Moments after the final rapid-fire rhythm of Anthrax’s opening number “Caught in a Mosh” fades from the open air of the Sports Illustrated Stadium in Harrison, N.J., shaggy-headed vocalist Joey Belladonna addresses the audience. “I gotta ask everybody out there right now. Who’s never seen Anthrax before?” Around half of the 6,000-or-so crowd members who showed up by 6 p.m. for the three-band bill, headlined by heavy metal legends Iron Maiden, raise their hands. “Ah, yeah! We got a lot of new friends here today. Thank you for being here.”
Some bands with a four-decade career would be disappointed by the turnout, or by the realization that many fans not wearing Maiden shirts are dressed in Megadeth merch. But for Anthrax, preaching to the unconverted is an opportunity to expand their fan base beyond the somewhat insular community of thrash metal, a style of music that took the aggression of bands like Iron Maiden and turbocharged it with the speed and fury of hardcore punk. As much as Anthrax cherish being one of the “Big Four” — Metallica, Megadeth, Slayer and Anthrax — playing a 35-minute set well before dark is a great way to reach new listeners.
“We have a strong base of fans that are deeply into this band, but we know there are also people that have never listened to this type of music before,” says bald-headed, gray-bearded rhythm guitarist and lyricist Scott Ian from his home office outside of L.A. a week before the show. “They’ve heard band names, but maybe they haven’t dipped their toe in the water. So, it would be great to reach them and give them something they didn’t even know they wanted and then they’ll fall in love with it.”
A full 10 years have passed since Anthrax released their last studio album, “For All Kings,” which helps explain why they’re not as well-known as some metal veterans. Instead of rushing out an album after the pandemic, Anthrax took their time writing and fine-tuning new songs before entering Dave Grohl’s Studio 606 in L.A. in 2022. Then, they wrote more songs and massaged those for another two years before finishing the recording and sending the album to be mixed in 2025.
“I nitpicked over every detail of these songs before I even sent the demos to the other guys to put their two cents in,” says drummer and main songwriter Charlie Benante, clad in a black T-shirt and blue jean shorts, and sporting cropped black hair and a slanted mustache. “I wanted them to be as good as they could possibly be. Being good enough wasn’t OK.”
The 11 tracks on “Cursum Perficio” (Latin for “I complete my journey”) encapsulate the finessed brutality, incisive melodies and experimental flourishes from Anthrax’s years with Belladonna (from 1984-1992 and 2005 to the present), during which the band wrote its fastest, most aggressive songs. As much as Anthrax were driven this time by the desire to attract new fans, they were also motivated by many popular new metal albums — and not in a good way.
“I hear bands with new records out, and they’re horrible,” Benante says, squinting his eyes and grimacing. “The genre has gotten stagnant to the point where you see a social media post by some band mentioning they have new music coming out, and you can tell exactly how it’s going to sound just by the way they look.”
While “Cursum Perficio” may be a bit heavy for some metal fans, it’s neither dull nor predictable. The album is loaded with Anthrax trademarks — serrated, crunchy riffs, soaring lead vocals, bludgeoning beats, and scorching guitar — but there are also galactic noise effects, angular song structures and atypical chord configurations. The most striking number, “The Edge of Perfection,” starts with chiming ethereal guitars and gently tapped cymbals, then detonates in a conflagration of feral blast beats, minor-key tremolo guitar picking (redolent of black metal), and chanted tribal vocals before climaxing in a slithering riff and ebullient chorus.
“After 30 years as a band, I can honestly say that’s the best song we’ve ever done,” says Ian, the most voluble member. “I feel like it’s genre-defying and can appeal to fans of atmospheric stuff and extreme metal, and anyone who likes aggressive music or even just guitar rock.”
For such a bruising cut, the lyrics of “The Edge of Perfection” are surprisingly optimistic. “It’s about striving for perfection, which, of course, is impossible. But that doesn’t mean you can’t reach for it,” says Ian. “To me, true perfection is happiness and health, and that comes from love, and it isn’t a given. I work hard at being an empathetic person and I only do things out of love and wanting to make everybody around me feel good as well.”
Lest Ian’s Zen-like proclamation color him a romantic, the guitarist stresses that much of the energy and anger of “Cursum Perficio” stems from the political, social and economic turmoil of the last decade. The problems, he stresses, are cutthroat capitalism, rampant partisanship and mankind’s seemingly innate instinct to destroy.
“Humans are really good at one thing and that’s murder, and we’ve excelled at it over the centuries,” Ian says, shattering the good vibes that flowed like a clean mountain spring just a minute ago. “Every year, we get better at treating each other terribly, which I can’t understand. I mean, there are people on this planet who, if they wanted to, could end world hunger. But I guess there’s no money in that. They would rather make the world a s— place by draining the resources. I swear to God, it’s just like [the 1971 Dr. Seuss book] ‘The Lorax.’”
While Ian purposely scrapped any early lyrics he wrote about politics in the age of Trump (“that would have been boring”), on “Everyone’s Got a Plan” he addresses the partisan strategy of “divide and conquer,” and in the first single, “It’s for the Kids,” he writes about the ubiquity of school shootings. Neither song has stopped naysayers from characterizing Anthrax as left-wing.
“I’m not a liberal,” he plainly states. “I’m a centrist. I like skeet shooting and I enjoy going to a range and shooting at targets. But I believe in common sense. And no matter what your political leanings, I think everybody can agree that nobody wants to see an 8-year-old shot in the face, which happens all too often.”
“I love this country,” interjects Benante. “But that doesn’t mean I don’t have some problems with it…. The way we go about things in this country is just wrong, and it makes me frustrated to the point where I’m like, ‘F— it. I’ll just put my head down and write a song.’”
Much of “Cursum Perficio” caters to neither the left nor the right. “NYC 93” is about the celebratory chaos of band life in the early ’90s, “The Long Goodbye” addresses the horrors of dementia, and the title track is about closure, whether positive or problematic. The Latin translation of the phrase, along with Benante’s past comments that he can’t imagine writing another full Anthrax album anytime soon, have led to speculation that the band is nearing the end of the line; the theory is seemingly supported by lines like, “The journey’s over/ The threads that hold it all together.” But while there are no plans now to write any new songs, and four of the members are in their 60s (lead guitarist Jonathan Donais is the baby at 47), growing too old to headbang isn’t even a notion.
“I truly believe that going out and playing shows keeps us young,” concludes Benante. “We get in a zone, and the music takes over and the energy going through our bodies is the same as it was when we were 20. Why would we ever want to give that up?”
Wiederhorn is the co-author of Scott Ian’s 2014 autobiography, “I’m the Man: The Story of That Guy From Anthrax.”
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