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The post The Jesus And Mary Chain, Trapped Under Ice, Incendiary, Etc. Booked For 2027 ‘Something In The Way’ Festival appeared first on Theprp.com.

Suicide Silence has put out a video for “Make Your Exit,” a clip directed by Nathan Karma Cox. The song is the latest preview of Graceless, the band’s new album arriving Nov. 20 on Century Media.

Few bands did more to move deathcore from cramped rooms and internet forums into the wider metal conversation than Suicide Silence. Coming out of California’s Inland Empire, the group welded death metal savagery to hardcore attitude and a heavy dose of groove. It has since shared tour bills with Korn, Slayer, Megadeth, Cannibal Corpse, Lamb Of God and Behemoth.

The Cleansing, No Time to Bleed and The Black Crown rank among the records that shaped modern extreme metal. The band’s best-known track, “You Only Live Once,” has passed 150 million plays on YouTube and remains the calling card for its low-end growls and bounce.

The Graceless lineup is guitarists Chris Garza and Mark Heylmun, bassist Dan Kenny, vocalist Hernan “Eddie” Hermida and drummer Ernie Iniguez. Together they pull threads from every chapter of the band’s history and attack them with renewed appetite. Grief, reinvention and backlash have all come and gone, and the group has come out sounding meaner rather than mellower. Graceless brings the story full circle, this time with sharper fangs.

Suicide Silence has always worked as a unit. Its best material comes from bodies packed into a room, amps turned up and arguments that gradually harden into song structures. That teamwork gives the album an odd warmth beneath the noise. The result is ugly, physical and immediate, and it sounds like the work of a band that outlived every opinion about what it should be.

Garza described the mindset behind the record. “Just get out of the way and serve that band logo. When we choose to do that, great things follow.

“We’re back to doing it exactly as we did it when we were kids: just playing heavy shit and doing it from the heart.”

Critics once used the word deathcore as a ceiling. Now it works as a banner staked into the ground. Nearly a quarter-century after its first racket out of SoCal, Suicide Silence occupies a rare spot among bands that lasted without going soft.

The Reminders Of Hell Tour arrives this fall with Emmure, Angelmaker and Synestia in support. It starts in Riverside, Calif., and finishes in Los Angeles:

The current lineup of Suicide Silence:

Hernan “Eddie” Hermida / vocals
Mark Heylmun / Guitar
Chris Garza / Guitar
Dan Kenny / Bass
Ernie Iniguez / Drums

The post SUICIDE SILENCE Unleashes Video For “Make Your Exit” From Upcoming Album “Graceless” Video appeared first on Sonic Perspectives.

Slovenian extreme metal band NOCTIFERIA have unveiled the video for “Aeon Shift,” the first preview of their eighth studio album, due in November 2026 through Nika Records. The song introduces a new recording chapter with vocalist Miloš Mihajlović and drummer David Bordon joining the lineup. The upcoming album follows the band’s return to live performance […]

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The Back To The Beginning trailer has landed, and the film built around Ozzy Osbourne’s final concert reaches cinemas on 28 October through Trafalgar Releasing, with tickets going on sale today at backtothebeginning.com.

Titled ‘Ozzy & Black Sabbath: Back To The Beginning’, it documents the 5 July 2025 show at Villa Park in Birmingham — Black Sabbath’s first performance since 2017, their first with all four original members since 2005, and the last time Ozzy Osbourne ever sang in front of an audience. He died seventeen days later. Alongside the trailer came the confirmed song list, thirty performances deep, and the way it has been assembled tells you exactly what kind of film this is going to be.

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Scott Penfold breaks down the latest hard rock and metal news on today’s Metal Breakdown Daily. Download the free Loaded Radio App on Apple iOS and Google Play and stream the show now.

What The Trailer Actually Shows

It is not a highlight reel of the bands. That is the first thing worth saying about it.

The trailer runs on the four men who started this and the people closest to them, and it lets them talk. Sharon Osbourne, on why the show happened at all: ‘That’s all he wanted to do. He wanted to say goodbye and thank you.’ Tony Iommi, on the day itself: ‘It was a closure for the band and it was a good way to go out, I think.’ Geezer Butler describes what he felt from the crowd as ‘pure love. It was just a wave of love.’ Bill Ward, who has had a rough few years health-wise and whose participation was genuinely uncertain right up to the announcement, says he ‘felt completely at home in a place where I belong. Almost felt like a dream.’

