Media mogul and TV personality Sharon was married to the Prince Of Darkness for 43 years, from 1982 up to his death on July 22, 2025, following a heart attack. In a new interview with the BBC, she remembers her late husband as “authentic”, “so genuine and funny”.
“He never tried to be anything other than what he was, and he would tell you the truth about everything and that was him, you knew where you were with him,” she adds. “I mean we could have the worst arguments in the world but we would end up laughing because he would say something so ridiculous that we would just crack up.”
She also encourages people to listen to music if they want to celebrate Ozzy’s legacy.
“As Ozzy would say: when you want to remember me, just yank up the music really loud, as loud as you can get it, and just head bang,” she says.
Sharon spoke to the BBC in Ozzy’s hometown of Birmingham this morning (Wednesday, July 22) as the city prepared to hold Ozzy Day in remembrance of its most metal son. Co-organised by Birmingham City Council and Central BID, the city-wide celebrations include musical performances, film screenings and exclusive merch.
The Bostin’ Brass Band, who performed Black Sabbath songs in front of Ozzy’s funeral procession as it drove through Birmingham on July 30 last year, have returned to the city for multiple performances through the day. Another musical performance will be put on by the City Of Birmingham Symphony Orchestra (CBSO) at the Bullring shopping centre in the centre of town at 12:15pm.
In addition, the branch of Selfridges at the Bullring is selling an exclusive Ozzy Day t-shirt. At nearby Birmingham New Street station, fans are able to have free Polaroid pictures taken with the moving statue Ozzy The Bull, which was named after the Prince Of Darkness following a 2022 poll. The 10m (33ft) sculpture has been made up to resemble its namesake singer.
Birmingham Museum & Art Gallery’s free-to-enter Ozzy exhibit, Working Class Hero, is open as normal. At the start of the month, the exhibit added the throne on which Ozzy performed at his retirement gig, Back To The Beginning, on July 5, 2025. Back To The Beginning was held at Birmingham’s Villa Park stadium, a short distance from where Ozzy grew up in Aston.
Sharon has made several appearances and committed to multiple projects celebrating her husband’s legacy. In February, she and her daughter Kelly picked up a Lifetime Achievement Awards from the BRIT Awards on Ozzy’s behalf. She helped launch a commemorative bottle of Ozzy’s favourite perfume, Czech & Speake’s No.88, in the spring.
She and son Jack are currently putting together an AI Ozzy avatar, which according to Jack will “have conversations with fans and move, speak and respond as Ozzy would”. Fan response to the avatar has been mixed, with some calling it a cash-grab, though Sharon stood her ground during an episode of the Osbournes’ podcast.
“I know my husband,” she said. “My husband would say to me over and over, ‘After I go, how long do you think I’ll be remembered?’”
Ozzy died at the age of 76 after living with multiple health issues, primarily Parkinson’s disease and the after-effects of a series of spinal surgeries after he fell at home in 2018. In his posthumously published memoir, Last Rites, he revealed that an infection from his final surgery left him with arrhythmia and “a dodgy heart valve”.
THE AUTUMN AURORA Present New Video Single ‘False Idols’ – A Darkwave
Journey Through the Illusions of Power & Contemporary Society!
“False
Idols”, the new single by THE AUTUMN AURORA, is out now on all major
digital platforms via Volcano Records. The track is accompanied by an
official music video, available on the band’s YouTube channel.
“False
Idols” explores the loneliness of those confronting a society dominated
by propaganda, appearances and false models imposed by politics,
religion and mass media. It portrays a distorted reality in which the
weakest are crushed rather than protected, while the promises of false
prophets serve only the interests of those in power. That same
loneliness, however, becomes a source of clarity and awareness. Stepping
away from the media spectacle means rediscovering oneself and rejecting
a world built on money, easy smiles and illusions—a world that no
longer belongs to those who refuse to become victims of its false idols.
