Released: September 18, 2026
Label: Nuclear Blast Records
Album: 12th studio album
Genre: Thrash Metal / Heavy Metal

There are bands that make a comeback, and there are bands that basically kick the fucking door back in and remind everyone who they are.

Anthrax have done the second one.

It has been ten years since For All Kings dropped in 2016. A whole bloody decade between proper studio albums. In metal time, that’s an eternity. People have got married, divorced, had kids, lost hair, gained hair, changed jobs, changed bands and probably changed their Spotify passwords twice in that time.

And yet here we are in 2026 with Anthrax dropping album number twelve, Cursum Perficio.

The funny thing is that it doesn’t sound like a band desperately trying to prove they’re still relevant.

It sounds like Anthrax.

That’s probably the biggest compliment I can give it.

The title Cursum Perficio translates roughly to “My journey has come to an end” or “I complete my journey.” The title apparently came from a Marilyn Monroe documentary rather than some grand “this is our final album” statement, and the band have been pretty clear that this isn’t supposed to be their swan song.

And thank fuck for that, because there’s still plenty of fuel in this tank.

THE LONG FUCKING WAIT

Let’s get the obvious thing out of the way. Why the hell did it take ten years?

The answer is basically life.

Anthrax aren’t 25 anymore. Scott Ian, Charlie Benante and Frank Bello have been doing this shit for more than four decades. They’ve got families, different homes, other projects and an entire lifetime of baggage outside the band.

Scott is in Los Angeles, Charlie is in Chicago and Frank is in New York, so getting everyone into one room isn’t exactly like calling your mates on a Friday afternoon and asking who’s coming down the pub. Bello himself has talked about how difficult it has become to get everybody together and find the right headspace to make a record.

Then COVID happened, and that absolutely fucked everything.

Charlie had already been writing riffs as far back as 2019, but once the pandemic hit, the whole creative machine basically stalled. Nobody knew what the future looked like. Gigs disappeared, touring disappeared, and nobody knew if the music industry was going to come back in the same way.

Let’s be honest, it’s pretty hard to sit down and write a killer thrash metal record when you’re wondering if the entire fucking planet has gone completely insane.

Eventually the shows came back, the ideas came back and Charlie started sending demos around again.

That’s where Cursum Perficio really started taking shape.

CHARLIE BENANTE – THE ENGINE ROOM

Here’s where this record gets particularly interesting.

If you’re one of those people who thinks the drummer just sits behind the kit waiting for everyone else to tell him what to do, have a fucking look at Charlie Benante.

Charlie isn’t just the drummer. He’s one of the central songwriting forces behind Anthrax.

For decades he has written a huge amount of the band’s material on guitar, developing riffs and arrangements before those ideas even make it into a rehearsal room. Recently, Charlie has spoken pretty openly about how frustrating that could be.

For years, he says, he wasn’t really allowed to talk publicly about how much songwriting he was responsible for. He describes the situation as particularly frustrating because he and Scott Ian were doing much of the writing while recognition wasn’t always presented that way externally.

That’s a pretty fucking important part of understanding Anthrax.

Scott Ian might be the visual face of the band, with the goatee, baseball cap, Jackson guitar, riffs and attitude, but Charlie has been one of the band’s major musical architects.

You can hear that all over Cursum Perficio.

The riffs aren’t there simply because Anthrax have been playing thrash for more than 40 years. They’re there because Benante understands how Anthrax should sound.

There’s a difference.

CHARLIE NEARLY DIDN’T MAKE ANOTHER ANTHRAX RECORD

This is another fascinating part of the story.

According to Charlie, there was a point during the long gap where he questioned whether he even wanted to make another Anthrax album.

Think about that. One of the principal creative forces behind one of the biggest thrash bands on the planet got to the point where he wasn’t sure whether he wanted to do it anymore.

Then the writing started happening again, the creativity came back, and that is something I think you can hear on this record.

There isn’t that feeling of five blokes going through the motions because the record company says it’s time for another album. There’s a feeling of people rediscovering why they actually fucking love doing this.

Charlie has also spent recent years playing with the Pantera lineup alongside Philip Anselmo, Rex Brown and Zakk Wylde, so his musical life hasn’t exactly been sitting still while Anthrax were between records.

Somehow, after all of that, he comes back and helps create another Anthrax record.

That’s pretty bloody cool.

SCOTT IAN – THE FACE OF THE BEAST

Then there’s Scott Ian.

The fucking riff machine.

The man who has basically become synonymous with thrash metal rhythm guitar.

Scott’s role in Anthrax has always been bigger than just playing guitar. He is part of the band’s identity, and what I really like about Cursum Perficio is that he hasn’t tried to turn Anthrax into some modern metal band simply because modern production exists.

The guitars are still aggressive and sharp, and they’re still built around riffs rather than pointless technical wankery.

That’s important.

Anthrax have never needed to prove they can play faster than everyone else. They need to write riffs that make you want to move.

