In a Facebook post, Ashley said he wished it would have “ended differently.” He also Tweeted, “Being the professional I am I wont call anyone out or point fingers as to why I left.. but if ya meet me in person.. feel free to ask.”

This isn’t the first time Static-X has had bassist issues. Original bassist Tony Campos said around the time of the band’s reunion that he has no interest in working with frontman Wayne Static now or in the future. Campos recently played bass on the new Prong record, Carved Into Stone.

A tough job? Maybe. It is unknown who will be playing bass for Static-X’s upcoming tour with Emmure and Ill Nino.

Aside from LoG’s triumphant return to the stage, one of the highlights of the weekend was Blythe’s appearance alongside Prong for a cover of the Misfits’ “London Dungeon.” Check out fan-filmed footage of the performance below.

REVOLVER There have always kinda been two sides to Prong: the more thrash side, and the more industrial-metal side. What made you want to embrace more of the thrash side on Carved into Stone?
TOMMY VICTOR I believe there’s been more that simply “two sides” to Prong. When Prong started, we were interested in all sorts of styles. I personally was into a lot of original “Goth” rock, even before the term was coined. I loved Joy Division. Then Sisters Of Mercy, Fields of the Nephilim, Sex Gang Children, and on and on. Killing Joke has always been a massive influence and I really don’t know what genre to put them in. I liked a lot of old “Oi”like Angelic Upstarts and the Business. Discharge and GBH were listened to a lot. In those days, the metal band that was cool was Motörhead, whom I loved and that played into our sound. Then American bands like the Bad Brains, Minor Threat, Black Flag, Die Kruezen came into effect. These are still my main influences amongst the ones I had as a little kid, which were anything from Tull to Sabbath and Kiss. I never pay much attention to the classifications. We picked the best songs for the new album. If they aligned with any contemporary classification, that’s fine. We didn’t point in any direction other than the best songs to represent Prong and it’s wide-ranged history in 2012.

You’ve been quoted as saying that you “hate nostalgia”. How did that feeling influence your approach on Carved into Stone?
I think what I meant with that comment is a little misunderstood by some folks. I’ve always noticed that there have been a lot of bands that completely and directly copy a vibe of a popular pre-existing one. Very recently I went to see a very popular new band that sounded exactly like D.R.I. Of course, I ‘m a little jaded because I loved that band when they arrived , but this copy really annoyed me. These kids, their fans were obviously completely unfamiliar with D.R.I. and it annoyed me. Back in the day, we strived to do something different. We didn’t want to sound like anyone else. That was the essence of rebelling against all the record company forces and radio. That’s why Godflesh and Swans and Black Flag were so cool. After Prong’s success with our record Cleansing, the label wanted carbon copies of our successful single “Snap Your Fingers, Snap Your Neck.” It was really difficult to do that. It always been ingrained in me to try to push the envelope a bit and take new approaches. In the making of Carved into Stone, we went back into time and made a record unlike any I’ve worked on in decades. Every part–vocal, solo, whatever, we played and doubled to precision without use of Pro-Tools. No grid, quantizing, plug-in over use, etc. To me, that was different. We made a record with 11 quality songs with no filler. For today’s standards, that was different. We spent all our money on a quality producer, Steve Evetts, to be apart of every aspect of the making of the record, which was new to me as well.

It seems musicians tend to test-drive their music with other musicians. Are there any particular musicians outside of Prong that you ran Carved into Stone tracks by before the album’s release, and what was their reaction?
No, not really. Some outside guys were collaborated with. Mike Longworth from MEST and I wrote “Revenge…Best served Cold.” I trusted Steve Evetts, our producer, with helping with some arrangements. This is a guy who has worked with countless bands. He knows the ropes. You have a guy, like me, who has played in a couple of bands throughout the years, regardless of talent, he’s going to have a limited view. Experience really wins in these situations. A broad mind and technical know how. This is the type of guy I can trust.

You’ve played with both Ministry and Danzig. Has your work with those groups had any influence on your own music?
When it comes to actual music, not much influence that I can detect has been implanted. Playing the songs of those bands, that’s different. I’m the kind of guy that if inactive, I won’t pick up the guitar. If I get called on to write songs or tour, I’m all over it. Recently Glenn has done Legacy shows where Misfits and Samhain songs are performed along with Danzig material. I’ve had to prepare a large amount of material on the guitar. It has been fun and challenging at the same time. Then you get to go out and perform these classic tracks live with the guy who created them. It’s not like being in a cover band, it’s something more special. And GD never wants me to imitate the old songs. He wants my take on them. That’s pretty rewarding. I’ve learned a lot from GD on the attitude front. He trusts his instincts. He writes a song, and doesn’t really care what anyone thinks. I tend to write a bunch of songs and throw a lot away, because I feel they are not that good. I’m not anywhere near the vocalist he is, so I guess that’s in order. As far as Ministry goes, I guess this refers to the last question a bit. After being involved in, like, five computer records, I was dying to get in a sweaty studio and jam out riffs with a great live drummer like Alexei Rodriguez. A guy that can figure out his own parts and has a lot of impact on the songs. Playing the Ministry songs live was always a blast. But there wasn’t a hell of a lot of soloing going on. With Danzig, I’m the only guitarist and I’ve been able to get my solo chops up to an okay level from that. I think Carved into Stone has more guitar solos on it than any other Prong record.

