This month, our reader is Americana musician, luthier, and guitar tech Eddie Heinzelman, who toured with Radney Foster and fronts his own trio, the Rebellious Sons.
My family bought our West Harrison, Indiana farm in 1917. It was a working family farm for decades that belonged to my grandparents when I was a kid. I spent every Saturday morning at their house watching TV westerns and every Saturday night watching Hee Haw. My grandma got me my first guitar, from Sears, when I was eight years old, and we listened to the Grand Ole Opry and WSM AM radio every time we milked cows or worked in that barn. The farm had been in our family 100 years, but after my grandfather passed away a few years ago, we couldn’t continue to farm it ourselves. We sold it to a neighbor that I went to school with who kept on farming it.
I moved to Nashville after college and became a musician, songwriter, and luthier. I got the idea to build a Barncaster guitar so I’d have something from the farm that I could keep and pass down to family. I went back to the farm and pulled some boards from the old barn, which has been standing since at least the ’30s. Impressively, it was built with wooden pegs in the beams, rather than nails or bolts.
A friend of mine in Murfreesboro, Patrick Johnson, planed and cut the boards to make the body. The barn wood is poplar, which he used for the top, while a piece of striped sassafras makes up the back. This combination results in a very light guitar—in fact, my Barncaster has many of the qualities of a pine T-style instrument. We decided to also cut a wood pickguard from the barn wood (which includes all of the original worm holes), and then applied a light finish to seal the guitar, without laying it on too thick.
“The old barn has been standing since at least the ’30s. Impressively, it was built with wooden pegs in the beams, rather than nails or bolts.”
I didn’t have a vintage-style Telecaster, so I went with a Fender vintage-spec maple neck. It has an Oak Grigsby 4-way switch, Bourns 250k pots with a treble bleed circuit, an .047 uF Emerson Paper In Oil tone capacitor, compensated brass saddles, and Porter Vintage Tele pickups. It’s a really special heirloom that plays and sounds so good! In 2022, I used it on tour with Radney Foster for his Del Rio, TX 1959 30th anniversary tour, and in a tribute to my grandparents, I played it on the Grand Ole Opry, which sort of brings the story full circle.
Forty-five years after their formation, Anthrax continues to be one of the most influential and beloved bands in heavy music. Coming together in New York City, the group released a pair of albums—1984’s Fistful of Metal and the following year’s Spreading the Disease—that, along with a ferocious live show (they supported Black Sabbath and Metallica early on), established the five-piece as one of the forefathers of thrash metal.
Anthrax’s third album, 1987’s Among the Living, was the breakthrough that put them in the pantheon of thrash greats. The critically acclaimed record, which eventually went gold, helped the band graduate from clubs to arena stages and cemented their place in the Big Four of American thrash alongside Metallica, Megadeth, and Slayer.
“It's been the fucking privilege of a lifetime to get to do this,” guitarist and co-founder Scott Ian tells PG. “We connected deep enough into the planet with Among the Living that essentially we’ve been able to have a career for 40 years since.”
In the years that followed, Anthrax zagged when other bands zigged. But remaining true to their own musical ideals is what allowed them to stand out from the metal pack. After being name-checked by Public Enemy on 1987’s “Bring the Noise,” Anthrax eventually recorded a version of that song with the Long Islanders in 1991 and followed with a joint tour, one of the landmark early metal-rap crossover pairings. In 1992, the band appeared on the Fox sitcom Married… with Children, playing a show at the Bundy residence, which replicated a 1989 MTV stunt where they trashed a contest winner’s (if you want to call them that) own house.
Those years alone would secure Anthrax’s legacy. But the band is nowhere near the nostalgia circuit. Now, a decade after For All Kings, their 11th and most recent studio album, Anthrax have finally followed it up, with the new Cursum Perficio.
