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ANTHRAX
Cursom Perficio

Nuclear Blast / Megaforce (2026)
Rating: 8/10

Chugging and moshing since the halcyon days of the 80s, metal heavyweights Anthrax embark on another chapter after a decade long absence in recorded material. Previous full-length pair, Worship Music (2011) and For All Kings (2016), were, in my opinion, solid records, particularly the former, although some fans were lukewarm in their responses to both lengthy slabs. For me, there was always going to be excitement when the band re-employed legendary frontman Joey Belladonna, the man whose pipes serenaded us teens for four albums through the golden age of thrash.

For anyone who has been awake over the last few months would no doubt have been buoyed by lead single ‘It’s For the Kids’, a classic slice of Anthrax with its juggernaut segments and killer yet playful melody on the chorus. It was certainly a song to get the blood running warm as the combo once again fused melodic heavy metal, bulldozer breakdowns and a jovial half-hinted crossover ethos. Maybe it’s the colourful energy that has, at times in the past, caused critics to raise their eyebrows?

The whole “Big Four” thing, with Metallica, Slayer and Megadeth, was somewhat unkind to Anthrax, because their sound, unlike the others, was never a full on serious and dark thrash assault, but that’s why I’ve always held the combo in such high regard. While Metallica became U2, Megadeth slowed down and Slayer succumbed to Kerry King’s macho lyrical cheese, Anthrax became darker, especially without Belladonna at the helm. Anthrax fans in the present will be pleasantly surprised then by the moody, almost downbeat vibe of opening slab ‘The Long Goodbye’, an emotive, sprawling monolith whose topic is dementia.

I can literally hear the Spreading The Disease (1985) and Among The Living (1987) fans huffing in frustration, but that’s always been the joy of Anthrax. Whether it was the gaudy vomit-inducing cover art of State Of Euphoria (1988), or the despicably hip renditions of Public Enemy’s ‘Bring The Noise’ and Joe Jackson’s ‘Got The Time’, Anthrax brought variety in droves, even via the grungier John Bush years. And so, Cursum Perficio somewhat channels all eras of the band as they merrily strut through tough urbancore (‘Everybody’s Got A Plan’) and blackish tinged oddness (‘The Edge Of Perfection’).

I’ve no major quibbles at the variety displayed here, the band have never sounded so fresh, weight is never sacrificed and there’s still enough gang chants and punky riffs to transport the older listeners back to the late 80s and early 90s. Another vibrant time capsule is ‘NYC 93’ with its Overkill vibe, while ‘Infectious’ boasts more of a mid-to-late 90s rock groove. After numerous listens there’s still a lot of meat to pick at and admittedly some songs, such as the catchy six minute title number, could have had some fat trimmed off.

Rumour has it that Cursum Perficio is the last studio outing from the band, and if that’s true then it’s a worthy farewell, and certainly more rewarding than Megadeth’s self-titled finale. Cursum Perficio is also better than the last Metallica opus (72 Seasons), so, in spite of all the unwarranted criticism, Anthrax has faced over the years, the band remains the dark horse of the pack, a combo whose journey has been fluid and unforced through decades of trend.

Anthrax is Anthrax, but those expecting Among The Living Part 2 have no respect or understanding of the band and its evolution. Guitarists Scott Ian and Jonathan Donais construct great riff walls, impenetrable thrash fortresses that grind and chug to the burly backbone of Charlie Benante’s percussion and Frank Bello’s bass. After four decades of spreading the disease, Anthrax has still got the power. Cherish it before it’s gone.

Neil Arnold

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