Category: news

  • ASIA Returns With New Album “Indigo” & Shares Music Video For “The Traveller (Into The Light)”

    Asia will release its new studio album, Indigo, on November 6, 2026, through Frontiers Music Srl. The record features the band’s current lineup of Geoff Downes on keyboards, Virgil Donati on drums, John Mitchell on guitar, and Harry Whitley handling bass and lead vocals.

    Ahead of the album’s arrival, Asia has unveiled the first single, “The Traveller (Into The Light)”, accompanied by its official music video.

    Geoff Downes said: “The first track off the album is a high-power-energy piece with a few elements of prog trickery but retaining the accessible-chorus block, which was always a signature of Asia‘s music from the very beginning.

    Harry and I started working on this as one of the early ideas that seemed to come together very organically. Virgil’s dynamic and innovative drum parts drive the piece along, while John’s soaring guitars keep the momentum. Harry’s vocals are commanding, and my keyboard parts hold the wall of sound together. It’s a song of great optimism, mainly about looking forward to the future and travelling ‘into the light’. Play it loud!”

    More than 40 years after establishing itself as one of melodic progressive rock’s defining names, Asia returns with Indigo, an album that connects the band’s history with its current chapter.

    With Geoff Downes leading a refreshed lineup, the group continues its legacy while moving forward with new material that reflects both its past and present.

    Speaking about how the album came together, Downes explained: “The initial writing period began in 2015, following the release of our previous album Gravitas in 2014. John Wetton and I started putting our ideas together, aiming to get into the studio once more. It was with great sadness that John became seriously ill during this time, and we had put on hold our plans, and sadly John passed away before we could continue and complete it. So, it was always in my mind that at some point it would be a shame not to finish off some of these songs and finally release them as part of an Asia album.”

    Recorded during 2025, Indigo was produced by Geoff Downes together with the band, while John Mitchell handled both mixing and mastering.

    The album also carries a strong connection to John Wetton‘s legacy. Two of his final compositions, “Tattoo Indigo (Parts 2 & 3)” and “Chesapeake Bay”, appear on the record, linking the band’s present lineup with one of its most important creative voices. Harry Whitley‘s vocal performance also reflects elements of Wetton‘s style, giving those songs added emotional weight.

    Musically, Indigo builds on Asia‘s later-era releases while bringing back the melodic approach that defined the band’s early years. The album combines memorable hooks with layered arrangements in the tradition of songs such as “Heat Of The Moment” and “Only Time Will Tell”.

    The record also includes contributions from notable guests. Steve Howe performs acoustic guitar on “Chesapeake Bay”, while Dream Theater drummer Mike Portnoy appears on the bonus track “Tattoo Indigo (Part 3)”.

    The post ASIA Returns With New Album “Indigo” & Shares Music Video For “The Traveller (Into The Light)” appeared first on Sonic Perspectives.

  • LEFT TO DIE share “Legion Of Doom” from debut album Initium Mortis out July 17

    See Left To Die live in Europe this summer LEFT TO DIE unleash their debut full-length Initium Mortis in less than 2 weeks on July 17, 2026. Today, Left To Die share the album’s third single & opening track “Legion of Doom”; which originates back to the original Mantas & Death, Death by Metal demos! Listen to “Legion of Doom” on YouTube HERE & on […]

    Source

  • Computerwife – “Nobody”

    Next week, Feeble Little Horse kick off their tour behind their really good new album bitknot. If you’re going to see them, you should really show up early. For the first week of that tour, the opening act is Computerwife, the one-person alt-rock project from the Atlanta-born, New York-based musician Addie Warncke. Today, she releases her new song “Nobody.”

    The post Computerwife – “Nobody” appeared first on Stereogum.

  • Live Gallery: Def Leppard – London

    Live Gallery: Def Leppard – The O2, London

    2nd July 2025
    Support: Extreme
    Photos: Tom Atkin

    We look back at the epic Def Leppard show through the eyes of our photographer Martin Hingley!

