Answers appear to be forthcoming.
The post Saosin Share Cryptic New Tease appeared first on Theprp.com.
Answers appear to be forthcoming.
The post Saosin Share Cryptic New Tease appeared first on Theprp.com.
“Sotera” will be their first new album since 2017.
The post Junius’ First New Album In Nearly A Decade Set For June Release, “Initiatrix” Video Debuts appeared first on Theprp.com.
Sharon Osbourne has listed the Los Angeles home she shared with Ozzy Osbourne for $17 million as she downsizes and restructures her life following his death in 2025.
This isn’t just another celebrity house hitting the market.
The price isn’t the headline.
The timing is.
Because this sale lands after everything that happened in 2025—and it changes how this property is going to be viewed from here on out.
The Hancock Park property first went up for sale in 2022 at $18 million.
At that point, the move was tied to a possible full-time relocation to the United Kingdom.
That plan didn’t hold.
The listing came down, and the house stayed part of their daily life.
Now it’s back—with none of that context still in place.
Ozzy Osbourne died in July 2025.
His death certificate cited a heart attack, with coronary artery disease and Parkinson’s disease also listed.
That shifts everything connected to this house.
It’s no longer part of an ongoing chapter.
It’s tied to the end of one.

Built in 1929, the Mediterranean-style estate sits in Hancock Park and spans more than 10,000 square feet.
Details include:
The renovation came from previous owner Oren Koules, known for the Saw franchise, who bought the property in 2010 for $4.2 million before overhauling it.
By the time Sharon and Ozzy purchased it in 2015 for $11.85 million, it had already been completely transformed.
You can view images of the house at this location.
Moving trucks were recently spotted outside the property.
That lines up with reports that Sharon is actively downsizing.
She’s now splitting time between California and the United Kingdom, where she resides at Welders House in Buckinghamshire.
This isn’t speculation.
It’s already in motion.
Less than a year before his death, Ozzy reunited with the original Black Sabbath lineup—Tony Iommi, Geezer Butler, and Bill Ward—for the “Back To The Beginning” concert in Birmingham.
That wasn’t just another show.
It ended up being the final time that lineup performed together.
Ozzy played a five-song solo set before joining them for:
At one point, he told the crowd: “You have no idea how I feel. Thank you from the bottom of my heart.”
A private funeral was held on July 31, 2025, with just 110 attendees.
Those present included:
The day before, thousands of fans filled the streets of Birmingham.
Sharon and her children—Aimée, Kelly, and Jack—joined the public tribute.
That response doesn’t happen without impact.
And it’s part of what gives this house a different weight now.
Sharon isn’t stepping away from Los Angeles entirely.
But listing this property makes the direction clear.
She’s reducing her footprint in the city while maintaining a presence in both the U.S. and the U.K.
That shift isn’t temporary.
It’s a reset.
From Black Sabbath to his solo career to his final performance, Ozzy’s timeline is one of the most documented in heavy music.
This house sits inside that timeline.
Not at the beginning.
At the end.
If you’ve gone deep on that era—albums, live sets, everything in between—the Loaded Radio stream runs through it the way it should be heard.
Full records. No skips. No algorithm interference.

The property is listed for $17 million.
They purchased it in 2015 for $11.85 million.
It was listed in 2022 during a planned move to the U.K., but later pulled from the market.
Ozzy died in July 2025 following a heart attack, with additional health conditions noted.
Ozzy Osbourne was a pioneering figure in heavy metal and lead vocalist of Black Sabbath. His influence spanned decades through both his solo career and his role in shaping the genre.
The post Sharon Osbourne Lists Ozzy’s Los Angeles Home — And There’s More Behind The Sale appeared first on Loaded Radio.
Swedish melodic death metal pioneers At The Gates are today revealing a second single for their upcoming album The Ghost of a Future Dead, out on April 24 via Century Media Records. The band added the following about the The Dissonant Void: “We are proud to unveil the second track from The Ghost of a […]
Saliva have returned with their new single Cope, featuring Trevor McNevan of Thousand Foot Krutch, available now via Judge & Jury Records. Cope is a rock song that illustrates a vision of hope to people in a dark place. The song was produced by Cameron Pierce Mizell (Machine Gun Kelly, Sleeping with Sirens) and Luke […]HENKA has revealed the details of her debut EP, and shared a new song that is set to appear on it. Spoiler: it’s a banger.

