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Linkin Park have announced Unshatter, a documentary opening in theatres on September 30, with tickets going on sale August 13. Directed by the band’s DJ and creative director Joe Hahn, the film covers the years following the 2017 death of singer Chester Bennington and the band’s 2024 return with Dead Sara vocalist Emily Armstrong and drummer Colin Brittain.

It runs from intimate 2022 studio sessions through the release of From Zero and the album’s launch concert in São Paulo, combining vault footage, live performances and interviews with band members and fans. A companion release, the Unshatter Film Soundtrack (Live In São Paulo), arrives alongside it and includes performances not featured in the film.

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On today’s Metal Breakdown Daily, Scott Penfold gets into the Linkin Park announcement — the detail hiding in the title, what Mike Shinoda says this film deliberately isn’t, and the question the documentary will either answer or conspicuously avoid. Download the free Loaded Radio App on Apple iOS and Google Play and take the show with you.

We told you about this one in June. Now it’s real.

Start With The Title

Most people are going to read “Unshatter” as a nicely chosen word for a film about a band putting itself back together. It’s more specific than that.

“Unshatter” is a song. It appeared on From Zero (Deluxe Edition) in May 2025, and we covered the visualizer when it dropped. At the time, Shinoda described it as an early track made during the From Zero sessions — one of the first things that came out of those rooms.

Which means the film takes its name from something written at the precise moment four men who’d stopped being a band were quietly, tentatively becoming one again. Before there was an album. Before there was a lineup. Before anyone had decided this was happening at all.

That’s not a marketing department picking a word. That’s a band naming a film after the thing that started it.

What The Film Actually Is

Unshatter is directed by Joe Hahn, which matters more than a credit line usually does.

Hahn has been Linkin Park’s DJ and visual director since the beginning, and he’s been making films alongside the band for most of his adult life. Shinoda’s account is that even before Chester died, Hahn had wanted to make something that explained the band’s universe to people — and then Chester died, and everything went away, including any sense that there was still a band at all.

Hahn’s framing of the finished film is that it follows a path through loss, uncertainty, friendship and reinvention. His hope is that longtime fans see things they’ve never seen, that newcomers understand how the band arrived here, and that beyond Linkin Park entirely it works as a story about what it takes to move forward when you don’t have the answers.

Structurally it runs from private studio sessions in 2022 — before anything was announced — through the From Zero release and the launch concert in São Paulo, weaving vault footage, live performances and interviews with band members and with fans.

The Line That Tells You What This Isn’t

Shinoda gave the BBC the detail worth holding onto.

Asked what fans should expect, he said plainly: don’t think reality TV. Most of the filming was done by one person — their friend Mark, a guy they hang out with anyway. He was just there, recording things, because things were happening.

That’s the whole difference between a documentary and a product.

Nobody commissioned a crew. There was no release date to service, no arc to hit, no producer in the room shaping moments for a trailer. Someone they trusted had a camera running during a period when they genuinely did not know whether there would be a band at the end of it. The film got assembled afterwards, out of what happened to exist.

Shinoda’s own summary was that they didn’t even think they had a band anymore, and that as things came back together — meeting Colin, meeting Emily, the album becoming real — they had the good sense to have cameras rolling. He described the São Paulo launch show as one of the most celebratory and emotional moments of their lives.

We Recommend – Linkin Park Albums Ranked: The Definitive 2026 Countdown from ‘Hybrid Theory’ to ‘From Zero’

We Called This In June

Quick note of pride here.

Back in June, fans on Linkin Park’s European festival run started finding something odd on official tour merchandise: a hidden URL, unshattermovie.com, printed into the design. It pointed to a placeholder page.

We wrote it up at the time, and the open question was whether it would turn out to be a cinematic concert film or a raw documentary about the Emily Armstrong era.

The answer is both. A documentary, opening theatrically, with a live album from São Paulo attached to it.

Two months early, off a hidden line of text on a t-shirt. Sometimes the fanbase does the reporting for you.

The Question The Film Will Either Answer Or Avoid

Now the part worth watching for.

