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April is commonly known in many parts of the Northern hemisphere for bringing on the rain. It’s often a chilling kind of rain, bringing temps down and diffusing light such as to create a gloomy, but not uninviting, atmosphere. This year, it seems the rain came late, falling heavily into the first weeks of May, thus extending that cloudy aesthetic into the warmer months as they creep in. Enter Oregon’s Old Moon, a melancholic melodic black metal quintet whose sound perfectly fits this muggy season, and their upcoming debut LP, Home to Nowhere.

To those familiar with the sadboi side of the metal spectrum, Old Moon will sound quite familiar. Combining Insomnium with more atmospheric acts like Skyborne Reveries or Skyforest, but produced with the warmth of Izthmi, Home to Nowhere is diffuse and cinematic in its melancholy. Like much of the black metal scene, blast beats abound, but thankfully, there’s quite a variety of patterns, deathly and doomy that break it up—even going so far as to explore a gothic rock swagger at key junctures (“Obsidian”). A deep roar trades blows with higher placed rasps to complement Old Moon’s smooth and gradual shifts from sweeping melodeath riffs, weeping leads, and trem-picked atmospherics. Familiar pieces all, and in concert they bring great comfort to these ears.

It’s a shame that Home to Nowhere’s production conspires against that comfort at every turn. The biggest culprit of my woes in this space are the drums, which are placed so far forward in the mix, and adopt the sharpest possible tone for snare pops and bass kicks, that each hit registers as moderately annoying to mildly painful. You may think this an exaggeration, but a song like “Distance,” which flows gently and with the grace of a swan, succumbs entirely to those drums. “My Name is Death” similarly suffers, but its more aggressive songwriting and confrontational vocal mixing helps to offset the imbalance somewhat. Compounding the issue, Home to Nowhere’s boomy engineering offers no modulation in any instrument to give quiet moments breathing room or dramatic swells a sense of growth or depth. As a result, the whole furrows the brow as I struggle to relax into these songs and enjoy its musicality.

Once I did manage to accept Home to Nowhere’s production and move past my frustration with it, I finally began appreciating Old Moon’s songwriting. While nothing here is so exciting and fresh as to bring them into the same conversation as genre icons like Insomnium, songs like “Creations Undone” and “Distance” showcase a beautiful array of mournful melodies and gothic drama. Not to mention “Creations Undone” features one scorcher of a black metal riff that comes out of absolute nowhere and raises the hairs on my neck. Other songs like “A Rest to My Name” and “My Name is Death” boast strong ideas and compelling melodicism, but in their case, the whole feels underbaked. Even after nearly six minutes, I find myself wondering where the rest of “A Rest to My Name” in particular went as it fades to black. Thankfully, opener “Between the Stars” and the title track make up some of that missed potential with well fleshed out motifs that, while on the longer-form side at seven-minute territory, resolve into satisfying conclusions.

In sum, Home to Nowhere is a decent record with some very strong ideas, marred by a punishing production (that still somehow scores into double-digits on my DR meter). With softer drum tones, less volume,¹ and a more nuanced mix that allows quieter moments to shine alongside more intense ones, Old Moon could find much greater success in future efforts. Until that time, best to look elsewhere for a melancholy pall to go with that April May rain.

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Rating: Disappointing
DR: 11 | Format Reviewed: 320 kb/s mp3
Label: M-Theory Audio
Websites: Bandcamp | Facebook
Releases Worldwide: May 8th, 2026

The post Old Moon – Home to Nowhere Review appeared first on Angry Metal Guy.

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Heavy metal icons Judas Priest have officially commenced tracking for their highly anticipated 20th studio album, less than two years after dominating global charts with 2024’s acclaimed Invincible Shield. Bassist Ian Hill broke the massive news during a raw, career-spanning conversation with Spain’s Metal Journal, confirming that the instrumental foundations for the record are essentially complete.

The legendary British outfit, who have defined the genre’s sonic architecture for more than five decades, have spent the spring quietly constructing the project across dual tracking rooms in Nashville and Phoenix. In a staggering twist that has ignited immediate debate across the metal community, the band’s sole remaining original member also openly addressed the reality of a future Judas Priest operating completely without its foundational standard-bearers.