Titled ‘Hurricane’, it’s a song that utilises the elements of hurt and harmony that bolster her sound so beautifully. A bold and brash verse bleeds into a caramel smooth chorus, all wrapped up in an instrumental brimming with electronic intensity and hard rock battery.
It’s yet another statement of intent from an artist that continues to push and pull at what is expected of them, going above and beyond yet again.
HENKA had this to say about the track, stating, “This song lives in that space where love feels conditional and identity feels inherited. It’s about growing up under pressure to be perfect and trying to break cycles that were never yours to begin with. I was really inspired by the emotional intensity and raw textures of 90s artists like Nine Inch Nails and t.A.T.u., and wanted to channel that into something personal”
HENKA’s debut EP, ‘Catharsis’, is set to be released on June 05.
As well as ‘Hurricane’, it will also feature previous singles ‘All I Know’, and I’m A God’, as well as breakout track ‘I Wanna Destroy You’, which was considered to represent Portugal at last year’s Eurovision Song Contest.
Here it is:
The post HENKA Shares Dizzying New Track ‘Hurricane’ appeared first on Rock Sound.
Pyramid Theorem guitarist Sam Ermellini is the kind of person who talks about music the way most people talk about their friends: with genuine enthusiasm and without too much ceremony. The Toronto-based prog-metal trio has been at it since 2007, when Ermellini and bandmate Christian were still in high school playing Rush covers and figuring things out. A few albums and nearly two decades later, they’re releasing a new single featuring one of prog rock’s most recognizable voices.
The band — Ermellini, Christian on bass, and drummer Vito — has three albums behind them: a self-titled debut, Element of Surprise, and Beyond the Exosphere. The new track, “Open Hearts,” features Dream Theater vocalist James LaBrie, and the story of how that came together is about as Canadian as it gets.
Christian plays in another band called Falsett, which includes LaBrie‘s son Chance. That connection brought LaBrie out to watch Pyramid Theorem‘s Rush tribute project, Crush, perform one night — and he ended up in the crowd without much fanfare. “Next thing I know, I see James LaBrie in the crowd watching us play,” Ermellini recalls. “I’m like, oh crap. But yeah, we put out a feeler, see if he’d be interested in it. And he was down to help us. He really supports us. And we thank him just for even being on the track in general.”
The song itself was built with LaBrie‘s voice specifically in mind from early on. Christian had the bones of it, a chorus chord voicing that the band immediately latched onto, and the writing process moved from there with a clear target. “We asked ourselves: what would work well with his voice? And what do we want to hear him rip?” Ermellini says. “It worked out for us.”
What makes “Open Hearts” more than just a well-cast feature is the instrumental section sitting at its center. Ermellini is quick to credit the collective instincts that shaped it. “We were going for that Deep Purple kind of just slamming ’70s style,” he says. “We love all that Deep Purple, we love Zeppelin, all that Beatles stuff. So it was natural for us to write that kind of style for the solo section.”
The recording process was split across locations. The band tracked the song at Strata XR with engineer Darius Trepaniak, who gave Ermellini exactly the guitar tones he was after — EVH-style with a Marshall pushed hard. The pre-production was then sent to LaBrie, who recorded his vocals independently before the full band reconvened at Chance‘s place to lay down harmonies and backing vocals. Mixing and mastering were handled by Richard Cheeky, who also produced Beyond the Exosphere and is close enough to the band’s world that LaBrie‘s son was in the room for part of the process.
When asked to describe Pyramid Theorem‘s musical identity — particularly where the new album is heading — Ermellini doesn’t reach for anything complicated. “We’re leaning into that metal rock sound like we usually do, and there’s a lot of Rush juice in it,” he says. “I’d like to think we have a little bit of that old school sound in our stuff. It’s not as modern as the prog that’s out nowadays.”
His shorthand for the band’s DNA is direct: “If Rush, Ozzy Osbourne, and Pantera kind of had a baby, it would be Pyramid Theorem. That’s the sound we’re going for, at least.” Interviewer Rodrigo Altaf floated the addition of Van Halen to that equation, and Ermellini didn’t argue. “I love Eddie. He’s my favorite player that’s ever played guitar.”
That list of influences runs deep. Ermellini‘s formative years on guitar were shaped by Van Halen, Ozzy Osbourne, Randy Rhoads, Zakk Wylde, Joe Satriani, Steve Vai, Ritchie Blackmore, and Jimmy Page, the full spread of ’70s and ’80s guitar royalty that informed a generation of players who grew up wanting to make a lot of noise with a lot of feel.
The new album doesn’t have a title locked in yet; drummer Vito apparently keeps a black book of potential ideas, but Ermellini describes the material as having more room in it than previous records. “There’s a lot of air in this music. The song structures are a little bit deeper. I feel like it’s music where you’re looking forward to the next part.”

The Rush tribute project, Crush, has become something of a calling card for the band beyond its original December purpose. Past sets have included full run-throughs of Rush‘s 2112, A Farewell to Kings, and most recently Permanent Waves straight into Moving Pictures — a combination they called “Permanent Pictures.” Next up might be Signals, though nothing is confirmed yet.
For Ermellini, Crush serves a practical function beyond the joy of playing the material. “Half the time they’re like, ‘the Rush set was awesome,’ and then we’re like, ‘well, we got a band, right? Come check us out.’ And sure enough, the people do, and they support us. We’re so grateful for that.”
The band is set to open for Stick Men at the Garrison in Toronto on April 8, with the “Open Hearts” single dropping two days later on the 10th. A Canadian touring run is planned through late May and into June, with hopes of getting into the United States in the fall. Ermellini is pragmatic but optimistic about the longer road: “Every little bit helps, and all the support helps. We want to get on the road as much as possible.”
The post PYRAMID THEOREM’s SAM ERMELLINI On Their New Single Featuring JAMES LABRIE: “We Were Thinking, What Do We Want To Hear Him Sing?” appeared first on Sonic Perspectives.