And Tom Morello, who assembled the whole all-star end of the bill, puts the frame on it: ‘There’s never been anything like that in rock and roll history.’

He is not overselling it. I have watched a lot of farewell shows get announced, and most of them are a tour with a word on the poster. This one had a hard stop attached to it and everybody on that stage knew it.

The Full Song List

Thirty performances made the film. Here is the running order as published.

1. Ozzy Osbourne — ‘I Don’t Know’
2. Mastodon — ‘Supernaut’
3. Rival Sons — ‘Electric Funeral’
4. Anthrax — ‘Into The Void’
5. Halestorm — ‘Perry Mason’
6. Tool — ‘Hand Of Doom’
7. Ozzy Osbourne — ‘Mr Crowley’
8. Tom Morello’s All Stars feat. David Draiman, Jake E. Lee, David Ellefson, Mike Bordin, Adam Wakeman — ‘Shot In The Dark’
9. Tom Morello’s All Stars feat. Whitfield Crane, Scott Ian, Nuno Bettencourt, Frank Bello, II, Adam Wakeman — ‘Believer’
10. Tom Morello’s All Stars feat. Yungblud, Nuno Bettencourt, Frank Bello, II, Adam Wakeman — ‘Changes’
11. Lamb Of God — ‘Children Of The Grave’
12. Alice In Chains — ‘Fairies Wear Boots’
13. Gojira — ‘Under The Sun’
14. Pantera — ‘Electric Funeral’
15. Slayer — ‘Wicked World’
16. Ozzy Osbourne — ‘Suicide Solution’
17. Tom Morello’s All Stars feat. Travis Barker, Danny Carey, Chad Smith, Tom Morello, Nuno Bettencourt, Rudy Sarzo — ‘Symptom Of The Universe’
18. Tom Morello’s All Stars feat. Billy Corgan, Tom Morello, K.K. Downing, Adam Jones, Rudy Sarzo, Danny Carey — ‘Snowblind’
19. Tom Morello’s All Stars feat. Sammy Hagar, Nuno Bettencourt, Adam Wakeman, Rudy Sarzo, Chad Smith, Vernon Reid — ‘Flying High Again’
20. Tom Morello’s All Stars feat. Papa V Perpetua, Vernon Reid, Nuno Bettencourt, Adam Wakeman, Rudy Sarzo, Travis Barker — ‘Bark At The Moon’
21. Tom Morello’s All Stars feat. Steven Tyler, Ronnie Wood, Nuno Bettencourt, Tom Morello, Andrew Watt, Rudy Sarzo, Travis Barker — ‘The Train Kept A-Rollin”
22. Tom Morello’s All Stars feat. Steven Tyler, Nuno Bettencourt, Tom Morello, Andrew Watt, Rudy Sarzo, Chad Smith — ‘Walk This Way’
23. Guns N’ Roses — ‘Never Say Die’
24. Metallica — ‘Hole In The Sky’
25. Ozzy Osbourne — ‘Crazy Train’
26. Black Sabbath — ‘War Pigs’
27. Black Sabbath — ‘N.I.B.’
28. Black Sabbath — ‘Iron Man’
29. Black Sabbath — ‘Paranoid’
30. Ozzy Osbourne — ‘Mama I’m Coming Home’

Ozzy And Sabbath Got Everything. Everyone Else Got One Song.

Read that list again and the editorial decision jumps straight out.

Ozzy’s solo set at Villa Park was five songs, performed seated on a black throne because standing for a full set was no longer possible. All five are in the film. Black Sabbath’s reunion set was four songs. All four are in the film. Nothing from either set was cut.

Now count what the bands got. Metallica: one song. Guns N’ Roses: one song. Tool, Pantera, Slayer, Gojira, Alice In Chains, Lamb Of God, Anthrax, Mastodon, Halestorm, Rival Sons — one song each. These were fifteen and twenty-minute sets on the day, and every one of them has been reduced to a single track.

I think that is the right call and I think it is also a slightly brutal one. A film that gave every band on that bill three songs would run four hours and it would be a festival document. What this is instead is a film about Ozzy Osbourne with a very expensive supporting cast, and Trafalgar and Mercury Studios have clearly decided that the audience buying a ticket in October is buying it for the throne and the four men from Aston, not for Mastodon’s twenty minutes. Anyone turning up hoping for their favourite band’s whole set is going to be disappointed, and they should know that going in.

