PRESIDENT has kick-started the next chapter of their intriguing story with a beautiful new track, ‘Angel Wings’.
Picking up where last year’s ‘King Of Terrors’ left off, and serving as their first release for Atlantic Records, the song is a mesh of sights, sounds and textures. A blend of bubbling synths, spine-tingling melodies and crushing riffs, it is an embodiment of the track that the project has laid out so far, even further refined. Lyrically, it is the most stark look at the heart and soul behind the mask, a reminder to march to whatever beat your heart desires, no matter what anyone else thinks that you should.
PRESIDENT had this to say about the song, stating, “‘Angel Wings’ reflects a search for spiritual redemption and the resolve to begin again,” the artist explains. “It marks the opening of a new chapter. At its core, the song speaks to holding close those who matter most, while remaining unmoved by detractors.”
PRESIDENT will be embarking on a campaign trail across the UK later this year. You can check out the dates below.
APRIL
12 – DUBLIN Academy, Dublin 14 – MANCHSTER O2 Ritz 15 – GLASGOW SWG3 TV Studio 17 – LEEDS Project House 18 – BRISTOL Electric Bristol 20 – NORWICH UEA 21 – LONDON O2 Forum Kentish Town
PRESIDENT was also the winner of Best New Artist at the 2025 Rock Sound Awards.
U2 are one of the biggest bands and one of the biggest brands in rock ‘n’ roll history, but it’s been more than eight years since the widely ignored Songs Of Experience, their last album of new music. Since then, they’ve done a lot of work to maintain their legacy. The band opened the Sphere.…
It’s here! PRESIDENT have just shared their first new music of the year.
The masked stars have signed to Atlantic Records for this exciting next chapter following their 2025 breakout, with today’s single Angel Wings signalling the start of a ‘new term’ (y’know, because of the whole ‘president’ thing).
“Angel Wings reflects a search for spiritual redemption and the resolve to begin again,” explains frontman and mastermind President. “It marks the opening of a new chapter. At its core, the song speaks to holding close those who matter most, while remaining unmoved by detractors.”
It follows September’s debut EP King Of Terrors, which in our 4/5 review we said was ‘very much a campaign announcement rather than any kind of victory speech’, but that it was ‘easy to imagine a trajectory where these songs lead to world domination’.
Watch the video for Angel Wings below:
Catch the band live soon at the following:
PRESIDENT2026UK headline tour
April
12 Dublin Academy 14 Manchester O2 Ritz 15 Glasgow SWG3TV Studio 17 Leeds Project House 18 Bristol Electric 20 Norwich UEA 21 London O2 Forum Kentish Town
Soundbrenner started as the company that reinvented the metronome. Based in Hong Kong, they built their reputation on the Pulse—a wearable vibrating metronome that became a staple for practicing musicians worldwide. Their focus has always been on solving real problems that working musicians face, whether that's keeping time during practice or hearing yourself clearly on stage.
After building their reputation primarily around metronomes and practice tools, Soundbrenner's move into professional audio monitoring represents a natural evolution. They'd spent years listening to musicians complain about overpriced IEMs that either sounded terrible or fell apart after a few gigs. The original Wave launched as their answer to that frustration, and it caught fire among gigging musicians who needed something reliable without liquidating their gear fund.
The Wave Pro represents Soundbrenner's statement piece—a no-compromise design that shows they're serious about competing in the professional audio space.
What Is the Soundbrenner Wave Pro?
The Wave Pro is Soundbrenner's flagship in-ear monitor featuring a hybrid quad-driver configuration. Unlike the standard Wave's dual-driver setup, the Pro houses three dynamic drivers handling bass and mids with authority, while a specialized 6mm planar magnetic driver delivers ultra-fast, airy treble. The hybrid approach combines the punchy, natural response of dynamic drivers with the speed and detail retrieval that planar magnetic technology brings.
Currently priced at about $200 USD, the Wave Pro sits in an interesting market position. It's not cheap enough to be an impulse buy, but it dramatically undercuts established competitors like the Shure SE846 Gen 2, which retails around $899.
The target audience is clear: working musicians who need professional-grade monitoring but can't justify spending nearly a grand on earphones.
Unboxing
What's In The Box
1 x Wave Pro
1 x 4-strand copper cable
3 x Foam eartips (S/M/L)
3 x Silicone eartips and 3 x liquid pro eartips (2S/2M/2L)
1 x 3.4mm and 4.5mm termination
1 x Carrying case
Build Quality and Design
The moment you pick up the Wave Pro, there is a significant difference in quality over the original Wave. The housings combine zinc faceplates with polycarbonate bodies, while the 3.5mm connectors use gold-plated bronze housed in aluminum. This isn't the plastic construction you'll find on most budget IEMs.
