Clive Davis, one of the most successful and iconic executives in the history of the record business, has passed away. Over decades in the business, Davis pushed the careers of stars like Barry Manilow, Whitney Houston, and Alicia Keys, as well as signing dozens of others. The New York Times reports that Davis passed away at home in Manhattan today, after a recent hospitalization for respiratory problems. Davis was 94.
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Well, that is unexpected.
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The throne that became closely associated with Ozzy Osbourne‘s final live appearance will soon be added to the Ozzy Osbourne: Working Class Hero exhibition at Birmingham Museum & Art Gallery.
Beginning July 1, 2026, visitors will be able to see the black gothic-style throne that was most recently used during the “Back To The Beginning” concert at Villa Park on July 5, 2025. The piece was originally created for Ozzy Osbourne‘s induction into the Rock And Roll Hall Of Fame in 2024 before becoming a central feature of his last performances, including Black Sabbath‘s farewell show.
Featuring details inspired by Ozzy Osbourne‘s career and imagery, including bat-wing designs, the throne arrives at the museum as fans prepare to mark one year since his passing on July 22, 2025.
The display is part of an exhibition dedicated to the Birmingham-born singer’s life, career and influence on rock and heavy metal. Alongside the throne, fans can view personal items, photographs and awards collected throughout his decades-long career. The exhibition traces Ozzy Osbourne‘s path from his early years in Aston to worldwide recognition as one of rock’s most recognizable figures.
Developed by Central BID Birmingham and Birmingham Museum & Art Gallery in partnership with the Osbourne family, the exhibition has proven highly popular since opening in June 2025. After two extensions and more than 640,000 visitors, it is now scheduled to run through September 27, 2026.
Sharon Osbourne commented: “As we approach the one-year anniversary of ‘Back To The Beginning’, it feels fitting that Ozzy‘s throne, which has now become synonymous with his final performance, would be placed in the museum, where it can be seen by the fans who loved him.”
Birmingham Museums Trust co-chief executives Sara Wajid and Zak Mensah stated: “We are delighted to be able to display Ozzy‘s throne at Birmingham Museum & Art Gallery. This extraordinary object is instantly recognizable to fans around the world and represents a powerful final chapter in Ozzy‘s remarkable career.
“As we mark the first anniversary of his passing, it offers visitors a special opportunity to come together, remember Ozzy and celebrate the legacy of a true Birmingham legend.”
Sam Watson, chair of Central BID Birmingham, discussed the effort to return the throne to the city: “Since the momentous ‘Back To The Beginning’ gig last year, Central BID has been working closely with the Osbourne family to bring Ozzy‘s throne back to Birmingham, so fans can see it up close and feel the spirit of Ozzy is still with everyone.
“We were determined to bring this iconic throne back to Ozzy‘s home city first, a place he loved so much and for his fans to be able to visit, and we are grateful to Sharon and her family for allowing us to make this happen.”
Birmingham City Council Cabinet Member for Culture Councillor Deborah Harries added: “Ozzy Osbourne is one of Birmingham’s most foremost cultural figures, and it is only right that we continue to honor his extraordinary legacy here in the city where his journey began.
“The return of his iconic throne to Birmingham Museum & Art Gallery gives fans and visitors a powerful new way to connect with his story at what is an emotional moment, marking a year since his passing.
“This exhibition has already welcomed hundreds of thousands of visitors and demonstrates the global pull of Birmingham’s musical heritage. We’re proud to support this collaboration with Birmingham Museums Trust and partners, which not only celebrates Ozzy’s life but also brings people into the heart of our city.
“Working closely with partners, we will be promoting other Sabbath-related activity to experience in the city over the summer.”
Ozzy Osbourne: Working Class Hero is presented by Central BID Birmingham, Birmingham Museum & Art Gallery, and Sharon Osbourne Management, with support from Birmingham City Council, Aston Villa FC, and additional sponsors.
Following Ozzy Osbourne‘s death, official records revealed he died from a heart attack. The documentation also noted coronary artery disease and Parkinson’s disease as contributing conditions.
A private funeral was held on July 31, 2025, at the Buckinghamshire estate purchased by Ozzy Osbourne and Sharon Osbourne in 1993. Around 110 relatives and close friends attended, including fellow Black Sabbath members as well as Robert Trujillo, Rob Zombie, Zakk Wylde, Marilyn Manson and Corey Taylor.
One day before the funeral, thousands of fans gathered throughout Birmingham to honor Ozzy Osbourne. Sharon Osbourne, together with Aimée, Kelly and Jack Osbourne, joined those paying tribute to the late heavy metal icon.
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Detective Fairway pushes through his office door, dragging the cold, rain‑soaked night with him. He drops his coat and hat, slumps into his chair and pours a drink, wishing he were anywhere but stuck on this dead-end case. Lighting a cigarette, he watches the smoke rise as he exhales while rain taps the window. It’s the only sound cutting through his thoughts. Needing a spark, he finally turns to the dusty turntable, hoping music might offer a temporary escape. Placing the needle on Gold Spire’s Steps into Shadow, the sweet sound of dark jazz melodies begins to fill the room. He pours another drink and leans back in his chair, ready to let the music take hold. Now why did I regale you with a horribly stereotypical—and frankly shitty—blurb from an ’80s detective flick? Because it’s all I picture when listening to Gold Spire’s sophomore record and I’m totally here for it.