Musically, the track pushes The Autumn Aurora’s post-punk and darkwave
identity to its limits. Synths and analogue orchestral pads intertwine
with the lines of two electric basses: one builds the groove alongside
the drums, while the other takes on the role of a lead guitar, using
chorus, flanger and delay to create cold, spectral atmospheres.
Completing the sound is Saveria Maitilasso’s deep and theatrical voice.
The hitmaker formerly known as Kenny Beats was behind breakthrough albums for Geese, Vince Staples, Idles and Fcukers. On a new solo project, he turns his focus inward.
The beautiful surroundings of Mote Park once again hosted one of the most essential summer events in the fourth Maid Of Stone Festival. This year there was perfect hot weather and no last-minute band substitutes or emergencies, simply three days jam-packed with enough variety to give something for every discerning rock and Metal fan to smile about.
Cassidy Paris – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Opening the Inferno Stage, a high-energy set by Melbourne’s very own Cassidy Paris set the bar high. Having completed a full UK tour only a couple of months ago, it was a very welcome return as Paris and her band brought some thunder from down under with their own brand of classy pop rock shot through with soul.
The addition of a duet with recent touring mate Russ Grimmett of Fireheart added another layer to the set, and hopefully it will not be long before we see her back here.
Regional One – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Across on the Firestarter Stage, Bournemouth quartet Regional One were showing how their sound had toughened up recently, the hooks still intact but numbers like the aptly named Bedlam hitting hard. Even when technical issues derail big finish Hero, their triumph remained undiminished as the crowd happily cheered them on.
Anthony Gomes – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Canadian Anthony Gomes is no stranger to these shores, the blues rocker a seemingly constant present figure on the scene. With his white Flying V, red trousers, visceral vocals and good-humoured approach, incendiary songs from latest album Praise The Loud and hilarious stories about meeting the White Trash Princess of his dreams in a branch of Tesco kept everyone enthralled.
After his set, the queue for the signing tent told its own story.
DeVere – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
DeVere are a much talked-about band at the moment, but how much traction there is in their Mötley Crϋe type ’80s glam-styled rock is up for debate. Good songs, lively stage presence, but will it truly appeal to enough people to see them lifting themselves above the retro-rock tag?
Only time will tell, and judging by the positive reaction of the crowd, they are in with a chance.
DeVere – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
The middle of the day saw some acoustic sets over on the VIP stage. Heavy blues troubadour Jack J Hutchinson, who opened proceedings on the Sunday main stage last year, returned for an acoustic VIP slot.
Hutchinson and bassist Greg Smith ran through some back catalogue classics and new song Soul Believer, showing that acoustic absolutely does not have to mean soft, and a mighty fine groove hits the spot no matter what medium.
Later on the VIP stage, North-Eastern hard rockers Juliet’s Not Dead turned down their usual dynamic and fast-paced set to give a fairly gentle soundtrack to those tucking into the excellent rock ‘n’ roll toasties.
Morganway – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
With the first appearance of a fiddle over the weekend, Morganway brought a little bit of country and a little bit of folk to their rock riffs, and S J Mortimer’s gorgeous and powerful vocals rang out clearly over the whole park.
Magnetic and majestic, they certainly made a lot of new friends and continue their rapid ascent.
The New Roses – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Germany’s The New Roses are used to big stages, having toured with some of the biggest names in the business. Mixing hard rock riffs and big songs, the quintet put a modern edge into the classic sound without going the same route as others who slavishly copy older bands.
This is rock ‘n’ roll born of passion and an excitement sparked by growing up with loud guitars coming from the rooms of thousands of teenage Metalheads across the world, and at Maid Of Stone, nostalgia mixed with hope for the future.
FM – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
FM were a popular main stage choice for good reason. Who could ever get enough of being taken to melodic rock heaven from the absolute masters of the genre?
Their set is a career-spanning, fan-pleasing exercise that shows exactly why they are still as in demand today as they ever were. Digging Up The Dirt, That Girl and Tough It Out blazed with a polished intensity, Steve Overland’s voice still a thing of silky wonder and their quality is untouchable.
