it? Caught in a mosh.

Joey Belladonna, Frank Bello, Charlie Benante, Scott Ian, Daniel Spitz have returned.

Upcoming Events for Killswitch Engage

No shortcuts. No compromises. No BS. From their modest beginnings in New England's hardcore scene to their current status as one of the most influential and inspirational forces in modern music, Killswitch Engage have played by these three simple rules. With their new, fourth album, As Daylight Dies, KsE are proving that if you keep playing the game your way, you'll eventually change the rules for everyone else.

"We never consciously went out of our way to be different," guitarist Adam Dutkiewicz says from the band's home base in Westfield, Massachusetts. " When we started this band, we just wanted to play cool riffs and scream and sing. We liked many different sounds so we tried to incorporate all these rock and pop styles while keeping a good, solid metal mentality." Eleven songs strong, As Daylight Dies isn't just a testament to the band's original vision it's also their strongest fusion of aggression, melody, rock and metal to date.

In hindsight, the potential for crossover success was there as early as 1998, when, after the breakup of his influential genre-crossing metal/hardcore unit Overcast, bassist Mike D'Antonio teamed up with Aftershock members Dutkiewicz (then on drums) and guitarist Joel Stroetzel, and singer Jesse Leach to form the earliest incarnation of KsE. With their Ferret Music debut album creating a major underground buzz, the group got the attention of Roadrunner Records, which signed KsE to a worldwide recording deal and released the ir 2002 sophomore full-length, Alive or Just Breathing.

Equal parts melody and brutality, Alive found Killswitch shooting to No. 37 on the Billboard's Heatseeker Chart and storming metal radio while winning press accolades from publications as diverse as CMJ New Music Report and Alternative Press. And while the next year would see highs (breakout headlining tours) and lows (the departure of Leach in 2002 and drummer Tom Gomes in 2003), the eventual addition of Howard Jones (vocals) and Justin Foley (drums) from New England heavyweights Blood Has Been Shed would push KsE to the proverbial next level.

Released in 2004, debuting at #21 on Billboard's Top 200 Albums Chart, The End Of Heartache was the sound of a band reinvigorated, with Jones' powerful vocal dynamics and Foley's jazz-trained percussive skills only amplifying the rhythmic assault and melodic range at KsE's core. Fans and the media alike were floored. The album, which Rolling Stone described as "Stunning" and Spin declared "Badass" landed KsE their first-ever Grammy nomination. It is now currently pushing near-Gold-certified status in the U.S. "Out of all the attention we got from that record, the Grammy thing was the biggest mind-blower," Dutkiewicz recalls with a chuckle. " It's kind of like finally getting your diploma - or I guess in our case, almost getting your diploma."

As Killswitch Engage's profile increased, so did the band's reputation as a fearsome live act. Besides a plethora of headlining dates supporting Heartache, the band was main support for Slayer in 2004, made their second Ozzfest appearance as one of 2005's second-stage headliners, and that same year helped anchor the inaugural Taste of Chaos tour where they shattered musical barriers nightly alongside My Chemical Romance and The Used. Additionally, the band entered the late night TV world performing their hit singles " The End of Heartache " and " Rose of Sharyn " on Jimmy Kimmel Live and Last Call with Carson Daly respectively. Recently the band completed their latest round of major festival dates overseas, including a Main Stage performance alongside Pearl Jam at Reading Festival in the UK. Jokes Dutkiewicz, they " needed binoculars to see the front row." With As Daylight Dies completed, KsE are looking forward to getting up close and personal with fans during their upcoming headlining run. "Those [intimate] gigs are where we really come alive," Dutkiewicz says. "We love being right up there in kids' faces, where we can just reach out and kick &lsquoem. We love connecting and a making a difference in their lives."

Killswitch Engage have been putting their stamp on the music world and inspiring bands for years. Bassist Mike D'Antonio is also a graphic artist, designing album covers, t-shirts and logos for bands, including All That Remains, Shadows Fall, Chimaira, Cannibal Corpse, and others. Singer Howard Jones manages a few up-and-coming bands such as 12 Tribes, Bury Your Dead and August Burns Red. Dutkiewicz's " other " job is that of a record producer. In addition to producing all four of KsE's albums, he recently produced Underoath's Define the Great Line as well as albums from the likes of Unearth and Every Time I Die. "I definitely see these side gigs as a situation where we're all sharing ideas," Dutkiewicz explains. "Personally, I get inspired by a lot of the bands I work with, and they get inspired by me barking orders at them." He laughs. "Seriously, though, I'm influenced by anything I hear as musical - to me, a broken car muffler can be as inspirational as a great band, as long as it's got a sick rhythm."

As Daylight Dies, which offers a bold new vision for hard rock music in 2006 and beyond, was once again recorded in Massachusetts' Zing Studios, and written relatively quickly in what Jones describes as a "total creative explosion".

The first single, "My Curse" is a contrast of light and dark emotions with one of the tastiest, most memorable riffs heard in years, accompanied by the emotive and anguished singing of Jones. " For You " is pure devastation, with Foley's off-time grooves and bass-drum work offsetting the song's staccato riffs and snarling vocals that dissolves into a moment of complete beauty. " The Arms Of Sorrow" sets Jones' soaring, melodic singing against a powerhouse backdrop of machine-gun guitar work and percussive brutality. "Desperate Times" unfolds in cascading waves of guitar texture, its slow rhythms crushing the listener like a tank column. And the title track, its squealing leads and twin-guitar harmonies giving way to a barrage of bass-drums and jagged riffs, buries itself in your skull via Jones' pleading, melodic chorus. It's at once the most melodic, harmonic, darkest, heaviest and most urgent-sounding set of tunes in Killswitch's arsenal - with Jones' lyrics in particular serving as inspirational statements on the world outside the band's window.

"There's definitely some urgency in the album, and a lot of that comes from my feeling there's so little time to do all the stuff we can to make a difference," Jones explains. "Just look at the way the world is - it's just hard to fathom some of the stuff that's happening out there, some of the atrocities. As for whether this is a ‘ political' record, it's there in black and white - I'll let people judge for themselves but I think if there's any kind of statement to this record, it's in the album title: Whether in some large or small way, it's the idea of just trying to make a difference in your world before the day is over."

With the members of Killswitch Engage once again raising the bar with their new release, both lyrically and musically, they prepare to tour and initiate the unitiated to their brand of music. " We've really gone beyond metal with this record," says Jones. " We've obviously got metal influences, as we always have, but there's so much melody, and so much diversity, this time around-this is just a weird, amazing little mutt of music we're making today."

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