The weight tells the story: 14 grams per earpiece plus a 30-gram cable brings the total to 44 grams. That's noticeably heftier than single-driver alternatives, but the ergonomic contouring ensures the weight distributes evenly. After wearing these for longer sessions, I never felt pressure points or that dreaded "when can I take these out" fatigue.
The cable is a 5.0mm braided oxygen-free copper with silver-plating. The braiding resists tangles quite well, and the aluminum cable slider lets you customize the fit on the fly. It's detachable via S-type 2-pin connectors, so when you inevitably yank it too hard loading out after a gig, you're looking at a $39 replacement cable instead of buying new monitors.
Overall, the build quality of the IEM and cable has received a significant overhaul from the original Wave, that makes it a much stronger competitor now with similarly price "chi-fi" brands.
The included accessories show Soundbrenner understands musicians' needs. Eighteen ear tips might sound excessive until you realize they're addressing three different priorities: Liquid Pro tips for maximum clarity with their patented rigid core design, foam tips for noise isolation, and double-flange options for deep insertion and enhanced bass response. The hard carrying case isn't massive, but it's protective enough that you can comfortably throw them into your gig bag without worry.
Sound Quality
Let's talk drivers. The Wave Pro features a 10mm beryllium-coated dynamic driver, an 8mm polymer dynamic, a 6mm titanium-reinforced dynamic, and a 6mm planar magnetic driver. The overall sound comes across clear and neutral.
Bass Response
The low end hits with authority but stays tight. The beryllium-coated 10mm driver handles sub-bass frequencies with the kind of physical impact you'd expect from a dedicated bass driver. There's no noticeable bloat or muddiness that bleeds into the midrange. Electronic music sounds punchy and controlled, while acoustic double bass retains its woody, organic character.
The mid-bass region sits nicely in the mix. It's present enough to give body to male vocals and rhythm guitars, but never overpowers the midrange. This is the sweet spot that many budget IEMs miss entirely—they either boost the bass to please casual listeners or strip it away trying to sound "neutral."
Mids
The 8mm polymer and 6mm titanium-reinforced drivers work in tandem to create a midrange that's both detailed and musical. Vocals sit forward in the mix without becoming harsh or shouty, even at higher volumes. Female vocalists sound present and intimate, while male voices carry weight and texture.
Guitar players will appreciate the separation here. In a dense mix with multiple guitar tracks, you can actually distinguish between rhythm and lead parts. String resonance comes through clearly—you hear fingers moving on fretboards, picks attacking strings, and even the slight buzzing that makes acoustic instruments sound alive.
Treble Extension
The 6mm planar magnetic driver handles high-frequency duties, and this is where the hybrid configuration pays off. Planar drivers move air differently than dynamic drivers—they're faster, more precise, and extend cleanly into the upper frequencies without hash peaks.
Cymbals shimmer rather than splash. Hi-hats cut through the mix without becoming fatiguing. String instruments have air and sparkle in the upper registers. I didn't have any problems with sibilance or harshness, but I do feel that the bass and mid frequencies are more forward on the Wave Pro. I wouldn't describe it as far-reaching, but it also doesn't feel shallow. I'd say the treble range is about average for the $200 hi-fi bracket.
Technical Performance
Timbre refers to the natural character of instruments—what makes a saxophone sound like a saxophone rather than a trumpet. The Wave Pro does a great job with this. Acoustic instruments sound convincingly real, with the harmonic overtones and textural details that define their character. This matters enormously if you're using these for mixing or tracking. If your monitors lie about timbre, your final mix will sound off on other systems.
The soundstage comes across with a relatively good sense of 3D space when listening, but I would say that, between the imaging, timbre, and soundstage, the latter is probably the weakest area of technical performance. While the Wave Pro doesn't feel particularly spacious or expansive when listening to music, instruments do still occupy distinct positions in three-dimensional space, and the intimate soundstage may be beneficial for live performance scenarios.
Imaging—the precision of instrument placement—is quite good. In complex arrangements with multiple layers, elements don't blur together into mush. You can focus on individual parts without losing awareness of the whole. For live mixing, this means you can actually dial in your personal monitor blend instead of guessing whether you've turned up the right channel.
Comfort and Isolation
The ergonomic shell design follows the natural contours of your ear canal, and the weight distribution ensures these stay comfortable during marathon sessions. During testing, I never experienced fatigue from the weight of these earphones.