Tracking Secret Sessions Outside Nashville: Inside the Raw Record Groundwork

The lightning-fast turnaround between records comes as a massive surprise to an industry accustomed to four-year development cycles for legacy acts. According to Hill, the band successfully captured the overarching rhythmic architecture of the record during block studio lockdowns earlier this February.

Guitarist Richie Faulkner expanded on the tracking location, revealing that the band purposefully converged just outside of Nashville, Tennessee, to replicate the classic, live-room chemistry that birthed 2018’s Firepower. This marks a massive return to traditional recording methods compared to Invincible Shield, which had to be pieced together in fractured isolation camps across various global tour stops due to lingering post-pandemic travel constraints.

“We’ve done most of the music, or all the backing tracks anyway; we’ve got them down,” Ian Hill revealed regarding the state of the sessions. “There might be one extra song to do. But the vast majority of it, the backing tracks have been done. The guys have been to Phoenix working on vocals with Rob Halford over the last few weeks, I believe. So he’s in the process of putting the vocals down.”

When pushed on the exact musical trajectory of the unreleased material, Hill specified that the tracks represent a distinct evolutionary pivot rather than an explicit nostalgic retread of landmarks like British Steel or Screaming For Vengeance.

“The style, it’s a little bit different from the last one,” Hill explained. “It’s—I don’t know—a little bit more traditional, maybe a little bit quirky with some of the things. And, yeah, it should be good. Like I say, I’ve only heard it in very raw form—just basically guitar, bass and drums. That’s all I’ve heard so far. But, yeah, it’s shaping up to be a great classic Priest album. It’ll be out some time next year. It’ll be out probably March, April, something like that, I should imagine. That’s down to the record company… It’s more along the lines of Invincible Shield, but a lot more direct, shall I say.”

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“Nobody’s Irreplaceable”: Ian Hill Confronts Retirement and Future Roster Shifts

Beyond the music, the conversation ventured into the inevitable reality of generational mortality within legacy rock acts. Having logged 57 years of uninterrupted service since the band’s initial 1969 formation, Hill spoke candidly about his own physical boundaries and the toll of navigating massive global travel itineraries.

Most remarkably, the bassist laid out an incredibly pragmatic philosophy regarding the potential survival of the Judas Priest brand name after its original members eventually choose to hang up their leather jackets permanently.

“There’s no reason why not,” Hill answered firmly when asked if the band could continue with entirely new musicians down the line. “I mean, we’ve already got through about six or seven drummers, four guitarists and two vocalists. So, why not? I’m sure everybody will be up for it if Rob or myself have to pack it in for one reason or another.

“Yeah, nobody’s irreplaceable, so you never know… Well, we’ll see. Like I always say, if the performance starts to suffer, it’s time to start thinking about hanging it up. So as long as we’re able to, to give that 100%—I’m talking personally here—yeah, we’ll carry on. But if there are any problems, and it ain’t feeling right, or you know you’re not giving your all, it might be time to call it a day.”

The metal icons have repeatedly shown an unmatched capacity to successfully retool their ranks across their 50-year campaign. The current core lineup features long-running drummer Scott Travis and modern shredder Richie Faulkner alongside Hill and Halford. Meanwhile, legendary guitarist Glenn Tipton continues his brave, 15-year battle with Parkinson’s disease behind the scenes, leaving primary live guitar tracking and touring duties to Invincible Shield co-producer and NWOBHM multi-instrumentalist Andy Sneap.

A Massive Anniversary Slate: Global Touring and “The Ballad Of Judas Priest”

The sudden surge of studio momentum coincides with a massive multimedia push designed to anchor the band’s unmatched historical legacy. Sony Music has officially locked in June 19, 2026, for the global drop of The Best Of Judas Priest, a massive career-spanning anthology celebrating over 50 million album sales and 2.5 billion career streams.

Simultaneously, the band’s definitive cinematic history is preparing for wide consumer release. The Ballad Of Judas Priest, a massive documentary project co-directed by Rage Against the Machine icon Tom Morello and acclaimed rockumentary director Sam Dunn, made a highly celebrated world premiere at the 76th Berlin International Film Festival this past February before making its North American debut at Toronto’s Hot Docs festival on April 26. The unfiltered film charts everything from Halford’s groundbreaking journey as a closeted gay icon in heavy metal to the band’s infamous 1990 subliminal message trial.