    Def Leppard

    Extreme

    Photo credits: Tom Atkin

    For all the latest newsreviewsinterviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebooktwitter and instagram.

    The post Live Gallery: Def Leppard – London appeared first on The Razor's Edge.

  • AN NCS VIDEO PREMIERE: KAFIR — “AN ACT OF DEFIANCE AGAINST THAT WHAT IS PURE”

    (written by Islander) Hostility to the Christian church has been a hallmark of black metal going back to its earliest roots. Even today, some people don’t consider black metal “true” unless it is based on a devout Luciferian foundation. Of course, the music of many black metal bands has nothing to do with such themes, […]

    The post AN NCS VIDEO PREMIERE: KAFIR — “AN ACT OF DEFIANCE AGAINST THAT WHAT IS PURE” appeared first on NO CLEAN SINGING.

  • Interview: Crowhurst Founder Jay Gambit Discusses New Album, Thorns

    A lot has changed within Crowhurst since the band, led by frontman Jay Gambit, released their last major project, III, in 2019. Though the band released a few smaller projects in the immediate aftermath, it’s been seven years since Gambit and his ever-changing list of collaborators released a proper full-length. Enter Thorns, a long-gestating project that takes Crowhurst through realms of dark jazz, ambient, psychedelia, drone and extreme metal.

    The full lineup features Gambit (samples, sound manipulation, electronics), White Ward’s Dima Dudko (saxophone), Claire Deak (harp, flute), Christian Molenaar (drums, violin), Churchburn/ex-Vital Remains guitarist Dave Suzuki, Justin Sweatt (synth), Isaac Takeuchi (cello, violin), Mark Warm II (piano), prolific producer Jeff Zeigler (vibraphone) and Sleepwalker’s PBV on no less than six instruments. It’s a massive undertaking and a rather large departure from what readers have come to expect from Crowhurst, so Decibel sat down with Gambit to get into the nitty gritty about Thorns: the underlying concept, coordinating 10 musicians recording in different places, songwriting and the importance of making art that calls to you.

    Thorns is out on November 6 via Sleeping Giant Glossolalia, with pre-orders coming later.

    It’s been seven years since III came out. What, like what’s been the process since then? Have you been working on this new record, Thorns, since then or did you take some time to do other stuff before you came to it? 

    I started Executioner’s Mask around the time that the pandemic was starting, and I worked on a few of those records for Profound Lore Records and that was pretty fun. I got to work with Gerald Scarfe who did all the art for Pink Floyd’s The Wall, which was fun.

    So that band kind of takes off and does its own thing. What does it look like for you when you come back to Crowhurst?

    Honestly, I didn’t really feel like it was worth coming back to the project unless I had something significant to say. I’ve been working on Thorns pretty much since before the pandemic. We were supposed to fly to Château d’Hérouville to track that, but the pandemic kind of put the kibosh on it, so we were sort of forced to reevaluate what the record could be. The extra time through the pandemic made it a little bit easier because I feel like everybody sort of had the opportunity to to figure out their recording styles and just give people a little bit of time.

    Do you think that the record was the shape of the record that you had in mind originally? Does it sound like that today? 

    No. Honestly, it sounds significantly bigger now and more involved than I could have imagined it being had we just taken a studio approach because this is so layered and so dense that it really did sort of require everybody who was working on it to take their time and work through their own process to get it done the way it had been done.

    Would you consider this to be a significantly different record than others than other records that you’ve done, or do you feel that it’s close to some of the drone work you’ve done in the past?

    I think that where Thorns sits is in a place that is informed by pretty much every era of Crowhurst. It has elements that are really harsh. It has elements that are very psychedelic. It’s got elements of classical and traditional classical music. It has elements of minimalism, black metal. There’s a little bit of everything right up until the end of that run with III into the film-scoring work.

    It’s probably the most easily-listenable record you’ve made in a long time. Not in that it’s not dense but I think that it feels very polished. It feels like there was an intention of the way that it was supposed to feel and kind of take you through.