FM – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Perfect for the afternoon sunshine, but FM are a band that can be enjoyed anytime, anyplace, anywhere.
Sam Morrow – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Whilst the excellent Sam Morrow, sporting a spectacular mullet, seemingly missed all the warnings about swearing on stage, his set was nonetheless a fiery welter of blues-soaked southern rock where honesty and raw edges were king.
A Thousand Horses – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Another delicious helping of southern rock could be found over on the Inferno stage as the Nashville band A Thousand Horses delivered the very definition of a crowd-pleasing set.
Cut from the same cloth as The Black Crowes, Whiskey Myers and Blackberry Smoke, this was way more rock than country, with tight guitars and a massive sound. The high-adrenaline performance energised anyone suffering from a mid-evening slump.
A Thousand Horses – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
It is not all about the maximum voltage sounds, though. Listen carefully to the lyrics, and there is a hell of a lot of depth there and more soul-bearing than you may imagine, giving the band an added dimension.
The insertion of their version of Champagne Supernova raised eyebrows. It was not bad, merely an odd fit, although performing it in the UK means that it is a guaranteed audience sing-along.
Crow Black Chicken – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Closing out the Firestarter stage, dark blues trio Crow Black Chicken were a magnetic presence. Hailing “from the Deep South … of Ireland”, this heavy blues veered into stoner, doom and even prog at times, along with some of guitarist/vocalist Christy O’Hanlon’s fiercely funny craic.
With so many textures at times the focus was lost, but this is a minor quibble from a hard-hitting set that at times evoked the spirit of the proto Metal days.
Crow Black Chicken – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Headliners this evening were The Temperance Movement, who returned to the stage last year after a five-year absence, and man, it is good to have them back. That tour went so well that a new album will be released this October.
New songs Always Been Love, Eat You Alive and Silverlight Blues hint at a return to a raw, natural sound, and blended well with the earlier catalogue. Always a strong live act, the band looked happy, energetic and relaxed and showed us exactly why we used to get so excited about them pre-2020.
The Temperance Movement – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Unsurprisingly, all eyes were on charismatic frontman Phil Campbell, whose dancing appears to be inspired by a combination of ’80s aerobics videos and those inflatable wavy-armed figures you see outside car showrooms.
No complaints though, no-one wants a boring frontman. There were some magical guitar trade-offs between Luke Potashnik and Paul Sayer, the latter fortunate to be onstage in one piece after a double head injury.
The Temperance Movement – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
The previous evening during a small warm-up gig, he had managed to bash himself in the face with his guitar, spilling blood, and this evening had managed to walk into a metal bar before taking to the stage.
The performance was not affected, thankfully, so maybe a stronger contact lens prescription will see future dates go off without a hitch.
These very worthy headliners completed day one, with plenty more to come.
The Temperance Movement – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalk
Maid Of Stone: A Festival That Rocks
Now in its fourth year, Maid Of Stone has firmly established itself as a must-attend event for rock fans. With a wide variety of music styles covered, the festival’s reputation continues to grow.
Set to be a highlight of Festival Season, MetalTalk will have more news very soon. All our coverage for 2026 will be found MetalTalk.net/maid-of-stone.
Tickets are available now for 2027. For full details and to grab your tickets, visit MaidOfStoneFestival.com.
Anthony Gomes – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkCassidy Paris – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkCrow Black Chicken – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkDeVere – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkFM – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkMorganway – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkRegional One – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkSam Morrow – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkThe Temperance Movement – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkThe New Roses – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkA Thousand Horses – Maid of Stone Festival – Friday 17 July 2026. Photo: Gina Smith/MetalTalkThe post Maid Of Stone 2026: A Flawless Friday Sets Fhe Festival Alight first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.
Before their new album Towards Rebirth officially comes out this Friday, death thrashers Ripper offer in listening another new song in preview called “Towards Rebirth”. Read more…
Quicksand – Bring On The Psychics (Rude Records) [Rich Piva]
Anyone who knows me even a little bit knows I love Quicksand and that I think they have a perfect discography. So it should be zero surprise that I love the new record from Walter and crew, titled Bring On The Psychics. I always go in with an open mind when listening to a new record, if not with a little bias for one of my favourite bands of all time, but Quicksand has once again delivered what can only be called a banger, beginning to end, for 29 plus minutes.