The 2024 return was not universally welcomed. There was significant public criticism of the band’s decision to continue, and of Emily Armstrong specifically — including from Chester Bennington’s son Jaime, who spoke publicly about how the announcement was handled. Armstrong addressed one element of the criticism herself in a statement at the time. Shinoda has repeatedly said the intention was never a redo or a rewrite, but a new chapter.

We’re not relitigating any of that here. It’s been covered exhaustively, including in our own reporting from the time.

But a documentary about the years surrounding that return either engages with it or it doesn’t, and which one it chooses will tell you a great deal about what kind of film this is. A movie about loss, uncertainty and reinvention that skips the hardest fortnight of the whole story would be a strange omission. One that faces it directly would be genuinely brave.

There’s a smaller open question too. Brad Delson played on From Zero but hasn’t performed live in support of it, with Alex Feder filling the live guitar role — much as Rob Bourdon’s absence was addressed separately. Whether the film covers any of that is unknown.

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Where The Band Are Now

From Zero produced the No. 1 single “The Emptiness Machine” and made Linkin Park the only rock band to pass two billion streams in 2024. This June they became the first female-fronted act ever to close the Download Festival main stage, which we covered at the time.

Whatever anyone thinks of how it happened, commercially and live this band is operating at a scale that very few acts of any era reach.

If you want the full arc, our ranking of every Linkin Park album runs from Hybrid Theory to the current era.

September 30. Tickets August 13.

If any of this brings up something difficult for you, support is available — reach out to a local crisis line or someone you trust.

TL;DR

• Film: Unshatter, opening in theatres September 30, 2026. Tickets on sale August 13
• Director: Joe Hahn, Linkin Park’s DJ and creative director
• Subject: the years following Chester Bennington’s death in 2017 and the band’s 2024 return with Emily Armstrong and Colin Brittain
• Span: intimate 2022 studio sessions through the From Zero release and the São Paulo launch concert
• Contents: vault footage, live performances, and interviews with band members and fans
• Companion release: Unshatter Film Soundtrack (Live In São Paulo), including performances not in the film
• How it was shot: largely by one friend of the band, Mark, over several years. Shinoda: “don’t think reality TV”
• The title: taken from “Unshatter,” an early track from the From Zero sessions released on the Deluxe Edition in May 2025
• Preview: a live performance of “Somewhere I Belong” is out now

FAQ

A film named after a song written before anyone knew there’d be a band again. Are you seeing this one in a theatre? Let us know in the comments.

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The post Linkin Park Announce Unshatter, A Documentary On The Years After Chester Bennington’s Death, Opening In Theatres September 30 appeared first on Loaded Radio.

Kelly Osbourne Appears To Respond To Sid Wilson Rumors As Slipknot Drama Continues

The ongoing speculation surrounding SLIPKNOT turntablist Sid Wilson’s reported departure from the band has taken another unexpected turn after Kelly Osbourne shared a series of emotional messages on social media that many fans believe were aimed at her former fiancé.
Although Osbourne never directly mentioned Wilson by name, the timing of the posts and the subject matter have led many followers to connect the messages to the recent reports surrounding the longtime SLIPKNOT member.
In one Instagram Story, Kelly wrote:


“Wake the fk up take some responsibility I will not take your st anymore! I’m done. I want to be happy and I have a beautiful son to raise. Leave me alone. let me heal. I can’t protect you from yourself anymore.”


She followed that message with another post appearing to address personal matters, writing:


“Also while I’m at it can I have my dogs back and all my possessions. Oh yeah and maybe some child support?”


Earlier in the series of posts, Osbourne shared the statement:


“The loudest defense of the guilty is rarely innocence.”


She continued with another message about accountability and blame, writing:


“When the mask slips, they don’t face the mirror they throw it at someone else. This is why I always take accountability!”