There was talk at one point that Ministry’s Al Jourgensen, who put out Prong’s previous album, Power of the Damager, on his label, 13th Planet, would produce Carved. Why did you ultimately decide not to go in that direction?
I think I wanted to keep away from being a Ministry satellite band for one thing. I feel that the electro-metal thing has run its course. I wanted to focus on bringing the songs up to a new level. Quality vocals, good arrangements, etc. I didn’t want to rely on studio techniques to polish any turds, so to speak.

In Prong and Ministry, you played with Paul Raven of Killing Joke, who passed away in 2007. What impact did his death have on you, personally and creatively?
Yeah, Raven played in Prong, way before Ministry. He’s on Prong’s Cleansing and Rude Awakening. He and I initially made contact when he remixed “Irrelevant Thoughts” on our Whose Fist Is This Anyway? EP. We spent a hell of a lot of time together throughout the years. Raven and I would consult each other a lot. I really miss that. He was old school. A real rebel. His bass playing was the best. Nobody could come close. I miss him. I’m sort of still angry that he’s gone. He was a great guy to shoot the crap with as well as play music with.

Prong will be playing the first ever Knotfest in August. How did that come about? What does it mean to you to be part of that bill?
To be honest, I don’t know how we came to be on the bill. Maybe it has something to do my relationship with Joey Jordison, but I haven’t spoken with him. It’s a shock. I think it’s great. Maybe it’ll get Prong’s name out there again. We want folks to hear the new record Carved into Stone. This should help. If anything, it will be fun. We’ll see a lot of old friends and hear some great bands. It should be a good show for Prong as well. Good times!

According to the heavily pierced Jourgensen, the band will be putting out a new album in December titled Relapse. The record will feature guitarists Mike Scaccia and Tommy Victor, Static-X bassist Tony Campos, Prong drummer Arron Rossi, along with keyboardist John Bechdel.

In support of the record, the band will also be heading out on the road for a scaled-down U.S. tour next year, as well as the festival circuit in Europe.

Also in the interview, Jourgensen explains the physical condition that led to him calling it quits back in 2008. ”I’d been throwing up blood for the last three tours and, like an idiot, I didn’t think there was anything wrong,” he says. “So I came back and it got better for a couple weeks. Then in March 2010 I went into a seizure and bled-out 65 percent of my body, and they had to take me by ambulance to the ICU where I flatlined.”

Click to read the full Metal Hammer interview.

Hard rockers Danzig will release their first album in six years, Deth Red Sabaoth (the End), on June 22. Glenn Danzig himself produced and recorded it in Los Angeles over the course of 2009. Song titles include “Black Candy,” “The Revengeful,” “On a Wicked Night” and a two-part song called “Pyre of Souls.”

“I think that fans will really dig this new album,” Glenn said in a statement. “I’ve been told several times that the album has a cool vitality to it, that it sounds energized, and I got that feeling when I was recording it. I wanted to have an organic sound, bigger and thicker, so I went out and bought some 1970s Kustom tuck ’n’ roll bass amps to play some of the guitar parts through. You’ll hear real reverb, real tremolo on this album, which sounds completely different than the stuff that's done with computer chips."

The Danzig band on this record includes guitarist Tommy Victor (Prong, Ministry), a Danzig cohort on and off since 1996, and drummer Johnny Kelly (Type O Negative, Seventh Void).  While Kelly has toured with Glenn intermittently since 2002, this is the first time he has recorded with the band. Glenn played bass on most of the album, and played drums on "Black Candy."

The album art (below) is by award-winning artist Joe Chiodo, whose work has graced not only Danzig’s Verotik publishing line but also the covers of numerous graphic novels and comic books, including X-Men Unlimited. Chiodos previously painted a “good girl” pinup that was included in 2007’s The Lost Tracks of Danzig.

The recording group, joined by bassist Steve Zing—also an original member of Samhain with Glenn—plan to tour extensively to support Deth Red Sabaoth. Dates will be announced shortly.