I am a not big on saying things like “back to the basics” because there is nothing basic about Quicksand, but let’s just call it back to their roots, as the opener, Get To It, just rips it up, with the vibe of their early Revelation stuff and Walter being full on aggressive Walter. I love the stop and start again, which is sure to get the pit going. Regenerate is Slip era mid tempo awesomeness, with layered vocals and Walter’s voice as good as it has ever been, and the trio just sounding super tight.
Agency is bringing more of the aggression folks may have thought was missing on the later period Quicksand records, with the loud quiet loud executed perfectly as you always know it is coming but is always awesome. Crystallize is a killer melodic later period Quicksand track that shows the band can sound really big without ever sounding too polished in the studio, with Supercollider coming right after to bring those Slip vibes right back to the listeners who were hoping to go there again, even if it is a bit more brighter that Slip was production-wise. I love the chunky riff on this one.
In Full Color is the same vibe and just as great. It has been decades since Walter started Quicksand, and bands of his since then like Rival Schools, Walking Concert, and his solo stuff have leaned more towards indie rock and less post hardcore, all of them great. That is where Days You Run To will remind you of. This is the most pop forward track Quicksand has ever done, and it is a beautiful, spacy, melodic masterpiece that makes this record even better with the contrast it brings from the more aggressive material that Bring On The Psychics has delivered. Perfect stuff.
I say contrast, as the heaviest riff on the record from Cool Guy comes next, with one of those wall of sound guitar parts from Walter. Their former touring partners and contemporaries from back in the day Helmet should still sound like this one. Moving Forward is another one of those super solid late period Quicksand tracks that have made us marvel at how Walter just locks in when writing and recording as Quicksand. My only nit pick is the closing title track could have opened the record, because at under 30 minutes for the whole album this one leaves me wanting for more.
I love Quicksand. Bring On The Psychics does nothing to make me love them any less, only more. The band continues their string of having a perfect discography. Combine that with Walter playing and writing like it was 1993 and looking like he is having the time of his life, Bring On The Psychics only confirms that Quicksand is a top 10 band of all time for me and one of my go to references for bands I like to this day. 10/10
Lunatic Soul – Transition II (Kscope) [Matt Bladen]
Lunatic Soul is the solo, and after the disbanding of Riverside, only project of Mariusz Duda. A more ambient, darker and instrumentally inclined project than Riverside, Lunatic Soul is in a state of flux as it is now the primary output for Duda, something it was never supposed to be so this release is an important one.
It features new track Realm Of The Weeping Willows, an organic epic that draws from folk traditions with a sprawling run time and a feeling for the occult or the pagan traditions, it’s a song with a lot of history started in 2020 and worked on throughout the Through Shaded Woods sessions but never released on that record.
Coming in full form here as it looks toward more a lighter and brighter sound for Lunatic Soul after the culmination of the eight album The Circle Of Life And Death, with the remixes of Vyraj and Hylophobia from Through Shaded Woods, both taking new musical routes away from the often ominous introspective sound Lunatic Soul has cultivated.
The epic Transition II here in a condensed version (15 or so minutes) but is still a brilliant instrumental piece that’s got Mike Oldfield influences throughout. Lunatic Soul release Transition II at just the right time, whatever Mariusz Duda decides to transition too, after this will be his most personal and unrestricted work for sure. 7/10
Poison The Preacher – Things I Want EP (Seek & Strike Records) [Mark Young]
Who doesn’t love an EP? Well Poison The Preacher have dropped a quickfire 14 minute salvo for your attention with the Colombian’s output showing no signs of slowing down. This is a blink and miss it affair, Things I Want (ft Speed) is their starter for ten and it’s just a straightforward kick to the skull that Is in keeping with their Vs The World album released last year.