Kelly also reposted quote cards focused on protecting her son and shared music alongside the posts, including songs by Lewis Capaldi and “Love the Hell Out of You.”
Kelly Osbourne And Sid Wilson’s Relationship Timeline

The posts come several months after Kelly Osbourne and Sid Wilson reportedly ended their engagement.
The couple, who share a son named Sidney, born in November 2022, became engaged backstage during BLACK SABBATH’s final concert in July 2025. Reports later indicated that the engagement ended in March 2026.
Their relationship had been closely followed by both rock and metal fans, as Wilson’s connection to SLIPKNOT and Osbourne’s longtime place in the rock world made them a high-profile couple.
Reports Claim Slipknot’s Split With Sid Wilson Was Long Developing

The latest social media developments follow a report from TMZ claiming that Wilson’s reported exit from SLIPKNOT was “a long time coming.”
According to the report, the band allegedly decided to part ways with the 49-year-old musician after members had “finally had enough” of issues involving his behavior and interactions with bandmates.
TMZ also reported that SLIPKNOT had planned to announce Wilson’s departure themselves but that the announcement was reportedly disrupted after the news leaked before the band’s expected statement.
At this time, SLIPKNOT has not publicly released an official announcement confirming Wilson’s departure.
Slipknot Members Share Cryptic Messages Amid Fan Speculation

Following the reports, several people connected to SLIPKNOT have shared messages online that fans have interpreted as reactions to the situation.
Guitarist Jim Root posted a message on Instagram urging fans not to rush to judgment:


“Don’t believe every thing you read. Stop. Think. Take a breath. Sit with it for awhile. Maybe. Just maybe even wait until there’s more information.”


Root’s post did not directly mention Wilson or SLIPKNOT’s reported lineup changes, but many fans viewed it as a reminder to wait for confirmed information.
Mick Thomson’s wife, Stacy Thomson, also shared a message that drew attention from fans.
She reposted a humorous quote from the 1986 film Ferris Bueller’s Day Off:


 “My best friend’s sister’s boyfriend’s brother’s girlfriend heard from this guy who knows this kid who’s going with a girl who saw Ferris pass out at 31 Flavors last night. I guess it’s pretty serious.”
Like Root’s message, Stacy Thomson’s post made no direct mention of Sid Wilson or the reports surrounding SLIPKNOT. However, many fans interpreted the playful quote as a commentary on the growing rumor cycle and the rapid spread of unconfirmed information across social media.
Wilson himself has remained publicly silent regarding the reports. His first Instagram post following the rumors focused on promoting his independent merchandise store and did not address SLIPKNOT or the speculation surrounding his status with the band. He later avoided answering questions from photographers who approached him about his reported departure while he was arriving at a recording studio in Los Angeles.

Weezer have shared another track from their upcoming Gold album, with a video full of special guests and nods to yesterday.

The track itself is called ‘C.E.O.’ and finds the band once again in sensational form, dealing out the sort of off-kilter alt-rock that has defined their 30-year journey. Delivered with all the jauntiness you would expect, but with added intensity that three decades on top will lend you, it is a stone-cold banger.

And the video is as meta as it gets, showing the band revisiting the set-up for their classic track ‘Undone (The Sweater Song)’ against their will but encouraged by guest stars Tony Hawk, Curry Barker, Dax Flame, Chit (aka Jay Renshaw), Rob Riggle, Rob Huebel, Michael Peña, Giovanni Ribisi and Christopher Mintz-Plasse. Wow.

Have a watch and a listen for yourself.

It’s set to appear on the band’s upcoming new album ‘Weezer’, or ‘The Gold Album’, which will be yours on August 21 via Reprise/Warner Records.

It will also feature ‘We Might As Well Be Strangers’, which sounds a lot like this:

If that wasn’t enough, the band have also shared new dates for their ‘The Gathering’ tour, adding in new stops in the UK, Europe and Japan with support coming from Taking Back Sunday in the UK and Europe. They join their route around the US, where they will be joined by Silversun Pickups and The Shins.

Here is the full tour, with newly added dates in bold:

SEPTEMBER

08 – SACRAMENTO Golden 1 Center
09 – SAN FRANCISCO Chase Center
11 – PORTLAND Moda Center
12 -VANCOUVER Rogers Arena
13 – SEATTLE Climate Pledge Arena
15 – WEST VALLEY CITY Maverik Center
16 – DENVER Ball Arena
20 – SAINT PAUL Grand Casino Arena
22 – CHICAGO United Center
23 – DETROIT Little Caesars Arena
25 – TORONTO Scotiabank Arena
26 – LAVAL Place Bell
27 – BOSTON TD Garden
29 – PHILADELPHIA Xfinity Mobile Arena
30 – BROOKLYN Barclays Center