The exception is Tom Morello’s all-star block, which keeps eight performances. That makes sense too — those were one-off collaborations that will never happen again, and there is no other recording of Billy Corgan singing ‘Snowblind’ with K.K. Downing and Adam Jones behind him.

They Moved ‘Mama, I’m Coming Home’ To The Very End

This is the detail I keep coming back to.

On the day, Ozzy’s solo set ran ‘I Don’t Know’, ‘Mr Crowley’, ‘Suicide Solution’, ‘Mama, I’m Coming Home’ and finished on ‘Crazy Train’, and then Black Sabbath came on and closed the night with ‘Paranoid’. The published song list does not run that way. It puts ‘Crazy Train’ at twenty-five, runs the four Sabbath songs, and then lands ‘Mama, I’m Coming Home’ last — after ‘Paranoid’, as the final thing you hear before the credits.

That is not how the concert happened. That is a film-maker making a choice, and it is not a subtle one. They have taken the song Ozzy wrote about going home, moved it out of sequence, and used it to end the picture about the last show he ever played. If that does not land on you in a dark room with Dolby Atmos, nothing will.

The film is credited to Ben Wainwright-Pearce as screen director, with Tim Van Someren directing the live concert capture and Jim Parsons, Jamie Silk and Dan Seliger producing for Mercury Studios. It is going out in Dolby Atmos and 5.1.

Two Versions Of ‘Electric Funeral’ Survived The Edit

Small thing, and nobody else is going to flag it, but it is on the list twice.

Rival Sons play ‘Electric Funeral’ at number three. Pantera play ‘Electric Funeral’ at number fourteen. Two different bands, same Sabbath song, both kept in a film where Metallica only got one track.

I am not complaining — Pantera’s version with Zakk Wylde on guitar was one of the heaviest things that happened all day, and Rival Sons taking a run at it early is a completely different reading of the same riff. But when you have cut Tool down to one song and left the same cover in twice, somebody in an edit suite had an argument about that and somebody won it.

We Recommend – Ozzy Osbourne Solo Songs Ranked: The 40 Best

Jake E. Lee Is In This Film

Number eight on the list: ‘Shot In The Dark’, performed by David Draiman on vocals with Jake E. Lee on guitar, David Ellefson on bass, Mike Bordin on drums and Adam Wakeman on keys.

Jake E. Lee has spent forty years being the most written-out guitarist in Ozzy Osbourne’s story. He played on ‘Bark At The Moon’ and ‘The Ultimate Sin’, he was in that band for four years, and he has been treated as a footnote between Randy Rhoads and Zakk Wylde for most of the time since. He was shot three times outside his home in Las Vegas in October 2024 and survived it.

And there he is, on stage at Villa Park, playing the song he wrote the music for, in the last concert film Ozzy Osbourne will ever be in. If you have never properly gone through his run, it holds up better than the reputation suggests.

Check Out – Zakk Wylde’s Ozzy Albums, Ranked

Why This Matters Beyond The Nostalgia

The show at Villa Park was already the most significant single day in heavy metal in a decade before anybody knew what was coming. Sabbath had not played since The End tour wrapped in 2017. Bill Ward had not played with them since 2005. Ozzy had retired from touring in 2023 with Parkinson’s disease and a spine that had been through multiple surgeries, and the honest expectation among most people I talked to was that he would never perform again in any form.

He did. Seventeen days later he was gone.

The Grammy-winning performance from that day — ‘Changes’, by Yungblud with II from Sleep Token, Frank Bello, Adam Wakeman and Nuno Bettencourt, which took Best Rock Performance at the 68th Grammy Awards in February — is number ten on the list. That is worth knowing if you only watch one thing.

But the reason this film matters is simpler than any of that. There is now a definitive, properly shot, properly mixed record of the last time Ozzy Osbourne stood in front of his audience, and it goes into cinemas in October. Everything else about it is detail.

TL;DR

• ‘Ozzy & Black Sabbath: Back To The Beginning’ hits cinemas 28 October 2026 through Trafalgar Releasing. Tickets are on sale now at backtothebeginning.com.
• It documents the 5 July 2025 show at Villa Park, Birmingham — Black Sabbath’s first gig since 2017 and their first with all four original members since 2005.
• Thirty performances made the final film.
• Ozzy’s five solo songs and all four Black Sabbath songs are included complete. Almost every other band on the bill is cut to one song each.
• Tom Morello’s all-star segments keep eight performances, including the Grammy-winning ‘Changes’ with Yungblud and II from Sleep Token.
• The song list puts ‘Mama I’m Coming Home’ last, after ‘Paranoid’ — a change from the running order on the night.
• Screen director Ben Wainwright-Pearce; live concert director Tim Van Someren; produced by Mercury Studios. Dolby Atmos and 5.1.
• Ozzy Osbourne died on 22 July 2025, seventeen days after the show.