    I took more influence in this from things like A Silver Mount Zion Orchestra’s He Has Left Us Alone but Shafts of Light Sometimes Grace the Corner of Our Rooms… and Sunn O)))’s Monoliths and Dimensions, the Kronos Quartet film score. Stuff like that was all a much closer touch point for influence for me than a lot of traditional noise and metal stuff, but I think those are things that also stand there, on their own, as being heavy enough for listeners of extreme music while being accessible enough for people who aren’t really informed in that world.

    It feels, not to make the most obvious comparison in the world, similar to a band like Ulver that has metal and and harsher roots, but so much of their work after that fits in that realm, even if it’s not explicitly noise or metal.

    Perdition City is another one that was an influence in making this, the idea of something being truly cinematic.

    We’re talking about how Thorns is cinematic.There’s an underlying concept behind the record, right?

    The record is based on a series of pieces and a concept by the artist Gage Lindsten

    When I read that, it made me think of Neuromancer by William Gibson. 

    Yeah, very influenced by that.

    Did you have these characters and this and this world in mind before you started making this record, or was that a thing that sort of developed as you heard the music and collaborated with all these people? 

    The City of Thorns was really inspired by not just Neuromancer and classic sci-fi, but just sort of what’s going on around us—traveling around in places like Manchester, areas of Belgium, near the French-Belgian border. Areas that felt like monuments to a time that felt more thriving, and also just walking around Philadelphia and seeing things where  so much history that has slowly morphed throughout the eras into, you know, from thriving businesses to cell phone shops to vacant storefronts. Seeing places that were like banks, with names carved in stone turning into Subways, the restaurant, uh, and then turning into ruins and thinking about how close we are in the era of Elon Musk and oligarchy and luxury on credit, and performative luxury, how close we are to what feels like something that William Gibson would have written. That kind of atmosphere, not necessarily the characters as much as the characters of the city we live in, had inspired it.

    That makes a lot of sense. You sort of had this outline then and then you were able to fill it in with more specific characters after that.

    Yeah, and Gage had already sort of created the visual elements, so it was a lot easier to take the visual elements and this idea of what Thorn City could be beyond those illustrations and really run with it.

    Gage did these illustrations and you have this artwork and this concept for the city. What are you going to take that imagery and use it for? Is it just to inform the album and to be on the promotional work, or will they feature in more things that tie into Thorns?

    Honestly I can’t tell you because right now. We’ve got the games and obviously we’ve got the packaging, but it really comes down to if people feel that this story resonates with them. I would love to expand this world. If people wanna know more about the city of Thorns and dive deeper into this world, I would love to take them.

    So there’s a computer game in development about the City of Thorns and the characters?

    So far the whole city is built. I’m just transferring it from an executable to a Web GL file.  

    I’m just trying to make it play in browser now because I don’t know Unity that well, so it’s a crash course.

    I do think that today it’s more important than ever to create something that you can feel proud of. It’s in a way that is independent of any sort of modern metric system that we’ve been using now for years because they don’t work. Nobody cares anymore how many streams you have because streams are so easily faked. And you know playlisting works to a point, but it comes down to whether or not you are proud of the work you’re making. And if you can’t stand on 10 toes and be like, “This is the coolest thing and I’m proud to have made it, I’m proud to be able to show it to the world and however many people hear it, I’m stoked to have done it,” then what are you doing? 

    The label system has effectively collapsed. It’s not where it was even 10 years ago and the booking market and live music market is so in flux in comparison to where it used to be that you just can’t focus on any of that. You just have to be happy with what you’re making. So, you know, if you want to have a game that goes with your record, if you wanna make a tabletop RPG, if you wanna create a card game, a short film, create a whole puppet show—do it, because now is the time. You have all the resources and there’s an audience. If nobody’s doing it, you should be doing it.

    Thorns has 10 collaborating musicians on it. What does it look like for you to put this band together?