OCTOBER

02 – WASHINGTON Capital One Arena
03 – CHARLOTTE Spectrum Center
04 – RALEIGH Lenovo Center
06 – COLUMBUS Nationwide Arena
07 – MILWAUKEE Fiserv Forum
09 – NASHVILLE Bridgestone Arena
10 – ATLANTA State Farm Arena
11 – ORLANDO Kia Center
13 – SUNRISE Amerant Bank Arena
14 – TAMPA Benchmark International Arena
16 – HOUSTON Toyota Center
17 – DALLAS American Airlines Center
18 – AUSTIN Moody Center ATX
20 – PHOENIX Mortgage Matchup Center
21 – SAN DIEGO Viejas Arena
23 – LAS VEGAS T-Mobile Arena
24 – LOS ANGELES Crypto.com Arena

FEBRUARY 2027

12 – TOKYO Garden Theater
13 -TOKYO Garden Theater 
15 – KYOTO Roam Theater
16 – OSAKA Zepp Bayside 
18 – NAGOYA Portbase        

MAY 2027

12 – DUBLIN 3Arena 
14 – NEWCASTLE Utilita Arena
15 – MANCHESTER Co-Op Live       
17 – LEEDS First Direct Arena 
19 – GLASGOW OVO Hydro         
21 – BIRMINGHAM Utilita Arena
22 – LONDON Alexandra Palace
23 – CARDIFF Utilita Arena 
25 – PARIS Zenith
26 – AMSTERDAM AFAS Live       
29 – OSLO Spectrum
30 – STOCKHOLM Hovet

JUNE 2027

01 – HELSINKI Veikkaus

The post Weezer Share Nostalgic New Track ‘C.E.O’, Announce World Tour Dates appeared first on Rock Sound.

Canadian sludge merchants Destroy My Brains are preparing to complete a particularly grim long game. The Lloydminster, Saskatchewan/Alberta quartet’s forthcoming album, Wilt, concludes a five-record sequence begun with 2018’s Worthless and continued through InsignifiCan’t, Lifeless and Tormented—the titles’ initials spelling out the name of the final chapter.

Before Wilt arrives on August 14, Decibel is premiering the video for “Downgrade,” a five-minute crawl through manipulation, intoxication and deliberate ruin. The track reconnects Destroy My Brains with their punkier instincts without sacrificing the suffocating riffs, corrosive tones and full-throated hostility at the center of their sludge attack.

The song follows two supposed friends: a sadistic manipulator and the victim he gradually leads into addiction and, ultimately, an overdose. Its accompanying video—filmed by Logan and Phillip of Shadowscape Pictures—translates that downward spiral into something suitably ugly and physical.

“What do you get when you mix a table full of pills, booze and some gnarly dudes with fat riffs? You get a downtrodden story of manipulation and ruin. Enter the music video for our sludge-fueled meltdown, ‘Downgrade.’

“Filmed meticulously by our friends Logan and Phillip from Shadowscape Pictures, they brought our vision and ideas to life. ‘Downgrade’ is only a small taste of what’s in store on our album Wilt. Get yourself a taste of ‘Downgrade,’ and then dive in on August 14 for the full album. See you all on the downside.”

—Jarret, vocals/guitar

Wilt is out August 14 and is available for preorder through the band’s Bandcamp page. For fans of Eyehategod, Crowbar, Acid Bath, Buzzov•en and Electric Wizard. Watch “Downgrade” below.

The post Video Premiere: Destroy My Brains – “Downgrade” appeared first on Decibel Magazine.

Kevin Gordon is as authentic as they come. His Southern stories are rooted in truth, though only he knows exactly how much. He brings those tales to life with a literary eye, set against guitars as gritty as the stories themselves. There are countless reasons a great song gets left off an album — which […]

In June, Sleep returned with the announcement of a new lineup and 2026 tour dates, along with the release of a new song called “Have Spacesuit Will Travel” and a comic book. Now, it’s album time. Hempispheres, the followup to 2018’s The Sciences, arrives this fall, and the new single “The Morrisist” is out today.