That’s what Scott understands.

Interestingly, when the band were putting this record together, Ian specifically wanted some shorter, faster and more direct songs. He talked about wanting a couple of three and a half minute ragers, the kind of songs Anthrax hadn’t really concentrated on enough for a while.

That decision pays off.

Because when this album gets nasty, it gets fucking nasty.

JONATHAN DONAIS – THE “NEW” GUY WHO ISN’T THAT NEW ANYMORE

Then you’ve got Jonathan Donais.

Compared with the rest of the band, Jon is basically the new bloke. But let’s put that into perspective.

He’s been part of Anthrax since 2013.

After thirteen years, calling him “the new guy” is getting a bit ridiculous.

Donais brings something important to the band because he doesn’t simply copy Scott. His guitar work gives Anthrax another colour.

Scott is the machine gun rhythm foundation while Jonathan brings more of the melodic side. Scott himself has praised Donais’ ability to write memorable guitar leads that function almost like vocal melodies, solos you can actually remember and hum rather than simply watching somebody shred for two minutes.

That’s a massive difference.

A great metal solo shouldn’t just demonstrate that the guitarist knows where the notes are.

It should become part of the fucking song.

Jon gets that.

FRANK BELLO – THE BASS THAT HOLDS THE WHOLE FUCKING THING TOGETHER

Then there’s Frank Bello.

Frank has been there through the madness for decades, and he’s one of those musicians whose contribution can sometimes get overlooked because everyone talks about the guitars and Charlie’s drumming.

Listen to this album properly, though. The bass isn’t just sitting underneath everything.

It’s helping drive it.

Bello’s recent comments about the album are interesting because he describes the darker sound as basically reflecting where Anthrax are at right now.

I reckon that’s right.

There’s something darker about Cursum Perficio. Not grim or miserable, just heavier, more reflective and a little more fucking pissed off.

That makes sense when you consider the band’s age, everything they’ve experienced, the state of the world and the fact they’ve spent more than 40 years watching the music industry change around them.

This isn’t teenage anger anymore.

This is “I’ve seen some shit” anger.

JOEY BELLADONNA – STILL GOT THE FUCKING VOICE

And then there’s Joey Belladonna.

One of the most recognisable voices in thrash.

His return to the Anthrax lineup years ago was obviously massive for fans of the classic era, but what’s impressive now is that he doesn’t sound like someone desperately trying to recreate 1987.

He just sounds like Joey.

That unmistakable melodic metal voice sitting on top of riffs that could still flatten a building.

That contrast has always been part of what made Anthrax different.

They’re aggressive without being completely fucking miserable. They can be serious without taking themselves too seriously, and they can write a brutal riff before throwing a massive memorable chorus over the top.

That’s Anthrax.

THE SONGS

PERSISTENCE OF MEMORY

The album doesn’t immediately go charging through the front door. Instead, “Persistence of Memory” acts as an instrumental introduction and sets the atmosphere before the proper carnage begins.

It’s a smart choice because it gives the record a sense of occasion.

Ten years after the last album, you don’t necessarily want to hit play and immediately hear, “Yep, here’s another Anthrax record.”

You want the feeling that something is coming.

And then it does.

THE LONG GOODBYE

This is where the album properly starts kicking your arse.

There’s a deliberate quality here that works well with this older, more experienced Anthrax. They aren’t racing simply for the sake of racing.

The riffs have weight, the drums have weight, and Joey sits over the top of everything like he owns the fucking place.

IT’S FOR THE KIDS

This is one of the absolute fucking rippers.

If you’re looking for the track that screams, “YES, THIS IS ANTHRAX,” start here.

Buzzsaw guitars, explosive drums, a big hook and plenty of attitude. It’s the kind of track that sounds built for a sweaty venue with 5,000 people bouncing around like absolute lunatics.

The band have already described it as a classic Anthrax style ripper, and it’s easy to see why it was chosen as the first single.

This one is going to absolutely fucking destroy live.

EVERYBODY’S GOT A PLAN

One of the things I really like about this record is that Anthrax don’t feel the need to make every song enormous.

Sometimes the shorter, more direct songs work better.

“Everybody’s Got a Plan” is one of those moments. It’s tight, punchy and gets in, kicks you in the teeth and gets the fuck out.

Honestly, after decades of bands writing songs that feel like they need to be eight minutes long simply because they’re metal, it’s refreshing.

THE EDGE OF PERFECTION

This is where you hear the musicianship really start stretching its legs.

It’s also one of the songs where you realise these guys are fucking ridiculous when you consider how long they’ve been doing this.

Four of the five current members were part of the classic Among the Living era lineup, and the chemistry between them is still there.

There are moments here where the band sounds like they’re having a fucking blast.

That’s probably the secret.

INFECTIOUS

The title says it all.

This one gets into your head.

There’s an immediacy to it that reminds you why Anthrax were always slightly different from some of their thrash contemporaries.

They’ve always understood hooks.