    Honestly, putting this band together was pretty easy because everybody who is on it I’ve worked with everyone in some capacity, for the most part. Dave Suzuki is the exception but pretty much everybody I’ve already worked with, like Claire and whatnot. It was more a matter of calling people who were the right people for this particular project, I think after this many records, I’m just sort of fortunate to have access to so much talent. It’s really a blessing.

    Were people recording in their own areas and then the record was assembled? No one was in the same room making Thorns, right?

    No, no, nobody was in the same room.

    Is this the kind of thing where you were tweaking things constantly during the writing process, or was it the kind of thing where, once you started working on it, it was like everyone was on the same page and didn’t need a lot of direction?

    The closer we got. to a finish, the less tweaking was done. So when we start it, Christian will send me stuff that I tweak heavily and as the track progresses, it becomes clear I think to everyone what needs to be done. So maybe the second or third musician might get some direction, and by the 4th or 5th musician it’ll be like, “Play what you think is appropriate for this track.”

    It builds very foundationally, from the ground up, like there’s an order.

    Yeah, there’s a structure to how these things work so I think everybody feels that their voice is heard on the record in the way that they’re most OK with. It feels most representative of both who they are and the vision that we all have for the track.

    You have a lot of different instruments than you’d hear on a lot of Western records like PBV from Sleepwalkers playing dulcimer, balalaika, 8-String ukulele, bouzouki and quray. You also have guys like Dave Suzuki, who I would imagine that anybody reading this article knows him for Churchburn or Vital Remains. Where do you get the inspiration to go this route instead of the more traditional expectations? 

    Dave’s dad was Hiroshi Suzuki, who made the jazz album Cat, which is one of my favorites. Dave has always been a big supporter of Crowhurst so it was a joy being able to work with him, because I think he’s one of the greatest solo guitar players in the world. Instead of mixing him as a lead, I think having him play in a way that was texturally very interesting—our big influence was Eddie Hazel’s guitar on Maggot Brain, where it was so acid-drenched and emotional. To have that as a sort of textural backdrop was very interesting I think, even to Dave, certainly to myself. It’s just playing outside of the paradigm of what we’re used to, as listeners and as people who are creating. 

    PBV, they’re so supremely talented and we just worked on something together, a film score for an African film. They played those instruments and they were such interesting instruments sonically that it felt right to include them, and to include them because so much of the record has electronic tones. To have instruments that felt organic and natural really brings things down to a more human realm. 

    This record comes out on Sleeping Giant Glossolia in November. That’s a new label partnership for you, right? 

    They put out a lot of records I love and they’re just really good people. 

    It fits being somewhere with Ramleh and Oxbow. It’s a very fitting home for a record like this that’s less orthodox than other records you’ve done. 

    It’s also just that I respect the way they do things, which is, after previous experiences with labels, very important to me. If the record is good enough, it will find an audience but if a label is difficult enough, you won’t have the energy to find that audience. 

    The post Interview: Crowhurst Founder Jay Gambit Discusses New Album, <i>Thorns</i> appeared first on Decibel Magazine.

  • How Siouxsie Sioux Built the Visual Identity of Gothic Fashion

    How Siouxsie Sioux Built the Visual Identity of Gothic Fashion

    Long before Gothic fashion became mainstream online culture, Siouxsie Sioux transformed darkness, theatrical makeup, emotional intensity, and post-punk rebellion into one of the most influential visual identities in alternative fashion history.

    Her image helped define what modern Gothic aesthetics would eventually become: dramatic black clothing, symbolic makeup, Victorian influence, emotional mystery, dark sensuality, and psychological self-expression through fashion itself.

    Siouxsie Sioux inspired Gothic fashion portrait with dramatic makeup, Victorian black clothing, candles, and post-punk atmosphere

    Siouxsie Sioux inspired Gothic fashion portrait with dramatic makeup, Victorian black clothing, candles, and post-punk atmosphere

    Although Gothic culture evolved through literature, music, architecture, cinema, and dark Romantic symbolism, few individuals shaped its visual identity as powerfully as Siouxsie Sioux.