The post Sleep Announce New Album <em>Hempispheres</em>: Hear “The Morrisist” appeared first on Stereogum.

Weezer’s new song “C.E.O.” is all about the pressure put on aging rockers to relive their glory days, and the song itself goes out of its way to relive Weezer’s glory days. It’s structured as a musical redux of the 1994 smash “Undone (The Sweater Song),” the track that made Weezer famous in the first place. The “C.E.O.” video also repeatedly calls back to the classic Spike Jonze-directed “Sweater Song” clip, but now with a lot more celebrity cameos.

The post Weezer’s “C.E.O.” Video Has Curry Barker, Celeb Cameos, & A “Sweater Song” Homage appeared first on Stereogum.

Just a few days ahead of the release of their new album, ‘Eclipse‘, this Friday, German symphonic metal icons XANDRIA unveil the record’s title track and final single alongside an official music video. ‘Eclipse‘ showcases the exceptional versatility of vocalist Ambre Vourvahis, highlighting the full range of her remarkable voice: from soft, emotional passages and […]

The post German Symphonic Metal Icons XANDRIA Presents New Album’s Title Track + Video appeared first on ROCKPOSER DOT COM.

Dave Grohl and his bandmates delivered a marathon 26-song set. Continue reading…

The Rolling Stones were controversial from their inception, as was evident in 1964 when they first came to America during the initial wave of the British Invasion, following the Beatles. They performed covers of Chicago blues standards in a belligerent rock and roll style and had a scruffy appearance compared to the Beatles’ well-groomed image and family-friendly songs. When they began writing their own original compositions, the songs explored themes of sex, power, race, violence and rebellion, which frequently landed them in hot water with censors, critics, radio stations and, later, even newer generations of listeners.

The following ten songs are some of the best examples of the Rolling Stones’ most controversial work.

“Brown Sugar“

“Brown Sugar” appeared on the Rolling Stones’ 1971 ninth studio album, Sticky Fingers, and became a No. 1 hit. It was co-written by Mick Jagger and Keith Richards and recorded during the period when Mick Taylor had replaced founding member Brian Jones on guitar. The racially charged song contains lyrics about Gold Coast slavery and sex with a young Black girl in New Orleans. Pressure from the negative public reaction to the lyrics ultimately resulted in the band dropping the song from its setlist in 2021.

“Brown sugar, how come you taste so good?

Brown sugar, just like a young girl should”

“(I Can’t Get No) Satisfaction”

“(I Can’t Get No) Satisfaction” was co-written by the songwriting team of Mick Jagger and Keith Richards. It has been interpreted in multiple ways, ranging from ordinary teenage angst to sexually suggestive lyrics that many considered too explicit. The song was a blues rock classic that hit mainstream audiences right between the eyes and both reflected and influenced the coming-of-age baby boomer generation. It became a statement of liberation and rebellion against a system that restrained or limited artistic expression. Rolling Stone called its riff one of the greatest blues rock riffs ever recorded.

“But he can’t be a man ‘cause he doesn’t smoke

The same cigarettes as me”

“Let’s Spend the Night Together”   

Another controversial Jagger/Richards composition is “Let’s Spend the Night Together.” The song was included on the American release of Between the Buttons, which was released in January 1967. Two days after the album’s release, the Rolling Stones appeared on The Ed Sullivan Show on January 15. At the time, the program was promoted as family entertainment and featured a variety of acts ranging from magicians and comedians to actors, ventriloquists and rock stars.

When the Rolling Stones appeared on the show, Ed Sullivan asked the band to change the lyrics to “Let’s Spend Some Time Together,” saying the original title was too sexually suggestive. The band complied and changed the lyrics, unlike Jim Morrison and the Doors, who refused to remove the word “higher” from “Light My Fire” nine months later.

“Let’s spend the night together

I’ll satisfy your every need, whoa my my”

“Midnight Rambler”

“Midnight Rambler” was penned by Mick Jagger and Keith Richards and appears on the Rolling Stones’ eighth studio album, Let It Bleed, released in 1969. The album title proved somewhat prescient, as the Rolling Stones’ next concert, just over a week later, was the violent and bloody Altamont Free Concert. The event resulted in four deaths, including the fatal stabbing of a concertgoer by a member of the Hells Angels. The song itself was inspired by violence, as it was based on the notorious Boston Strangler, who murdered 13 women.