Its metallic, riffy and full of suggested violence. And of course there is the breakdown, that then lets them drop a Suicidal Tendencies special into the mix. Its immediate and just what an EP requires; energy and balls-out lead breaks. There is a hint that it runs a little bit too long, but in the context of an EP its about right.
We run from that razor sharp hardcore into some sumptuous Latin grooves on Last Time I’ve Seen The Sun, well up until they decide that big dirty riff is required. It changes tack from Things I Want; this is more of that hardcore/punk vibe to it than the metallic edge shown before. Of course they don’t forget that a massive breakdown is always required and drop it in, just for fun.
Ran Out Of Options is like a chainsaw, a persistent cutting motion that see’s a more muscular build to things. It’s one of the issues I have with ‘core’ music is that it sometimes feels like a chest beating exercise of who is harder, who is tough etc and it can get a bit samey.
Poison The Preacher fall into that trap with this one, probably because the song itself doesn’t hold up to those before or after it. Chicken Out attempts to arrest any slide in interest by upping its game and expending the energy required to keep the listener onboard by giving it kick, pushing what is a relentless closer on our ears. This one has some cracking metallized touches to it, with a guitar tone that could split rock.
Again, enjoyment of this and of the EP itself will depend on how you take your metal. If It ends in ‘core’ then you should be on this like the plague. Its heavy, it moves and on the whole the songs here will no doubt cause utter mayhem once they are deployed live. 7/10
No Cure – It Is Going To Get Dark (SharpTone Records) [Spike]
No Cure from Birmingham, Alabama have spent the last few years earning a reputation as one of the meanest, most relentless live bands in the current hardcore scene.
I’ve seen my share of bands trying to make metallic hardcore sound dangerous, but these guys actually back up the threat. Their debut full-length, It Is Going To Get Dark, is a brutal, bone-breaking record that hits you with the weight of a stone press to the chest.
The band apparently wrote and recorded this deep in the Alabama woods in a remote cabin between gruelling tour cycles. You can feel that isolation and exhaustion in the music. The production is incredibly thick, with a heavy, low-end tuning that makes the guitars sound massive without losing their sharp, cutting edge.
The record kicks off with When The Spasms Cease, opening with the desperate scream of “How did we get here?” before launching into a flurry of frantic guitars and heavy call-and-response vocals. It leads straight into Oblivion Crusade, which is just pure, ugly groove metal built for the pit.
What makes this record work so well is how they integrate different styles without looking like they’re trying too hard. On Brain Matter Displacement, they bring in Jayway from NJ’s Bayway for a guest verse. Putting a rap feature on a death-metal-tinged hardcore track is a high-wire act that usually ends in disaster, but here the transition is seamless because the beat drops so hard.
There’s a real emotional weight behind the violence here, too. Slowly Turning Blue takes a hard, painful look at watching someone go through addiction, and the despair in Blaythe Steuer’s voice is genuinely uncomfortable. It’s immediately followed by Ironclad, an absolute standout straight-edge anthem featuring Tyler Short of Inclination that boasts some massive pinch harmonics and a heavy, rhythmic stomp.
The death metal influence is all over this thing, but it’s most obvious on Convulsing In The Dark. Steuer has openly talked about his love for bands like Death and Carcass, and you can hear that DNA in the fast tremolo picking and the relentless blast beats that drive the track.
For a band that proudly calls themselves “the world’s most evil straight-edge band,” they make sure their message is loud and clear. I Am Still Fucking Straight Edge is a 50-second punch to the jaw with no poetry, just raw vocals and pure conviction.
By the time the album closer Everything I Love Is Dead Or Dying hits its final, skin-splitting breakdown, you’re left feeling completely spent. This is one hell of a full length debut, this is a bleak, menacing masterpiece that doesn’t offer any cheap comfort. It’s easily one of the most honest and punishing albums to drop this year. Given we can’t give half marks this is a full on, flat out. 9/10
Quicksand – Bring On The Psychics (Rude Records) [Rich Piva]
Anyone who knows me even a little bit knows I love Quicksand and that I think they have a perfect discography. So it should be zero surprise that I love the new record from Walter and crew, titled Bring On The Psychics. I always go in with an open mind when listening to a new record, if not with a little bias for one of my favourite bands of all time, but Quicksand has once again delivered what can only be called a banger, beginning to end, for 29 plus minutes.