Bringing Cursum Perficio to life took nearly six years. Anthrax wrapped the three-year touring cycle for For All Kings in November 2019, a run that included shows celebrating the 30th anniversary of Among the Living. Over dinner after their final show, at Mohegan Sun in Connecticut, the band agreed to take some time off before starting on the follow-up. Drummer Charlie Benante had some rough demos, and the plan was for him, Ian, and bassist Frank Bello to get together in early 2020 and jam out instrumentals. First, Ian was going to finish a new album with Motor Sister, his side project with Joey Vera of Armored Saint, Jim Wilson of Mother Superior, John Tempesta (White Zombie, The Cult) and his wife, vocalist Pearl Aday. Instead, Covid hit, and like nearly everyone else in the world, he was stuck at home. For the next few years, the band worked remotely, zapping files and parts back and forth online.
“Not since the band started touring in 1984 have I ever been literally in one place for that long, let alone my house with my wife and my son,” Ian says. “Nobody knew anything. Nobody knew if we were ever going to play again.”
There was also plenty of anxiety about the unknown, the horrors of school shootings, partisan division, and cutthroat capitalism, as well as the tragedy of losing his father-in-law, the artist known as Meat Loaf, who passed away in 2022. All of it informed Ian’s lyrics.
“If you want to put it in gamer speak, we beat some final boss and we got to the next level of who we are as songwriters." —Scott Ian”
Anthrax, 2026 (l-r): bassist Frank Bello, singer Joey Belladonna, Donais, drummer Charlie Benante, Ian
Photo by Travis Shinn
“So much of that is certainly where I was at the time when I was writing lyrics for the record and my energy making the record, and I would have to think the same as for Charlie,” Ian says. “About 90 percent of the music is from his demos, and Frankie came in with fully realized stuff as well, and is also amazing at writing melody ideas. But most of it starts with Charlie.”
In early 2022, the trio finally got together at Dave Grohl’s Studio 606 in the San Fernando Valley. Immediately, they realized they were onto something bigger than just another late-career album. They’d begin with one of Benante’s riffs or rough arrangements, which would quickly turn into a skeleton of a song.
“I remember that demo for ‘The Edge of Perfection,’” Ian says, “and I was thinking, ‘Holy fuck!’ If this is all we have, we're in good shape.’”
He’s not wrong. The song, built on Benante’s original demo, Bello’s chorus melody and groove-heavy bass line, and Ian’s words, runs for nearly seven minutes, with an atmospheric instrumental opening that explodes in a blast of metal riffing, aided by Joey Belladonna’s towering vocals. Benante has compared the song to Anthrax classics like “Only” and “Indians,” and Ian agrees with that sentiment, saying it ranks among the top tunes in the Anthrax catalog.
Ian wields his “Baldini” Jackson X Series Signature King V.
Photo by Travis Shinn
“I think it's the best song we've ever written,” he says. “That's my hot take on my own song that I'm a part of. When people ask, ‘What's your favorite Anthrax song?’ I usually say "Caught in a Mosh,’ based on the fact that it’s the one that's never been out of our set since that record [Among the Living] came out. But I just think on ‘Edge of Perfection’ we got to some other level, you know? Or, if you want to put it in gamer speak, we beat some final boss and we got to the next level of who we are as songwriters.”
Once the trio had the songs where they wanted them, they sent them to lead guitarist Jon Donais. Stuck at his home in Massachusetts, away from his bandmates, Donais had used the downtime to practice, and he says it made him a better player. When it came time to cut his parts, he’d get the tracks back with timestamps marking where the others wanted him to play. He’d cut a demo, take notes from Benante and Ian, then record a final version. Because the songs were already so strong, he says, he had room to get creative. “Right off the bat, I knew it was going to be great and I had to have something great cooking,” Donias recalls.
Far from cramping his creativity, the isolation felt familiar to Donais. He says the process was much the same on For All Kings, his first album with the band. Now 13 years in, making him the longest-tenured lead guitarist in Anthrax history, he was at ease with the setup, and he quickly heard how the new songs connected to the band’s classic material.