The Liquid Pro ear tips are what I preferred to use, and I found that they gave the best fit and sound quality for strictly music listening. For performing on stage, most people (including myself) will vastly prefer foam eartips as they will provide a significantly improved sound isolation to protect your ears from hearing damage. The new Liquid Pro ear tips feature a patented rigid core that maintains an open sound path for consistent clarity, while the ultra-soft 0.4mm dome molds to your ear for a secure, pressure-free seal. The difference between a proper seal and a mediocre one dramatically affects both sound quality and isolation.
Speaking of isolation: the foam tips block up to 36dB of outside noise. That's not quite as extreme as custom-molded monitors, but it's great for universal in ears and will be enough to practice next to a loud drummer without cranking dangerous volume levels. For live performance, it means you can actually hear your monitor mix instead of fighting against stage bleed from the PA system.
One thing to note is that when adjusting the Wave Pro in my ears, there was a noticeable driver flex "crackle". This isn't harmful at all, but can definitely be heard when moving the earphones around.
Comparisons
Soundbrenner Wave Pro vs. Shure 215 ($109)
The Shure 215 is a classic entry-level musician IEM that is still very popular years after its release. It was the first IEM I ever owned, and it is the same for many other musicians out there. The build quality on both of these feels comparable, and the 215 and Wave Pro should both have no problem lasting the stresses of touring musicians.
The Shure 215 has a little bit more warmth and "thickness" to the overall sound, but the Wave Pro has slightly better imaging overall and a clearer bass response. The 215's bass can be a little lean, where the Wave Pro has plenty for most situations.
Overall, the Shure 215 is a tried and true durable IEM that, for around $100 les,s is still worthwhile if you are on a tight budget, but with that being said, the Wave Pro will have better technical performance with a much more modern design and tuning setup. If you have the budget, the Wave Pro is overall a more complete IEM.
Soundbrenner Wave Pro vs Wave (Original)($99)
The original Soundbrenner Wave comes in at half the price, and when compared to the Wave Pro, you can definitely tell. The build quality on the original Wave compared to the Wave Pro is quite different. The Pro version feels more durable with a sturdier cable, while the original Wave's build quality isn't bad; the Pro definitely improves on it quite a bit.
Soundwise, the Wave Pro certainly outperforms the original Wave with more clarity and an overall more neutral sound. The Gen 1 Wave had a brighter leaning sound that favored higher registers and could feel a little light on bass, where the Wave Pro presents with a more neutral balance of all of the frequency ranges, making it less fatiguing and more accurate. In my opinion, the Wave Pro is a large step up from the Wave.
Final Verdict
The Soundbrenner Wave Pro represents a new option in the entry-level professional IEM market. The hybrid quad-driver system delivers the clarity and separation required for professional stage and studio performance, wrapped in a build quality that should survive steady use.
At $200, the Wave Pro is relatively affordable, but still not cheap. Compared to flagship models that cost three or four times as much, the Wave Pro delivers great value. The hybrid driver configuration—three dynamics handling bass and mids, planar magnetic handling treble—creates a sound signature that's smooth and clear during music listening and live monitoring use.
The Wave Pro is perfectly suited for working musicians who want a reliable live monitoring solution and will enjoy having a hi-fi headphone on the side. Overall, Soundbrenner took the original Wave and improved it significantly, creating a product that competes with offerings from Shure and other major names in the live audio scene.
Less than a week after British tech death metal band Ingested announced the impending release of their new album Denigration, the band announced via social media that their vocalist Josh Davies was no longer a member of the band “effective immediately.” The split is an abrupt about face for the band and we don’t know exactly why they took this step, but abuse allegations leveled against Davies that have sprung up online may be to blame.
Though the band’s statement about Davies’ firing does not reference the TikTok post or the allegations, they announced that ex-A Wake In Providence vocalist Adam Mercer would be handling vocals for the time being, including for their upcoming tour with Bodysnatcher.
Despite not knowing exactly why Davies was fired, a TikTok post by user @_summerjx could be the catalyst for the decision. In it, a woman outlines the interactions she allegedly had with Davies that began when she was 17 years old. She outlined what she said was a moment where she had been “taken advantage” of by Davies after she’d been drinking.
“I couldn’t see or walk straight. I didn’t want to sleep with Josh, I had no intentions of sleeping with him. I needed a friend that night. I’d been drinking for at least nine hours and Josh was stone cold sober when he decided to take advantage of me.”
In her recollection of what allegedly happened that night, she said it didn’t take a lot of time, but that she hadn’t realized how wrong her interaction with Davies had been until some time afterward, as she hadn’t talked to anyone about it. She said she “blamed myself for being so naive” and that she “felt guilty for him touching me when I was almost paralytic.”