    Her appearance became more than stage fashion.

    It evolved into a complete emotional atmosphere capable of transforming clothing, makeup, posture, and visual presentation into psychological identity itself.

    The visual language she created continues influencing Gothic fashion, darkwave aesthetics, alternative makeup culture, cinematic styling, and modern noir identity decades later.


    The Birth of Post-Punk Gothic Style

    When Siouxsie Sioux emerged during the late 1970s post-punk movement, mainstream fashion still largely revolved around commercial glamour, disco aesthetics, polished celebrity culture, or traditional rock imagery.

    Siouxsie introduced something psychologically different.

    Sharp eyeliner, monochromatic clothing, ritualistic jewelry, pale skin, leather textures, fishnets, Victorian silhouettes, and emotionally confrontational makeup transformed her appearance into visual rebellion.

    Yet the emotional power of her style did not emerge simply from darkness alone.

    Its force came from theatrical ambiguity combined with emotional tension.

    Her image felt simultaneously elegant, intimidating, mysterious, emotionally distant, fragile, and psychologically untouchable.

    This contradiction later became one of the defining emotional foundations of Gothic fashion culture itself.

    Early Siouxsie and the Banshees performances amplified this atmosphere even further. Under harsh stage lighting, heavy shadowed makeup and ritualistic clothing transformed live concerts into emotionally theatrical experiences that felt closer to dark performance art than traditional rock shows.


    Why Siouxsie’s Makeup Became Symbolic

    Siouxsie Sioux’s makeup became one of the most recognizable visual signatures in Gothic culture.

    Heavy black eyeliner, exaggerated eyeshadow, pale skin, sharp contours, and emotionally severe expressions transformed the human face into symbolic emotional architecture.

    The makeup did not attempt natural beauty.

    Instead, it externalized psychological atmosphere.

    This became culturally revolutionary because modern beauty standards traditionally encouraged emotional softness, social accessibility, and visual perfection.

    Siouxsie instead embraced emotional distance, theatrical mystery, symbolic darkness, and visual tension.

    The face itself became a carefully constructed emotional performance where identity no longer depended on appearing approachable or traditionally glamorous.

    This psychological use of appearance strongly influenced later Gothic makeup culture, dark fashion editorials, noir-inspired photography, underground cinema, and alternative beauty aesthetics across generations.

    Modern Gothic fashion still reflects this emotional philosophy where appearance communicates atmosphere rather than social conformity, a theme deeply connected to the psychological rise of modern Gothic aesthetics.


    How Siouxsie Redefined Gothic Femininity

    One of Siouxsie Sioux’s most important cultural transformations involved femininity itself.

    Mainstream beauty culture often associated femininity with softness, emotional accessibility, glamour, or romantic idealization.

    Siouxsie introduced something psychologically more complex.

    Her image embraced confrontation, emotional ambiguity, theatrical severity, mystery, and symbolic emotional armor.

    Femininity no longer needed to appear comforting or socially reassuring.

    Instead, it could become intellectually distant, psychologically unreadable, emotionally powerful, and artistically intimidating.

    This transformation deeply shaped Gothic fashion culture throughout the 1980s and continues influencing alternative beauty aesthetics today.

    Modern Gothic fashion still explores similar emotional contradictions:

    strength through vulnerability, elegance through darkness, beauty through melancholy, and individuality through symbolic atmosphere.


    The Victorian and Noir Influences

    One reason Siouxsie Sioux’s visual identity feels timeless is because it merged multiple historical atmospheres simultaneously.

    Victorian mourning aesthetics, cabaret imagery, German Expressionism, fetish fashion, noir cinema, punk rebellion, and dark Romantic symbolism all converged within her style.

    The result felt historically haunted rather than trend-driven.

