Category: news

  • JACK OSBOURNE On OZZY Avatar Critics: “If Keeping Dad Alive & Accessible To A Fan Is Cash Grab, Then F***ing Guilty As Charged”

    On the latest episode of The Osbournes podcast, Sharon and Jack Osbourne addressed the controversy surrounding the recently announced Ozzy Osbourne A.I. avatar, which will enable fans to hold conversations with a digital version of the late Black Sabbath frontman through a partnership between the Osbourne family, digital human technology company Hyperreal, and Proto Hologram. The avatar will enable the digital Ozzy to have conversations with fans and move, speak, and respond as he would.

    Addressing critics of the project, Jack said (transcribed by Blabbermouth): “What we’re doing — this isn’t, and I’ve said it, this isn’t ChatGPT with dad’s face on it. It’s a closed A.I., so it’s not connected to the Internet. We built a database, and I cannot emphasize enough that this is the only information that either my dad said or was accurate, or was written accurately about him.”

    Sharon pushed back on cash-grab accusations: “Why go on a jet when there’s a propeller? What are you doing? Well, you know what? Technology moves on, and I’m sorry for those people. I’m not asking you to come. I don’t want your f***ing money. I don’t need your f***ing money… And the thing is, for somebody to turn around to me and say I’m doing a cash grab — no, you don’t know my husband, okay? I know my husband, and my husband would say to me over and over, ‘After I go, how long do you think I’ll be remembered? How long do you think?’ And I’d go, ‘I just don’t know, ’cause I’ll probably be going with you, so don’t ask me.’ But the thing was, for 10 years we have been exploring it… And we’re moving with the times… I’m not gonna let anyone bastardize my husband.”

    Jack emphasized the family’s desire for full ownership and control: “The most important thing for me is that when we create this digital imprint of Dad, we create it, we own it, we control it. And it’s something that…” “…we’ll pass on through our family,” Sharon added. “And it’s for our grandkids.”

    Jack acknowledged the commercial dimension plainly while clarifying what the technology actually is: “And at the end of the day, if keeping Dad alive and accessible to a fan is a cash grab, then f***ing guilty as charged because at the end of the day, entertainment and the industry that we’re in, none of this is for f***ing charity… But the technology that we are utilizing, it is not Claude or ChatGPT, which you can ask any question about anything. It’s a closed A.I. module that is not connected to the Internet.”

    On fears the A.I. could become uncontrollable, Jack was dismissive: “Someone said, ‘Oh, it’s dangerous. You can’t control it.’ And I was, like, ‘What the f*** do you think this is, Terminator? It’s gonna go sentient and next thing you know Ozzy’s gonna launch the nukes?’ But I think, for me, it’s not about pretending he’s still alive. For me, it’s about making sure he’s never forgotten.”

    Jack and Sharon also compared the project to widely accepted forms of legacy preservation — from audiobooks to centuries-old books still in print — and pointed to the Michael Jackson biopic, which has earned nearly a billion dollars, as evidence that fans actively seek immersive engagement with deceased icons. “Either we’re gonna do it, or someone else is in 50, 20 years, whatever,” Jack said. “This will become the norm for every well-known person. Just like when people started creating f***ing websites for their bands.” Sharon cited ABBA’s concurrent hologram run in London as further precedent: “And they’re not even f***ing dead.”

    Digital Ozzy will appear in Proto Luma units — life-size, patented holoportation devices featuring an 86-inch multi-touch volumetric display, 4K resolution, high-fidelity speakers, and spatial computing/conversational A.I. capabilities — in the U.K. and U.S. beginning late summer 2026.

    “Every element of this avatar was built exclusively from authenticated, approved source material: curated, consented, and controlled by the people who love him most,” Hyperreal CEO Remington Scott said in a statement. “This is a living performance, not a rendering.” “It’s an honor to be trusted to bring one of the true gods of rock back to the world to continue to connect with fans,” added David Nussbaum, founder of Proto Hologram. Hyperreal previously created an A.I.-powered avatar of the late Stan Lee for the 2025 Los Angeles Comic Con, where visitors paid $15 to speak with the holographic figure.