Sometime later, she posted about hoping to not run into Davies while at Download. Posting that story, she said, led other women to reach out about their alleged experiences with him. One woman who wished to remain anonymous shared a statement about her experience with Davies. She’d apparently also met Davies when she was 17. In it, she said he would only see her when she was drunk, that he was “very pushy with sex and other sexual things”, and that he allegedly was “very mentally abusive.” You can read her full statement here.
The TikTok user said she didn’t go to the police because she’d been “let down by the police in the past and I knew I didn’t have enough evidence.” By the time she realized that what had gone down was wrong, she said it was “too late.”
“I was incredibly unstable when I met Josh. He knew about my past, he knew I was easy to manipulate, because that’s what men like him do — they prey on the vulnerable. I’d also like to note that he made me literally sneak into his room because he didn’t want anyone in the house to know I was there.
“Josh Davies isn’t a good person. I always think when something like this happens to me that it’s not that deep, but it is that deep.”
At this time, we don’t know what Davies’ ousting means for the release of Denigration or the future of the band moving forward, but we expect to learn about all of that in the coming days or weeks. As for the allegations against Davies, he’s not released any statements about them or his removal from Ingested. If and when he does, we will follow up.
i never thought i’d be making this but after hearing he’s been taking advantage of other people i will not be silent anymore. his behaviour is disgusting and people need to be made aware of what he is like. im probably going to take some time away from socials after posting this as im not good at dealing with stress very well :,) thank you for listening #ingested
Thrash Legends Exodus Share Album Title Track ‘Goliath’
EXODUS have unleashed the colossal title track from their new album, Goliath, out 20th March via Napalm Records. Revealed today with an accompanying music video, ‘Goliath’ simmers the tempo down with winding, malevolent leads, towering drums and ominous string work from violinist Katie Jacoby, coupled with intricate guitars by the legendary Gary Holt.
Check it out here:
Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery.
Produced by EXODUS, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint Bonded By Blood. 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition.
EXODUS comment on new album Goliath:
“Are we excited for this record? That’s an understatement. We put everything we had into this record (and it’s 80 percent complete follow up, but we’ll save that conversation for another day!) and it’s one of our proudest accomplishments. Wildly collaborative, the most band centric album to date with four songs written by Lee, lyrics by Gary, Rob, Lee and Tom, and just killer all the way around. The time to let the monster loose is coming! Bow Down!”
Goliath wastes no time proving as massive as its name, with a sinister introduction opening ‘3111‘. Ode to owning one’s own volatility ‘Hostis Humani Generis’ features a palpable lyrical delivery from Rob Dukes that cuts like crystal amid frenetic riffs, before rolling into ‘The Changing Me’. The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the cleans of guest Peter Tägtgren (Hypocrisy, Pain) together with Tom Hunting and at the end both Peter and Robb scream off the song.
Harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. ‘Promise You This’ incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt and Altus, prior to colossal title track ‘Goliath’ simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars.
The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like ‘Beyond The Event Horizon’ and ‘2 Minutes Hate’ provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like ‘Violence Works’.
The nearly eight-minute epic ‘Summon Of The God Unknown’ turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer ‘The Dirtiest Of The Dozen’ wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments.
EXODUS are touring the world extensively in 2026. First off with Megadeth and Anthrax in Canada in February and March, then Europe with Kreator, Carcass and Nails in March and April. The band then tour the US and Canada with Sepultura in April and May.
UK dates:
27.03.26 UK – London / O2 Academy Brixton
28.03.26 UK – Manchester / O2 Apollo Manchester
29.03.26 UK – Glasgow / O2 Academy Glasgow
The Big Question: Which Tony Martin-Era Black Sabbath Album Is Actually The Best?
It’s not the one most people name first—and the “worst” album has a couple of riffs that still hit like a wrecking ball.
TL;DR
Tony Martin fronted five studio Sabbath albums from The Eternal Idol (1987) through Forbidden (1995), and they’re way better—and weirder—than their reputation suggests. With the era getting renewed attention thanks to official remasters/remixes in the Anno Domini 1989–1995 box set (including a Tony Iommi remix of Forbidden), it’s the perfect time to rank them properly.
Table of Contents
I’ve lived in the “Iommi riff rabbit hole” for decades—if it has Tony’s right hand on it, I’m listening, even when the internet says I shouldn’t.
Why it matters now: the Martin era has been historically hard to find and easy to dismiss, but reissues/remasters have pushed a lot of fans to re-listen with fresh ears—and it’s changing minds fast.