    Her appearance carried emotional echoes of Gothic literature itself:

    mourning rituals, candlelit melancholy, symbolic darkness, emotional isolation, theatrical femininity, and psychological mystery.

    Victorian mourning culture especially influenced Gothic fashion through its emotional restraint, ritual symbolism, black clothing, and psychological relationship between beauty and grief, themes explored further in The Victorian Mourning Dress: When Death Became Fashion.

    This fusion between historical atmosphere and modern rebellion became essential to Gothic fashion culture throughout the 1980s and beyond.

    Many modern dark fashion aesthetics still unconsciously inherit visual foundations first popularized through Siouxsie’s image.


    How Siouxsie Influenced Modern Gothic Fashion

    The visual identity Siouxsie Sioux helped create eventually expanded far beyond music itself.

    Her influence can still be seen throughout alternative fashion photography, dark editorial styling, Gothic runway collections, darkwave culture, visual kei aesthetics, underground cinema, and social media Gothic communities.

    Even modern online Gothic fashion often reproduces visual principles she helped popularize decades earlier:

    high emotional contrast, monochromatic atmosphere, symbolic makeup, ritual jewelry, Victorian textures, cinematic melancholy, and psychologically expressive styling.

    The emotional authenticity of Gothic fashion therefore owes much of its modern visual coherence to Siouxsie Sioux’s artistic identity.

    She helped prove darkness could function not as social deviance alone, but as emotional sophistication, artistic individuality, symbolic self-expression, and psychological atmosphere.


    Why Siouxsie Sioux Still Feels Modern

    Many fashion icons become visually trapped inside their historical era.

    Siouxsie Sioux remains emotionally contemporary because the psychological needs her aesthetic expressed still exist strongly today.

    Modern audiences continue searching for emotional atmosphere inside fashion because digital culture increasingly rewards polished sameness, algorithmic beauty standards, emotional performance, and carefully controlled online identities.

    This partly explains why younger generations continue rediscovering Gothic aesthetics across TikTok, alternative makeup culture, dark fashion photography, underground music communities, and anti-influencer visual culture.

    Siouxsie’s style represented the opposite of emotionally sanitized perfection:

    mystery instead of exposure, atmosphere instead of perfection, emotional complexity instead of artificial positivity, and symbolic individuality instead of social conformity.

    The emotional power behind her image never depended on trend cycles alone.

    It depended on psychological resonance.


    The Woman Who Turned Darkness into Identity

    Siouxsie Sioux helped build one of the most recognizable visual languages in modern alternative culture.

    Her influence extended beyond music because she transformed fashion itself into emotional storytelling.

    Black clothing, theatrical makeup, Victorian silhouettes, and symbolic styling gradually evolved into a complete psychological language capable of transforming invisible emotions into visible atmosphere.

    Long before Gothic fashion became mainstream digital aesthetics, Siouxsie already understood something modern culture continues rediscovering:

    darkness is rarely about rebellion alone.

    It is often about transforming emotional complexity into identity itself.


    Wear the Darkness

    Explore Gothic fashion, noir-inspired apparel, and dark Romantic aesthetics influenced by literature, music, and emotional atmosphere.

     

    Edgar Allan Poe Gothic fashion and dark Romantic apparel

     


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    Enter the Gothic Atmosphere

    Explore darkwave, post-punk, Gothic atmosphere, noir emotion, and melancholic cinematic soundscapes through the official Edgar Allan Poets playlist.


    The post How Siouxsie Sioux Built the Visual Identity of Gothic Fashion appeared first on Edgar Allan Poets – Noir Rock Band.

  • SUPERTRAMP’s ROGER HODGSON’s First Two Solo Albums To Receive Half-Speed Remaster Treatment

    Former Supertramp co-frontman Roger Hodgson’s first two solo albums — 1984’s In the Eye of the Storm and 1987’s Hai Hai — have been remastered at half-speed by Miles Showell at Abbey Road Studios and will be reissued through Universal Records on August 21. Both releases feature artwork faithful to the originals, following on from the recent Supertramp series of vinyl reissues.