I am a not big on saying things like “back to the basics” because there is nothing basic about Quicksand, but let’s just call it back to their roots, as the opener, Get To It, just rips it up, with the vibe of their early Revelation stuff and Walter being full on aggressive Walter. I love the stop and start again, which is sure to get the pit going. Regenerate is Slip era mid tempo awesomeness, with layered vocals and Walter’s voice as good as it has ever been, and the trio just sounding super tight.
Agency is bringing more of the aggression folks may have thought was missing on the later period Quicksand records, with the loud quiet loud executed perfectly as you always know it is coming but is always awesome. Crystallize is a killer melodic later period Quicksand track that shows the band can sound really big without ever sounding too polished in the studio, with Supercollider coming right after to bring those Slip vibes right back to the listeners who were hoping to go there again, even if it is a bit more brighter that Slip was production-wise. I love the chunky riff on this one.
In Full Color is the same vibe and just as great. It has been decades since Walter started Quicksand, and bands of his since then like Rival Schools, Walking Concert, and his solo stuff have leaned more towards indie rock and less post hardcore, all of them great. That is where Days You Run To will remind you of. This is the most pop forward track Quicksand has ever done, and it is a beautiful, spacy, melodic masterpiece that makes this record even better with the contrast it brings from the more aggressive material that Bring On The Psychics has delivered. Perfect stuff.
I say contrast, as the heaviest riff on the record from Cool Guy comes next, with one of those wall of sound guitar parts from Walter. Their former touring partners and contemporaries from back in the day Helmet should still sound like this one. Moving Forward is another one of those super solid late period Quicksand tracks that have made us marvel at how Walter just locks in when writing and recording as Quicksand. My only nit pick is the closing title track could have opened the record, because at under 30 minutes for the whole album this one leaves me wanting for more.
I love Quicksand. Bring On The Psychics does nothing to make me love them any less, only more. The band continues their string of having a perfect discography. Combine that with Walter playing and writing like it was 1993 and looking like he is having the time of his life, Bring On The Psychics only confirms that Quicksand is a top 10 band of all time for me and one of my go to references for bands I like to this day. 10/10
Lunatic Soul – Transition II (Kscope) [Matt Bladen]
Lunatic Soul is the solo, and after the disbanding of Riverside, only project of Mariusz Duda. A more ambient, darker and instrumentally inclined project than Riverside, Lunatic Soul is in a state of flux as it is now the primary output for Duda, something it was never supposed to be so this release is an important one.
It features new track Realm Of The Weeping Willows, an organic epic that draws from folk traditions with a sprawling run time and a feeling for the occult or the pagan traditions, it’s a song with a lot of history started in 2020 and worked on throughout the Through Shaded Woods sessions but never released on that record.
Coming in full form here as it looks toward more a lighter and brighter sound for Lunatic Soul after the culmination of the eight album The Circle Of Life And Death, with the remixes of Vyraj and Hylophobia from Through Shaded Woods, both taking new musical routes away from the often ominous introspective sound Lunatic Soul has cultivated.
The epic Transition II here in a condensed version (15 or so minutes) but is still a brilliant instrumental piece that’s got Mike Oldfield influences throughout. Lunatic Soul release Transition II at just the right time, whatever Mariusz Duda decides to transition too, after this will be his most personal and unrestricted work for sure. 7/10
Poison The Preacher – Things I Want EP (Seek & Strike Records) [Mark Young]
Who doesn’t love an EP? Well Poison The Preacher have dropped a quickfire 14 minute salvo for your attention with the Colombian’s output showing no signs of slowing down. This is a blink and miss it affair, Things I Want (ft Speed) is their starter for ten and it’s just a straightforward kick to the skull that Is in keeping with their Vs The World album released last year.