Not pop hooks.

Metal hooks.

The kind where you’re driving home and suddenly realise you’re drumming on the steering wheel like a fucking idiot.

NYC 93

Now we’re getting into the history.

Anthrax have always been proud of where they came from.

New York wasn’t necessarily the obvious place to become one of the world’s biggest thrash bands. Charlie has spoken about the feeling of being somewhat isolated in New York’s metal world compared with places like San Francisco, while bands such as KISS, Blondie, the Ramones and hardcore acts like Agnostic Front were hugely influential parts of the city’s musical landscape.

That’s important because Anthrax were never simply Bay Area thrash transplanted to New York.

They were fucking New York.

That attitude still hangs around the band.

CURSUM PERFICIO

The title track is one of the more expansive moments on the record, and there’s something almost reflective about it.

Which is weird considering you’re listening to Anthrax.

But that’s what happens when you’ve got a band that has been around for more than 40 years.

They’ve earned the right to look backwards, to look at mortality and to wonder where the fucking journey is going.

Yet the song doesn’t feel like a farewell.

It feels more like a band looking at everything they’ve already done and saying, “Yeah. We’ve come a long way. Now let’s see what else we’ve got.”

TARGET ON MY BACK

This is Anthrax getting aggressive again.

After more than 40 years you’d think they’d have nothing left to prove, but there’s still that sense of defiance.

Still that feeling of, “Come and have a fucking go.”

That’s probably why this band has survived when so many of their peers haven’t.

They’ve never completely lost that chip on the shoulder.

WATCH IT GO

One of the longer tracks, and this is where the album lets itself breathe a little.

There’s more room for the riffs and arrangements to develop. Some listeners are probably going to prefer the shorter tracks, and honestly, I understand that.

But this is where the band’s experience becomes useful.

They know how to build a song. They know when to hit, and they know when to pull back.

After 40 years, that’s something you can’t fake.

MY VICTORY

The closer, and a fitting way to finish.

If there’s one word that sums up Cursum Perficio, it’s probably survival.

Not nostalgia. Not desperation.

Survival.

Anthrax survived the ’80s, lineup changes, the ’90s, grunge, nu metal, the death of the traditional music industry, the pandemic and a ten year gap between albums.

And they’re still standing.

SO, IS IT THEIR BEST ALBUM?

No.

I’m not going to sit here and pretend Cursum Perficio suddenly replaces Among the Living, Persistence of Time or Spreading the Disease.

Those records belong to a completely different time.

But here’s the thing. It doesn’t need to.

Trying to recreate Among the Living in 2026 would probably be fucking embarrassing.

Instead, Anthrax have taken pieces of what made them great and dragged those pieces into the present.

The riffs are still there. The humour is still there. The attitude is still there. The melodic choruses are still there. Joey Belladonna’s voice is still there.

Scott is still Scott.

Charlie is still writing riffs like he’s got a personal fucking grudge against silence.

Frank is still holding the whole thing down, and Jonathan has become an important part of the band’s identity rather than simply “the bloke who replaced someone.”

THE REAL STORY ISN’T EVEN THE ALBUM

For me, the most interesting thing about Cursum Perficio isn’t actually the music.

It’s the fact that this album exists at all.

Ten years is a long fucking time.

Anthrax didn’t have to make another record. They could have toured the classics and become one of those legacy bands playing “Madhouse,” “Caught in a Mosh,” “Indians” and “Antisocial” every night until everyone involved got sick of it.

Instead, they went back into the studio.

Charlie had to rediscover his desire to write. Scott pushed for more aggressive and shorter songs. Jonathan brought melodic guitar ideas. Frank helped push the darker direction. Joey brought that unmistakable voice.

Somehow, after more than four decades, they still sound like a fucking band rather than five musicians completing separate jobs.

That’s the impressive part.

FINAL VERDICT

Cursum Perficio isn’t Anthrax trying to convince you they’re still young.

They’re not.

They’re older, more experienced and probably more battered and bruised than they were in 1987, but they’re also better at understanding what makes Anthrax work.

This is a record made by musicians who know exactly who they are.

There are thrash moments, melodic moments and darker moments. There are songs that rip along like a chainsaw and songs that take their time.

Most importantly, there are enough fucking riffs here to remind you that Charlie Benante and Scott Ian still have plenty of ammunition left.

The title might translate to “my journey has come to an end,” but listening to this record doesn’t feel like the end.

It feels like Anthrax have pulled the fucking handbrake, looked back at more than 40 years of absolute chaos and gone, “Well, that was fucking fun. What’s next?”

And honestly, I’m pretty keen to find out.

BEST TRACKS

It’s For the Kids
Everybody’s Got a Plan
The Edge of Perfection
Infectious
Target on My Back

Bottom line: Anthrax haven’t come back to live in the past. They’ve come back to prove the old bastards can still fucking bite.

– Scooby

Buy/Stream Cursum Perficio here: https://anthrax.bfan.link/cplp