    Hodgson departed Supertramp after their 1983 world tour in support of …Famous Last Words…, choosing to spend more time with his family following his relocation from Los Angeles to Northern California. He had already recorded a solo album titled Sleeping With the Enemy before…Famous Last Words…, but chose not to release it.

    In the Eye of the Storm, released in 1984, became Hodgson’s debut solo album and remains his best-selling solo release, having sold over two million copies. Hai Hai followed three years later in 1987, though its promotion was hampered when Hodgson broke both wrists in a fall from a loft at his home before the album’s release. The record featured “Land Ho,” a song Hodgson and former Supertramp co-writer Rick Davies had composed together in 1974 but never used.

    In 1990, Hodgson worked with Trevor Rabin to co-write the Yes song “Walls,” which appeared on that band’s 1994 album Talk. He declined an invitation to replace Jon Anderson in the group. Since Hai Hai, Hodgson has released one further studio album, Open the Door (2000), and two live releases — Rites of Passage (1997), which featured five previously unrecorded songs and a rare guest appearance from Supertramp’s John Helliwell, and Classics Live (2010).

    Pre-order links for both reissues are available at this location.

    “Hai Hai” Album Cover
    “In The Eye Of The Storm” Album Cover

    The post SUPERTRAMP’s ROGER HODGSON’s First Two Solo Albums To Receive Half-Speed Remaster Treatment appeared first on Sonic Perspectives.

  • “Ozzy signed the book plates months before the final show.” Black Sabbath announce first ever official book, featuring rare photographs and memorabilia, plus in-depth interviews with all four original band members

    Black Sabbath have announced the forthcoming publication of their first ever official book.

    The Masters of Reality – Why Black Sabbath Matter documents the band’s remarkable story, from their formation in Birmingham in the late 1960s to their epic final show, Back To The Beginning, staged in their hometown in July 2025. Overseen by photographer Ross Halfin, a long-time friend of the band, it will feature a huge wealth of rare photographs and memorabilia, and includes essays from Classic Rock writers Geoff Barton and Dave Ling, who interviewed all four original band members.

    The book will be published in October, via Rufus Publications, and can be pre-ordered now.

    “Ozzy and Sharon wanted the book out soon after the final show in Birmingham,” Ross Halfin reveals, “but Ozzy suddenly passing away caused the music world to stop. Ozzy was fully involved with the book and he signed the book plates months before the final show, as did all the band members. So now, we all thought the time was right, one year after Back to the Beginning, to announce the project. A book we all feel celebrates both Black Sabbath and Ozzy and illustrates just how important they are. I hope fans enjoy it.”

    The book will be available in three editions:

    The Super Deluxe Signed Metal Edition (200 numbered copies only)

    Measuring 303mm wide by 426mm tall and running to over 500 pages, printed on silk art paper. This edition is bound in a hand-tooled brushed metal cover with a recycled leather spine with purple-and-white foil embossing. The book comes in a recycled leather clamshell box plus two exclusive limited-edition giclée prints inside. Only 200 numbered copies of this edition are available and each one features a unique book plate, hand-signed by Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward. This edition sells for £950, plus worldwide shipping.

    The Super Deluxe Signed Edition (300 numbered copies only)

    Also 303mm wide by 426mm tall and running to over 500 pages, printed on silk art paper. This edition is bound in black, recycled leather with purple-and-white foil debossing plus an inlaid print of the band from 1970. The book comes in a recycled leather clamshell box with a white foiled “Henry” the flying devil on the front plus a limited-edition giclée print inside. Only 300 numbered copies of this edition are available and each one features a unique book plate, hand-signed by Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward. This edition sells for £650 plus worldwide shipping.

    The Standard Edition

    Measures 246mm x 346mm and features a printed, foiled cover and comes in a cloth slipcase with a white foiled “Henry” on the front. This edition sells for £99 plus worldwide shipping.

    Full details here.