    Ozzy died July 22, 2025, of a heart attack at age 76; his death certificate also listed coronary artery disease and Parkinson’s disease. His final performance was at the “Back to the Beginning” charity concert in Birmingham, U.K., alongside the original Black Sabbath lineup of guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward.

    The post JACK OSBOURNE On OZZY Avatar Critics: “If Keeping Dad Alive & Accessible To A Fan Is Cash Grab, Then F***ing Guilty As Charged” appeared first on Sonic Perspectives.

  • Fuming Mouth – To Release New LP, Recruit Jay Weinberg

    Fuming Mouth are ready to return with their third LP The Ringing Bell, due out everywhere July 17th. Featuring 11 new tracks, it was recorded by Kurt Ballou at God City Studio in Salem, Massachusetts. Joining them on drums is Jay Weinberg (ex-Slipknot, ex-Suicidal Tendencies).
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  • NUCLEAR TOMB’s `Epoch Inhumane` Is the Sound of Progressive Thrash Fully Metabolized – Album Review

    There’s a strain of thrash that has always been more interested in the wrong chord than the right riff, more invested in structural disorientation than crowd-circle efficiency. Voivod built a career on it. Coroner made it elegant. Atheist dragged it into jazz territory and dared you to follow. Baltimore’s Nuclear Tomb have spent the better part of a decade quietly absorbing that lineage, and with Epoch Inhumane, their second full-length, they’ve stopped paying tribute and started issuing their own terms.

    Nuclear Tomb

    The band arrived at this moment through a methodical accumulation of form: the Admission of Guilt demo in 2018, two EPs (Succumbing, Offer Your Life), and the 2024 debut Terror Labyrinthian, which established the core identity — progressive thrash with death metal tendencies and a refusal to stay in any lane comfortably. Epoch Inhumane doesn’t reinvent that identity so much as sharpen it to a point. Faster tempos, more dynamic range, tighter construction — all in service of what the band does best: keeping you off-balance without losing you entirely.

    The album’s thematic layer rewards attention. Track titles — Faithless Continuum, Broken Promise, Barren Essence, The Coward’s Curse, Falling Out the World of Lies — cluster around a worldview of institutional failure and disillusionment. The title itself frames dehumanization as a systemic, epoch-scale condition rather than a personal grievance. Whether Epoch Inhumane constitutes a deliberate conceptual arc continuing from Terror Labyrinthian or something looser and more atmospheric isn’t entirely clear, but the consistency of imagery gives the album a coherent moral weight that elevates it beyond standard thrash polemic.

    Mastered by Brad Boatright at Audiosiege — whose fingerprints can be found on landmark records from Nails, Power Trip, and Integrity — the album carries the kind of low-end authority that separates serious underground metal from its more polished cousins. Engineered and mixed by Matt Michel at Viva Studio, the production keeps the chaos legible: dissonant chord voicings land with definition, JD Lookabill’s drum work registers every nuance of a kit that’s doing considerably more than keeping time, and Amelia Morris’s bass sits forward enough to function as a genuine compositional voice rather than reinforcement.

    That rhythm section is foundational to what makes Epoch Inhumane work. “Falling Out the World of Lies” — one of two pre-release singles — announces its intentions early: tempo shifts that feel inevitable rather than arbitrary, groove-forward drumming that propels the dissonance rather than anchoring it. “Unbowed and Averse” is the album’s most experimental statement, built on odd chord voicings, a bass-forward double-time stomp, and an outro that pairs double-bass chugging with fiery lead work that earns the contrast. “Faithless Continuum” channels early Possessed in its lead runs — trills and strangely placed dissonance deployed not for shock value but to sustain a particular atmosphere of creeping dread. “Broken Promise, Barren Essence” is among the heaviest cuts, threading d-beat and blast sections through the progressive weirdness without sacrificing either.