“It has some old-school Anthrax vibes to it, and is a well-rounded record,” he says, then adds, “It’s got some curveballs too.” One he didn't see coming: the black metal influence on “The Edge of Perfection.”
“It has some old-school Anthrax vibes to it, and is a well-rounded record. It’s got some curveballs, too." —Jon Donais”
Donais onstage with his Dean Exile Signature
Photo by Krista Belladonna
One early fan of that song was Dave Grohl. After mixing it at Grohl’s Studio 606, and with Grohl having played Ian the new Foo Fighters album before its release, Ian returned the favor.
“I sent him ‘The Edge of Perfection’ and ‘It’s for the Kids,’ which is a love letter to Anthrax fans,” Ian says. “He wrote me back the next day—I'm paraphrasing—‘Dude, like, holy shit! Oh my God, ‘Kids’ is classic Anthrax.” And about ‘Edge,’ he said, ‘It’s so you guys, and so new at the same time.’”
The reception has proved Grohl right. On social media, fans hailed the song as unmistakably Anthrax, and some called it one of the best releases from any of the Big Four in years. Benante’s pulsating drums, Ian and Donais’ guitars, and Belladonna’s vocals all contribute, but what seems to be connecting most is Ian’s lyric. The song, he says, is about choosing to live by love rather than fear, and sticking with that choice for the long haul. It also argues that perfection is boring and that real beauty is in facing life’s challenges, having empathy, and constantly working to keep yourself in a good place.
Navigating the intricacies of that song gave Anthrax confidence, fueling a heavy and urgent sound that permeates the entire album.
“Listening to it, I know where we were mentally when we were working on the demos,” Ian says. “How happy we were with the material we had… it’s all over the record. We've never had a moment like that, ever, in the history of the band. This is bigger than us. This one is special.”
The album’s title, when translated from Latin, has several meanings: My journey has come to an end; My journey is over; I complete my journey. But have no fear—it’s not a sign that Anthrax is ready to call it quits.
“We're not necessarily coy about it because we answer the question,” Ian says. “When people ask us, ‘Is it the last record?’ ‘Are you saying goodbye?’ I don't sit there and go, ‘Well, maybe…’ That’s not us.”
In fact, the title came from an unexpected place.
“Nobody knew anything. Nobody knew if we were ever going to play again.” —Scott Ian”
Photo by Travis Shinn
“Charlie came up with the idea after he read that a stone at Marilyn Monroe’s [home] had it,” Ian says. “He found out what it meant, and he just really loved the meaning and the feeling of the phrase. So much of it has to do with the journey to make this record.”
If you need more proof that the band isn’t done, the music makes the case. The 11-song album packs as powerful a punch as any Anthrax album in recent memory. In addition to previously released tracks, the tone-setting instrumental “Persistence of Memory” and the ferocious “Everybody’s Got a Plan” are sonically adventurous indicators of a group that isn’t ready to take a victory lap quite yet.
The response so far has been incredibly strong. Anthrax played a small club gig at Brooklyn’s Saint Vitus ahead of a stadium show with Iron Maiden and Megadeth, and on the band’s European run this past summer, Donais says, “It's for the Kids” went over big with crowds.
At a time when they could be winding down, Anthrax continue to play hard and loud. "Their journey to Cursum Perficio hasn't been easy, but as Ian considers where they've arrived after 45 years, he's very aware of the payoff."
“Nobody hands you this,” Ian says of the band’s career. “I wasn't this person in another life. I wasn't this person in two other lives. Growing up in my life, it's been a road to get here.”
Anthrax Gear
Scott Ian
Guitars
Jackson X Series Signature Scott Ian King V (primary guitar, for rhythm parts; “white, the first one they built me”)
“The KHDK and the TC Electronic were used in front of a Marshall JCM800 as part of my main rhythm tone. That was combined with the EVH EL34. The rest of the pedals were used for sounds and overdubs.”