Its metallic, riffy and full of suggested violence. And of course there is the breakdown, that then lets them drop a Suicidal Tendencies special into the mix. Its immediate and just what an EP requires; energy and balls-out lead breaks. There is a hint that it runs a little bit too long, but in the context of an EP its about right.
We run from that razor sharp hardcore into some sumptuous Latin grooves on Last Time I’ve Seen The Sun, well up until they decide that big dirty riff is required. It changes tack from Things I Want; this is more of that hardcore/punk vibe to it than the metallic edge shown before. Of course they don’t forget that a massive breakdown is always required and drop it in, just for fun.
Ran Out Of Options is like a chainsaw, a persistent cutting motion that see’s a more muscular build to things. It’s one of the issues I have with ‘core’ music is that it sometimes feels like a chest beating exercise of who is harder, who is tough etc and it can get a bit samey.
Poison The Preacher fall into that trap with this one, probably because the song itself doesn’t hold up to those before or after it. Chicken Out attempts to arrest any slide in interest by upping its game and expending the energy required to keep the listener onboard by giving it kick, pushing what is a relentless closer on our ears. This one has some cracking metallized touches to it, with a guitar tone that could split rock.
Again, enjoyment of this and of the EP itself will depend on how you take your metal. If It ends in ‘core’ then you should be on this like the plague. Its heavy, it moves and on the whole the songs here will no doubt cause utter mayhem once they are deployed live. 7/10
No Cure – It Is Going To Get Dark (SharpTone Records) [Spike]
No Cure from Birmingham, Alabama have spent the last few years earning a reputation as one of the meanest, most relentless live bands in the current hardcore scene.
I’ve seen my share of bands trying to make metallic hardcore sound dangerous, but these guys actually back up the threat. Their debut full-length, It Is Going To Get Dark, is a brutal, bone-breaking record that hits you with the weight of a stone press to the chest.
The band apparently wrote and recorded this deep in the Alabama woods in a remote cabin between gruelling tour cycles. You can feel that isolation and exhaustion in the music. The production is incredibly thick, with a heavy, low-end tuning that makes the guitars sound massive without losing their sharp, cutting edge.
The record kicks off with When The Spasms Cease, opening with the desperate scream of “How did we get here?” before launching into a flurry of frantic guitars and heavy call-and-response vocals. It leads straight into Oblivion Crusade, which is just pure, ugly groove metal built for the pit.
What makes this record work so well is how they integrate different styles without looking like they’re trying too hard. On Brain Matter Displacement, they bring in Jayway from NJ’s Bayway for a guest verse. Putting a rap feature on a death-metal-tinged hardcore track is a high-wire act that usually ends in disaster, but here the transition is seamless because the beat drops so hard.
There’s a real emotional weight behind the violence here, too. Slowly Turning Blue takes a hard, painful look at watching someone go through addiction, and the despair in Blaythe Steuer’s voice is genuinely uncomfortable. It’s immediately followed by Ironclad, an absolute standout straight-edge anthem featuring Tyler Short of Inclination that boasts some massive pinch harmonics and a heavy, rhythmic stomp.
The death metal influence is all over this thing, but it’s most obvious on Convulsing In The Dark. Steuer has openly talked about his love for bands like Death and Carcass, and you can hear that DNA in the fast tremolo picking and the relentless blast beats that drive the track.
For a band that proudly calls themselves “the world’s most evil straight-edge band,” they make sure their message is loud and clear. I Am Still Fucking Straight Edge is a 50-second punch to the jaw with no poetry, just raw vocals and pure conviction.
By the time the album closer Everything I Love Is Dead Or Dying hits its final, skin-splitting breakdown, you’re left feeling completely spent. This is one hell of a full length debut, this is a bleak, menacing masterpiece that doesn’t offer any cheap comfort. It’s easily one of the most honest and punishing albums to drop this year. Given we can’t give half marks this is a full on, flat out. 9/10
