chases

U.S. Immigration and Customs Enforcement officers have been ordered not to engage in high-speed car chases and to make vehicle stops only if they have completed specific training, under new internal guidance issued after several drivers were shot in encounters with ICE.

A memo sent to officers in ICE’s Enforcement and Removal Operations division and obtained by the Associated Press warned they are not any under circumstances authorized to chase vehicles that fail to pull over. Instead, officers should take down the vehicles’ information for further investigation, according to the memo signed by ICE’s executive associate director, Marcos D. Charles, and dated Wednesday.

The new guidance comes after ICE-initiated vehicle stops have repeatedly escalated when drivers have refused to cooperate or tried to flee. ICE agents have opened fire during more than a dozen such encounters since last year, killing at least four people and wounding several others.

President Trump’s administration has faced internal tension over how to handle traffic stops, which are seen as particularly high-risk encounters.

After fatal shootings of drivers in Maine and Texas in July, ICE officers were directed to temporarily pause most vehicle stops. But the next day, Trump went on social media to direct the agency to continue traffic stops, calling them “one of ICE’s most important and effective Crime Fighting tools.”

ICE has faced intense pressure from the White House to deport more people who are in the country illegally, and its arrests have reached record numbers. At the same time, the agency’s rapid hiring spree last year resulted in some poorly vetted and trained officers hitting the streets.

In a statement, ICE downplayed the significance of the memo, which said the new guidance was intended to replace and amend previous directives issued earlier this year, last year and in 2018.

“Occasionally, ICE leadership issues guidance reminders to law enforcement officers,” the statement said. “Vehicle stops and arrests of illegal aliens continue.”

The new memo outlines steps intended to improve the safety of vehicle stops for ICE officers, drivers they are targeting, their passengers and the public.

The memo told ICE’s field office directors that they must ensure vehicles used for traffic stops have lights and sirens that let the public know they are law enforcement vehicles when activated. Underthe guidance, all officers on the scenes of vehicle stops must wear and activate their body cameras.

In addition, only officers who have completed one of five specific agency training courses can conduct vehicle stops. Officers who have not completed the courses can participate in vehicle stops only “in a support capacity” as passengers and cannot be the drivers of any of the vehicles involved.

The guidance says ICE officers can continue to use a controversial technique known as pinning, which is defined as “using a vehicle or physical barrier to trap or stop a car,” but only if they have received special training. Similarly, only trained officers can use spike strips that deflate tires to prevent drivers from fleeing.

The memo came the day that courtroom testimony highlighted ways in which two ICE officers involved in a vehicle stop, pursuit and shooting that wounded a delivery driver in Austin last month would not have complied with the new guidance.

During a bond hearing for Wilber Rafael Garces Perez, testimony showed that the officer who shot him wasn’t wearing a body-worn camera. The ICE officer who did have a camera was driving in a separate car and turned it off during the pursuit.

Prosecutors presented surveillance video that showed an ICE agent chasing Garces Perez at high speeds through residential streets after he fled an initial traffic stop.

Garces Perez faces federal assault charges after investigators say he struck an ICE officer with his driver’s side mirror. That officer then shot into Perez’s vehicle, lodging a bullet in his back, officials say.

Attorneys for Garces Perez have called the charges against him “retaliation” and have argued that the camera footage was inconclusive because it didn’t fully capture the moment when he allegedly tried to flee.

Foley writes for the Associated Press. AP reporter Anna Wilder contributed to this report from Austin, Texas.

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.

Anthrax’s meticulously crafted album was recorded at Studio 606, using Iron Maiden support slots to court new listeners beyond the thrash faithful.

(Travis Shinn)

“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.’”

“Cursum Perficio” delivers classic Anthrax crunch with experimental flourishes, anchored by genre-defying centerpiece “The Edge of Perfection.”

(Travis Shinn)

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.”