Seymour Duncan has announced their Custom Shop Frankenstein Pickup Collection is now available with new EVH stripe options.
Seymour Duncan and Eddie Van Halen share a collaboration stretching back to the late 1970s. After years of tone exploration together, in early 2000’s the Seymour Duncan Custom Shop meticulously reproduced the pickup in Eddie's iconic Frankenstein guitar, then developed two additional variations representing distinct eras of Eddie's tone progression. All three were approved by Eddie himself and have been available for years in a range of options through the Seymour Duncan Custom Shop as the Frankenstein pickup collection.
Seymour Duncan is now introducing eye-grabbing new looks to our Custom Shop Frankenstein Pickups inspired by the iconic striped designs of Eddie Van Halen’s early instruments. The Seymour Duncan Custom Shop now offers four versions: Red, Black & White; Grey & Black; Black & White; and Bumble Bee.
The new designs are available for all three versions of the Seymour Duncan Custom Shop Frankenstein pickup. The Frankenstein Custom is a faithful reproduction of the pickup in Eddie’s legendary Frankenstein guitar from 2006. The Frankenstein Plus is a hot-rodded version of the original, developed and approved by Eddie in 2013, offering heightened output with increased harmonics and sustain. And the Frankenstein Classic, also developed and approved by Eddie in later years, draws its inspiration from his early P.A.F. pickup tone that characterized the first six Van Halen records.
Street price for each model is $199. For more information visit seymourduncan.com.
Seymour Duncan
EVH Striped Custom Shop Frankenstein Pickups
Seymour Duncan has announced their Custom Shop Frankenstein Pickup Collection is now available with new EVH stripe options.
C. F. Martin & Co. is expanding its longstanding partnership with seven-time GRAMMY Award-winning artist John Mayer with the introduction of two new acoustic-electric guitars: the OM-13E John Mayer and OMC-13E John Mayer. Joining Martin's popular Road Series, these new Signature Artist Editions bring Mayer's preferred specifications, distinctive design details, and signature acoustic style to a more accessible price point, allowing more players to experience a John Mayer signature Martin.
The new OM-13E John Mayer & OMC-13E John Mayer make more than 20 years of signature sound, style & collaboration accessible to more players.
The launch marks a new chapter in a partnership that began in 2003 with the limited-edition OM-28 John Mayer, the artist's first signature Martin. Since then, the collaboration has grown to include a variety of celebrated models, including the popular OMJM John Mayer, which remains in Martin's lineup today. More than 20 years later, these new Road Series additions build on that legacy while making the signature John Mayer experience available to a broader audience.
Premium Tonewoods and Mayer-Inspired Details
Both models feature a solid Engelmann spruce top with aging toner, an exciting addition to the Road Series that delivers a warm, responsive voice with exceptional nuance and clarity. Solid black walnut back and sides provide balanced tone, rich midrange character, and a distinctive natural appearance, while scalloped spruce X-bracing enhances resonance and projection.
Inspired by Mayer's longstanding preferences, both guitars feature a 25.4-inch scale length, narrower 1 11/16-inch nut width, and Performing Artist neck profile with standard taper for smooth, comfortable playability. Premium appointments include a gloss body, ebony fingerboard and bridge, antique white binding, faux abalone rosette reminiscent of the OMJM, nickel open gear tuners, and custom faux mother-of-pearl fingerboard inlays incorporating John's signature. Each guitar also features an interior label with his pre-printed signature.
Martin E1 electronics with a built-in tuner make both models performance-ready, and each includes a softshell case.
Two Distinct Takes on a Signature OM
The OM-13E John Mayer offers the traditional, non-cutaway Orchestra Model body, delivering balanced projection and versatility for fingerpicking, strumming, and songwriting. Bold herringbone top trim adds a classic Martin aesthetic.