While Steps into Shadow can evoke a doomy, dark jazz take on the Lethal Weapon soundtrack, its premise is far more somber. As guitarist Påhl Sundström (ex-Usurpress) explained in an interview, Steps into Shadow draws on the 1931 events in Ådalen, Sweden, when Swedish troops opened fire on striking workers, grounding it in themes of labor struggles and societal decline. This weighty backdrop aligns with the record’s outright brooding and haunting moods, where tracks like “Liberation at Dawn” and the title track blend post-metal and black metal elements with Gold Spire’s half doom, half Kenny G convention. Magnus Kjellstrand’s saxophone once again assumes center stage on cuts like “The Mire”, “Starvation,” and “Truth is an Empty Fortress,” while Erik Sundström’s sauntering rhythms and brother Påhl Sundström’s mechanical guitar flourishes, crystalline arpeggios and harmonic leads swirl and churn around the brass, creating a layered and immersive sound.
Where Gold Spire’s self-titled debut felt more disjointed and meandering, Steps into Shadow shows a much stronger sense of flow and cohesion. Meant to be experienced as a whole while still allowing each track to stand on its own,1 Steps into Shadow features more purposeful songwriting that feels like it’s actually leading somewhere. The record opens on a mellow, evocative note, with Sundström’s gently picked guitar and Petter Broman’s prominent bass complemented by Kjellstrand’s sax and flute on “Starvation.” “Liberation at Dawn” brings tension and dissonance, underpinned by uneasy melodies and off-beat flourishes, before “The Mire” shifts again into more subdued post-rock textures that provide contrast while maintaining the album’s gradual build. This song tends to meander more than I’d like—a characteristic also shared by “A Clarion Call” later—but it’s a flaw that the Swedish quintet has otherwise addressed since their debut. “Crown of Disfigurement” increases the intensity with chunky riffs and driving double-bass grooves, fusing a plodding death metal feel with layered atmospherics. It’s a worthy payoff that sets the tone for Step into Shadow’s back half, crescendoing with the cascading rhythms of “Drag Us Under,” and the suspenseful and crestfallen closer “Truth is an Empty Fortress.”
Taking over vocal duties is Arvid Sjödin of Floating, replacing Heval Bozarslan (Third Storm) after his departure. Sjödin brings a fresh, blackened edge to Gold Spire’s sound, centering on a deep, bellowing growl with a gravelly timbre that carries plenty of menace while remaining clear enough for the lyrics to stay audible. He adds tension during the album’s more dissonant moments, and he maintains a consistent presence, layering in higher rasps and the occasional gang roars. While his approach can feel somewhat repetitive over time, his evil-sounding delivery more than compensates, elevating Steps into Shadow above its predecessor in yet another material way.
Steps into Shadow takes the product Gold Spire foreshadowed on their debut and buffs it into something far more polished. Where the self-titled record often meandered and felt clunky, Steps into Shadow is a clear step forward. It’s more cohesive, more confident, and more mature. I’ll be the first to admit that the use of sax in metal has been well overplayed by now, but there’s no denying that Gold Spire make it work in their own unique way. What they’re doing here is genuinely cool as hell, and if they tighten a few loose ends and stay on this trajectory, then greatness is right on the horizon.
Rating: Very Good
DR: 6 | Format Reviewed: 320 kb/s mp3
Label: Awakening Records
Websites: awakeningrecordscn.bandcamp.com/album/steps-into-shadow | facebook.com/goldspire.ua
Releases Worldwide: June 19th, 2026
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The UK hardcore scene is fertile ground these days, and London’s Dynamite are among its many standouts. Dynamite haven’t released a full-length yet, but they’ve already played all over the world and perfected their driven, purposeful, straight-ahead style. Dynamite collaborated with people like High Vis’ Graham Sayle and Turnstile’s Meg Mills on their 2023 debut EP Blow The Bloody Doors Off!, and they followed it with last year’s Settle The Score. Now, they’ve finally got an album on the way.
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Despite a personality-defining affinity for esoteric electronics, I am not a Boards Of Canada diehard. When I want IDM, I usually reach for Aphex Twin or Squarepusher. In the scope of 1990s Warp Records, I am partial to Seefeel, Two Lone Swordsmen, and Plaid. Even the way I discovered the Scottish project in high school left me cold: A chatty classmate told me about Music Has The Right To Children during a Spanish lecture, causing the teacher to call my parents and scold my lack of focus.
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Music Theories Recordings [Release date 10.07.26] It’s hard to believe that in the early 1980s – following personal hiatus and Thin Lizzy’s final tour – Scott Gorham made a distinctly AOR album. Although we shouldn’t forget that in classic Lizzy … Continue reading
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