FAQ

Thirty performances, and Metallica only got one of them. Tell us which set you’d have given more room to in the comments — and whether moving ‘Mama, I’m Coming Home’ to the very end was the right call or one step too far. Follow Loaded Radio for daily rock and metal news.

The post Ozzy’s Last Concert Hits Cinemas. Check Out The Trailer And See The Song List. appeared first on Loaded Radio.

A GoFundMe remains underway for her continues medical expenses.

The post Knocked Loose Donate $8,000 To The Woman Who Was Left Paralyzed During The Band’s ‘Louder Than Life’ Set appeared first on Theprp.com.

In March 2020, prog and metal bands watched their touring calendars disappear within weeks. Venues closed, and festivals such as Download and Rock am Ring were pushed to 2021 or canceled outright, and the live music industry lost an estimated $30 billion in revenue that year. Acts that had built their reputation on stage suddenly had no stage to play, so some turned to the one tool still available: a camera pointed at an empty room, and an audience that could log in from anywhere in the world.

TesseracT gave one of the clearest examples of what that could look like. On December 12, 2020, the British band filmed the Portals livestream at Light Up Studios in Fareham, England, working through fourteen songs from across their catalog inside a cinematic storyline built around a single character and a full arena-style light show. Drummer Jay Postones stayed in Texas rather than risk crossing borders during the outbreak, so Monuments drummer Mike Malyan filled in for the night, and fans logged on from time zones the band’s usual tour routing would never have reached. The performance later reached digital platforms including Amazon Prime and iTunes, so the audience kept growing long after the broadcast itself had ended.

That detail mattered more than it looked. A livestream did not need a venue’s capacity or a city’s time zone, only a screen and a connection, and the same one-to-one video link that carried a band into a living room also carried strangers to each other on ordinary chat platforms. Someone looking for something similar to Thundr today wants that same format: one person, one camera, matched with another person instead of an audience.

Livestreams Became a Recognized Format

Other bands followed the same logic through 2021 as the shutdown dragged on. The Contortionist marked ten years of their Exoplanet album with an Exoplanet anniversary livestream, playing catalog tracks the band said they had rarely performed before, calling it a chance to revisit songs that had sat untouched since the record came out. It streamed on demand for forty-eight hours, giving fans in different time zones a real window to catch it instead of one fixed showtime.

The format was not confined to one style of show. BEAT, the instrumental project featuring King Crimson alumni Adrian Belew and Tony Levin, broadcast a livestream from Los Angeles billed as a global event rather than a regional tour date. Rival Sons staged a two-night livestream called Pair of Aces, timed for a stretch when in-person shows were still off the table across much of the US and UK. Trivium turned part of their headquarters, a space they call The Hangar, into a dedicated stage for streamed shows once touring paused. Each band treated the broadcast less like a stopgap and more like a lasting way to reach people who could not get to a club or an arena.

From Emergency Measure to Standard Practice

By 2022, streaming a show was no longer an emergency substitute for touring. Puscifer released two cinematic live films that year: one revisited songs from the band’s 2007 debut album, filmed at Sunset Sound in Los Angeles, and the other reworked 2011’s Conditions of My Parole track by track at the Wiltern Theater. Both leaned on story and staging rather than a camera pointed at a stage, treating the format as a genuine creative outlet rather than a placeholder for a canceled tour.

Festivals kept the habit going too. Danny Wimmer Presents streamed Welcome to Rockville’s 2021 lineup on Twitch for the first time, putting sets from Slipknot, Disturbed, and Rob Zombie in front of anyone with a login instead of only the crowd inside the venue. The platform mattered less than the pairing it enabled: one performance, watched by people who would never have shared a room otherwise.

Metal’s Biggest Stages Went Global

The same approach later carried acts whose milestone shows could never fit inside a single building. Powerwolf built their livestream event The Monumental Mass into a full production, later releasing it across multiple physical formats instead of treating it as a one-off broadcast. Megadeth announced They Only Come Out at Night, a livestream captured at Budokan and offered to fans worldwide the same day it was filmed, folding the concert film and the livestream into a single release.