“Go easy with your cold fanged anger

I’ll stick my knife right down your throat baby, and it hurts”

“Some Girls”

“Some Girls” was the title track of the Rolling Stones’ 14th studio album, recorded in Paris, France, and released in June 1978. Written by Mick Jagger and Keith Richards, the song drew accusations of racism from civil rights leader Rev. Jesse Jackson, who called it a sexist “racial insult” that demeaned Black and Chinese women. Jagger defended the song, explaining that it was intended to be satirical.

 “Some girls give me jewelry, others buy me clothes

Some girls give me children, I never asked for”

“Star Star”

“Star Star” was originally titled “Starf**ker” and appeared on Goats Head Soup, the Rolling Stones’ 11th studio album, released in 1973. The Jagger/Richards composition uses crude lyrics about groupies, including explicit references to celebrity sex acts. The song’s overall vulgar and profane language has been considered offensive by many listeners.

“Yeah, Ali McGraw got mad with you

For givin’ head to Steve McQueen”

“Stray Cat Blues” 

“Stray Cat Blues” appeared on Beggars Banquet, released in December 1968, and was once again co-written by Mick Jagger and Keith Richards. Over the past six decades, the song has been widely criticized for its underage themes and has been omitted from the band’s setlists at various times. The lyrics depict a sexual encounter with a 15-year-old girl, though Jagger has occasionally changed the age to 13 during live performances.

“You say you got a friend, she’s wilder than you

Why don’t you bring her upstairs?”

“Street Fighting Man” 

“Street Fighting Man” was the last song that founding member Brian Jones participated in recording before leaving the Rolling Stones. It appeared on Beggars Banquet in 1968 and was written by Mick Jagger and Keith Richards. Its creation was inspired by the explosive political turmoil unfolding on the streets of the United States and Europe at the time. It is considered the band’s most radical and political song, addressing the violence surrounding the 1968 Democratic National Convention in Chicago, the escalating protests against the Vietnam War and the Civil Rights Movement.

“Hey, said my name is called Disturbance

I’ll shout and scream, I’ll kill the king”

“Sympathy For the Devil”

The title of the song alone elicited a negative reaction, as did the fact that the lyrics were written from Lucifer’s perspective. It reflected the same antihero approach to storytelling that became popular at the end of the 1960s. Films such as Easy Rider and A Fistful of Dollars, as well as the rock opera Jesus Christ Superstar, which was told from the perspective of the traitorous apostle Judas Iscariot, embraced a similar narrative style. It was also a period when rumors circulated that the Rolling Stones were dabbling in black magic, mysticism and even devil worship.

The song appeared on Beggars Banquet, released in 1968, and was written by Mick Jagger and Keith Richards. It was also performed at the tragic Altamont concert in December 1969, an event often regarded as the death knell of the hippie movement’s popularity.

“As heads is tails, just call me Lucifer (whoo-hoo, whoo-hoo)

‘Cause I’m in need of some restraint (whoo-hoo, whoo-hoo)”

“Under My Thumb”   

The main source of controversy surrounding “Under My Thumb” is its blatant misogyny rather than any single shocking lyric. The song vividly illustrates a reversal of power in a relationship, with the male character asserting dominance over the female. It is another composition co-written by Mick Jagger and Keith Richards and appeared on the Rolling Stones’ fourth studio album, Aftermath, released in 1966.

“Under my thumb

Is a squirming dog who’s just had her day”

These ten songs illustrate the extent to which a blues-based band could court controversy and help redefine what a mainstream rock song could say. The Rolling Stones’ refusal to soften topics dealing with lust, power, violence, race and rebellion put them at odds with censors, parents and radio programmers, yet they still achieved tremendous success. Some of these songs remain controversial to this day and, in some cases, have been quietly retired from the band’s setlists. Whether the controversy stemmed from sexual, political, racial or misogynistic themes, the lyrics ultimately sparked debate and challenged cultural norms.

The post 10 Controversial Rolling Stones Songs appeared first on Blues Rock Review.