    Guitarists Michael Brown and Matt Ibach — joined on select leads by Demir Soyer — demonstrate what genuine fluency in a style looks like as opposed to mimicry. Brown’s vocals are a further differentiator: a heavily reverbed, mid-range death/black growl that sits atmospherically rather than cutting above the mix in the conventional thrash sense, and the effect is unsettling in the best way. “Lifeless Transformation” is the album’s most kinetic moment, running through a crushing 4/4 verse, a mid-tempo break, and fiery lead work in quick succession. “Terminally Emboldened” brings the death metal-adjacent speed back in force, riffs and solos coiled beneath the colossal rhythm section. The title track closes on an eerie clean guitar passage before a pounding, slithering riff locks in beneath anguished growls — the album’s longest track at 5:02, though you’d never notice, because the band hasn’t stopped moving.

    The one genuine division among listeners will be “Butcher’s Lament,” the album’s lone instrumental, which occupies a genuinely strange corner of the tracklist. Comparisons to Rush on hallucinogens aren’t inaccurate; whether the detour reads as the album’s most inventively peculiar moment or its most self-indulgent depends on your appetite for deliberate structural disorientation. I’d argue it belongs — the album would feel less fully realized without a track that takes the progressive impulse to its logical extreme — but its placement at track seven creates a noticeable drop in momentum that doesn’t fully resolve until “Terminally Emboldened” reasserts the band’s velocity.

    Ten songs in 36 minutes. No filler, no runway, no concessions to palatability. Epoch Inhumane is the work of a band at the top of their game who have internalized their influences completely enough to stop sounding like them.

    Nuclear Tomb aren’t imitating the architects of progressive thrash — they’re building on the same fault lines, and Epoch Inhumane is one of the most intentional and dangerous-feeling underground metal records of the year.

    Nuclear Tomb
    Photo: Travis Stone

    The post NUCLEAR TOMB’s `Epoch Inhumane` Is the Sound of Progressive Thrash Fully Metabolized – Album Review appeared first on Antihero Magazine.

  • “Are you trying to get us killed?” The explosive story behind System Of A Down’s Toxicity album

    System Of A Down’s second album Toxicity gave nu metal’s most political band a platform to be heard . But some people wanted to shut them up –permanently
  • The Bootleg Beatles extend massive UK multi-media tour into Spring 2027

    The world’s premier tribute act The Bootleg Beatles have announced a major extension to their upcoming touring schedule, adding thirteen new dates for Spring 2027. This follows an already packed run of thirteen shows scheduled for December 2026, with the newly announced leg set to go on sale at 10:00 am on 12th June 2026 … Continue reading The Bootleg Beatles extend massive UK multi-media tour into Spring 2027
  • Sleeping With Sirens announce 2027 UK tour and details of new album ‘An Ending in Itself’

    Post-hardcore heavyweights Sleeping With Sirens have officially announced a massive UK headline tour for February and March 2027. The highly anticipated run of shows will feature support from Arm’s Length and Like Roses, marking the band’s long-awaited return across the pond. The tour announcement arrives ahead of their twelfth studio album, An Ending in Itself, … Continue reading Sleeping With Sirens announce 2027 UK tour and details of new album ‘An Ending in Itself’
  • Xenosis push boundaries with technical death metal masterstroke ‘Hermetic Transmutation’

    US progressive and technical death metal outfit Xenosis have officially released their highly anticipated fifth studio album, Hermetic Transmutation. Marking their debut release on a record label, the new full-length sees the band going above and beyond to elevate their craft, expanding on their foundational sound with unexpected and highly experimental creative territories. Forged over … Continue reading Xenosis push boundaries with technical death metal masterstroke ‘Hermetic Transmutation’
  • Ameonna (Ex-Chelsea Grin) Are Planning Their Live Debut

    The group feature three former members of Chelsea Grin.

    The post Ameonna (Ex-Chelsea Grin) Are Planning Their Live Debut appeared first on Theprp.com.