Ozzy Osbourne and Black Sabbath closed that chapter in July 2025 with a farewell concert streamed to fans who had followed the band for decades but had no realistic way to be in the room. The show was staged on July 5, 2025, at Villa Park in Birmingham, the city where both Ozzy Osbourne and Black Sabbath got their start. None of these bands needed a pandemic to justify the format by then. It had simply become part of how a major metal show reaches its audience.

What the Shift Leaves Behind

Prog and metal acts rarely fill arenas on their own, and a European or Asian leg of a tour can be the difference between profit and loss for a mid-sized band. A livestream sidesteps visas, freight, and hotel costs entirely, which is part of why the format outlived the circumstances that created it. That calculation applies just as much to a band selling five thousand tickets as one selling fifty thousand, since the fixed costs of moving a stage show barely shrink at the smaller end.

The bands that kept streaming after venues reopened were not chasing a trend. A cinematic set filmed once and watched on demand reaches a fan in a country the tour will never visit, at a cost a single festival slot cannot match. For a genre built on smaller, scattered audiences rather than stadium crowds, that math held up well after the shutdown ended.

What changed was not the music but the room. A stage built for a few hundred people in a club became a screen reachable by tens of thousands of people nowhere near each other, and prog and metal bands kept the habit because it worked, not because anyone told them to adapt.

The post How 2020’s Livestream Boom Changed Prog and Metal Touring appeared first on Sonic Perspectives.

NEKUS and BLOODSOAKED NECROVOID will release the split album Funerary Rites of Ancient Doom on October 16, 2026, through Caligari Records and Seed of Doom Records. The vinyl release brings together four exclusive tracks, running approximately 36 minutes. Germany’s NEKUS occupy the first side with “Dakhma,” a single composition lasting more than 19 minutes. The […]

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System Of A Down is marking 25 years of Toxicity by turning a Los Angeles gallery into a shrine for the record. The band has teamed up with Beyond The Streets for a week-long exhibition that opens Tuesday, Oct. 13.

Toxicity hit stores Sept. 4, 2001, and landed at No. 1 on the Billboard 200. SPIN named it album of the year, and it went on to become a touchstone for a generation coming of age in a shaky new century.

A quarter-century later, the album still gets discovered by new listeners. It mixes chaos with beauty, aggression with vulnerability and political awareness with surrealism, and that blend has carried it across genres, borders and age groups. System Of A Down remains as provocative and relevant as ever, and few rock acts have had a bigger influence.

The exhibition, titled System Of A Down x Beyond The Streets: Toxicity 25th Anniversary Exhibition, gives the gallery over to the album’s legacy for the week. Visitors can expect exclusive merch, rare artifacts and ephemera from the Toxicity era, immersive installations, iconography and the story behind the record. Admission is free for the entire run.

Free Entry / No Ticket Required
434 N La Brea Ave, Los Angeles, CA
October 13-18
Tues – Fri | 12PM – 8PM
Sat & Sun | 10AM – 10PM

Few bands have shaped heavy music the way System Of A Down has. The Los Angeles four-piece has spent nearly three decades soundtracking political, sonic and spiritual upheaval, starting with its multi-platinum self-titled debut in 1998. The band has sold more than 42 million albums worldwide, regularly sells out stadiums and pulls in over 26 million monthly listeners on Spotify, which makes it one of the most-streamed rock/alternative acts on the planet.

The lineup is Daron Malakian (guitars, vocals), Serj Tankian (vocals, keys), Shavo Odadjian (bass) and John Dolmayan (drums).

Beyond The Streets is a flagship gallery and cultural venue devoted to contemporary and emerging graffiti and street artists. Founded by Roger Gastman, its Los Angeles home hosts rotating, free exhibitions alongside a curated shop.

The post SYSTEM OF A DOWN Turning Los Angeles Gallery Into a Full-Blown “Toxicity” Shrine & It’s Free appeared first on Sonic Perspectives.

Slipknot had an unlikely connection to late country legend Dolly Parton: they had the same manager, though at different points. Continue reading…

KAMELOT have announced the second European leg of their Dark Asylum World Tour, with CYHRA joining as special guests. The newly confirmed run begins on March 5, 2027, in Osnabrück and concludes on March 20 in Brno, continuing the tour behind Dark Asylum, out now through Napalm Records. Tickets for the spring dates go on […]

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