The OMC-13E John Mayer features a comfortable 14-fret cutaway body for easier access to the higher frets, offering additional versatility for lead playing and performance. Multi-stripe top trim distinguishes it from its non-cutaway counterpart.
Together, these two models expand Martin's Road Series with new artist-inspired OM options, combining premium solid tonewoods, performance-ready features, and unmistakable John Mayer style at an approachable price point.
Availability
The OM-13E John Mayer ($1,999.99 USD) and OMC-13E John Mayer ($1,999.99 USD) are available through authorized Martin dealers and at martinguitar.com.
C. F. Martin & Co.
OM-13E John Mayer and OMC-13E John Mayer
C. F. Martin & Co. (Martin Guitar) is expanding its longstanding partnership with seven-time GRAMMY Award-winning artist John Mayer (https://t.e2ma.net/click/9vinlk/1pw7am/1ldek8) with the introduction of two new acoustic-electric guitars: the OM-13E John Mayer and OMC-13E John Mayer. Joining Martin's popular Road Series (https://t.e2ma.net/click/9vinlk/1pw7am/heeek8), these new Signature Artist Editions (https://t.e2ma.net/click/9vinlk/1pw7am/x6eek8) bring Mayer's preferred specifications, distinctive design details, and signature acoustic style to a more accessible price point, allowing more players to experience a John Mayer signature Martin.
Journey Instruments has launched a new line of Comfort Elevate models, bringing the company’s ergonomic wedge-body and arm-bevel design to full-sized acoustic guitars with traditional dreadnought and grand auditorium shapes.
Journey Instruments developed the Comfort Series for players who prefer the familiar sound and proportions of traditional acoustic guitars but want an instrument that is easier to hold and play for extended sessions. The company’s wedge design angles the guitar into the player’s body, while the arm bevel softens the point of contact along the upper bout. Built around torrefied solid-wood tops, premium passive electronics, and upgraded appointments, the new models are particularly well-suited for players who experience wrist or shoulder discomfort while playing acoustic guitars.
GD480AG Guitar Goddess Comfort Wave: The first model in the new line is an ultra-comfortable dreadnought created in collaboration with Guitar Goddess. Its surf-inspired design pairs a hand-selected torrefied solid spruce top with an aquamarine/sea-glass glitter finish, layered acacia koa back and sides, maple binding and arm bevel, and pearl-themed appointments. The guitar retains the traditional dreadnought body shape while using Journey’s wedge construction to increase playing comfort at a street price of $589.
JCA470CBB / JCA780C Comfort Grand Auditorium: These new Comfort models bring the same ergonomic concept to Journey’s versatile Grand Auditorium format. The JCA470CBB features a torrefied charcoal burst solid spruce top, figured mahogany back and sides, rosewood binding and arm bevel, rosewood bridge and fingerboard, 18:1 precision tuners, and a full-gloss body and headstock with a matte neck. The model is offered in charcoal burst as well as an upcoming natural spruce-top finish identified as the JCA780C. Street price is $569.
Comfort Series Elevate features include:
Ergonomic full-sized design—traditional guitar shapes combined with Journey’s wedged body and arm-bevel geometry for a more comfortable playing position.
Torrefied solid-wood tops—torrefied spruce soundboards provide improved tonal character and responsiveness.
Premium passive electronics—Journey EP001K passive pickup with volume wheel provides simple, transparent amplification without a large onboard preamp.
Upgraded appointments—including18:1 precision tuners, wood binding, and rosewood bridge and fingerboard.
Player-focused finish—full gloss on the body and headstock is paired with a matte neck for a smooth, understated hand feel.
Ready to play and protect—each model includes a quality thick-padded gig bag for convenient storage and transport.
Journey Instruments had launched a new line of Comfort Elevate models, bringing the company’s ergonomic wedge-body and arm-bevel design to full-sized acoustic guitars with traditional dreadnought and grand auditorium shapes.
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Photo by Travis Shinn