The Five Tony Martin-Era Studio Albums
For this ranking we’re counting the core studio run: The Eternal Idol (1987), Headless Cross (1989), Tyr (1990), Cross Purposes (1994), Forbidden (1995).
This is the one that always starts arguments—and not in the fun way.
It’s the production that drags it down. The album was produced/recorded/mixed by Ernie C (Body Count), and the opener “The Illusion Of Power” features Ice-T. Even Tony Iommi later called bringing Ernie C in “a terrible mistake.”
What Still Rules Anyway
There are real moments buried in the mud:
Tony Martin is still singing his face off
The riffs are there
A few tracks feel like Sabbath trying to claw their way out of a label-mandated “modern” corner
Best Starting Point Track
“I Won’t Cry For You” (this is one of the cleanest “how is this on that album?” songs)
4. The Eternal Idol (1987)
Why It’s Not Higher
This record is basically Sabbath surviving chaos in real time: multiple producers, lineup turbulence, and vocals that were re-recorded after the album had already been in motion.
It’s historically important—Tony Martin’s first Sabbath album—but it still feels like a transitional record searching for the next identity.
What Makes It Essential
First official Tony Martin fronted Sabbath studio album
The songwriting has sneaky classic-metal weight once you get past the “rough edges”
It’s the bridge between the mid-80s confusion and the late-80s gothic power run
Best Starting Point Track
“The Shining” (because that chorus is pure arena doom)
3. Cross Purposes (1994)
Why It Jumps Up The List
This is the “wait…this actually sounds like Sabbath again” album.
It’s got Geezer Butler back on bass, Tony Martin back on vocals, and a heavier, more grounded feel that doesn’t rely as much on the late-80s gothic sheen.
It also got a notable critical reappraisal over time—often framed as a legit late-era Sabbath record rather than a footnote.
What Hits Hardest
Riffs that move instead of just “pose”
Martin sounding confident and mean
A tone that feels closer to Sabbath’s core DNA than people remember
Loaded Radio note: if your buddy says “Tony Martin Sabbath is all keyboards and castles,” Cross Purposes is the one you play to shut that down.
Best Starting Point Track
“I Witness” (massive hooks, classic vibe)
If you’ve got Sabbath on the brain, the Loaded Radio stream is running heavy rotation while you read—easy background listening without leaving the page.
2. Tyr (1990)
Why It’s Almost The Best
Tyr is where this lineup sounds fully locked in.
Released August 20, 1990, it leans into epic themes and big melodic drama, and it’s one of the strongest showcases of Tony Martin as a true Sabbath frontman—not “replacement guy,” but the voice for this chapter.
What Makes It Special
Consistent quality front to back
Big, heroic melodies without going cheesy
The band sounds focused and purposeful
Best Starting Point Track
“Anno Mundi” (if you know, you know)
1. Headless Cross (1989)
Why This Is The Tony Martin Era Masterpiece
This is the one that finally makes the argument unavoidable.
Released April 17, 1989, Headless Cross is the perfect storm of atmosphere, riffs, and performance—plus it’s the first Sabbath album with Cozy Powell on drums, and the whole thing feels cinematic in a way Sabbath almost never did across an entire record.
It’s also loaded with “did that really happen?” details—like Brian May showing up for a guest solo on “When Death Calls.”
What Makes It #1
Tony Iommi and Cozy Powell co-produced it
The songwriting is peak “dark majestic” Sabbath
Martin’s vocals are confident, dramatic, and perfectly matched to the occult-heavy vibe
Best Starting Point Track
“Headless Cross” (a thesis statement in song form)
A big reason fans are revisiting these records is accessibility and renewed attention: the Anno Domini 1989–1995 set brought remasters of Headless Cross, Tyr, Cross Purposes and a Tony Iommi remix of Forbidden, released May 31, 2024.
That doesn’t automatically make people love the era—but it does make people actually hear it.
FAQ
Is Tony Martin Officially A Black Sabbath Singer?
Yes—Tony Martin is the longest-tenured non-Ozzy vocalist and fronted multiple Sabbath studio albums, starting with The Eternal Idol (1987).
The most common complaint is the production approach and the “forced modern” feel—plus it was produced by Ernie C and includes an Ice-T appearance on “The Illusion Of Power.”
Brief Bio: Why Tony Martin Matters In Heavy Metal
Tony Martin didn’t just “fill in” for Black Sabbath—he helped keep the band alive through an era when traditional heavy metal was getting squeezed from every direction. He brought a powerful, melodic voice that could handle doom, speed, and epic atmosphere, and he gave Tony Iommi a consistent frontman long enough for Sabbath to build an entire late-era identity around mood, melody, and heavyweight riffcraft.