Before any new music arrives in the spring of 2027, the band will continue to cement their reputation as an elite live draw, roaring across the European continent this summer on their “Faithkeepers” headlining tour. The relentless trek features a marquee headline performance at the UK’s Bloodstock Open Air festival on August 9, followed by an intimate, highly anticipated evening at the Eventim Apollo in Hammersmith on September 21.

Check This Out – Defenders of the Faith: The Ultimate Guide to Judas Priest

FAQ: Judas Priest New Album Progress

When will the new Judas Priest album be released? According to bassist Ian Hill, the band is currently targeting a release window around March or April of 2027. The exact release date will depend on scheduling and distribution rollouts handled by Sony Music.

Is Rob Halford currently tracking vocals for the new album? Yes. The backing tracks were completed by the instrumentalists near Nashville in February, and Rob Halford has spent the past several weeks tracking his final vocal takes at a studio facility in Phoenix, Arizona.

What is the upcoming Judas Priest documentary called? The official documentary is titled The Ballad Of Judas Priest. Co-directed by Sam Dunn and Tom Morello, the film premiered at the Berlinale Film Festival in February 2026 and is scheduled for a wide commercial release later this year.

STAY LOUD: Catch the full breakdown of the Judas Priest studio leak and the latest heavy metal news on the Loaded Radio Daily Podcast with Scott Penfold. Visit LoadedRadio.com or download our free app now.

TL;DR:

Judas Priest has officially tracking the vast majority of their 20th studio album, aiming for a March or April 2027 release date. Bassist Ian Hill confirmed the instrumental backing tracks are completely finished, and Rob Halford is tracking vocals in Phoenix. Hill also revealed he is totally open to the band continuing with an entirely new lineup of younger musicians whenever he and Halford retire.

Given that legacy acts like Kiss have turned to digital avatars, do you agree with Ian Hill that Judas Priest should eventually carry on with a completely fresh roster of real human musicians, or should the band name die when the original members retire?

The post HEAVY METAL ROYALTY: Judas Priest Commences Work On “Direct” New Studio Album As Bassist Ian Hill drops Bombshell on Band’s Future appeared first on Loaded Radio.

A powerful blend of melodic punk and metal, creadfted between rage and reflection. Mixed by Christian Carvin and

German power metal titans Masterplan have officially released their brand-new single, “The Call,” complete with an accompanying music video. The sweeping track serves as the latest promotional showcase taken from the band’s highly anticipated comeback studio album, Metalmorphosis, which is set to land on 26th June 2026 via Frontiers Music Srl. Pre-orders are now available. … Continue reading Masterplan share music video for new single “The Call”

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President has announced Blood of Your Empire, the masked British rock band’s debut full-length, due Sept. 4 via Atlantic Records. The announcement is accompanied by a video for the album’s latest single, “Doom Loop.” President, which launched in 2025, operating under a deliberate cloak of anonymity, is rumored to be fronted by Charlie Simpson of pop-punk act Busted and post-hardcore outfit Fightstar. The band’s debut EP, “King of Terrors,” was released in the fall of 2025.

The band’s frontman said of “Doom Loop”: “The song is really about the strange tragedy of time — how we spend our lives chasing it, wasting it, and fearing it — only to realize its value once a moment is gone. It’s a reminder for people to be present while they are actually living their lives, not just remembering them afterwards.”

On the album, the frontman said: “‘Blood of Your Empire’ was born out of my own struggle with existential crisis and trying to make sense of belief, mortality, and humanity’s relationship with faith. Religion has inspired incredible compassion, purpose, and beauty in the world — but it has also been responsible for unimaginable suffering and bloodshed throughout history. This album lives in the tension between those two truths. Writing it became a way for me to confront the fear, confusion, and questions I’ve carried for years, and turn them into something I’m truly proud of.”

The album cover reproduces “The Battle of Poitiers,” a painting by Eugène Delacroix that hangs in the Louvre. Fresh off its first U.S. run supporting Bad Omens, President will return to North America this fall for a sold-out headline tour promoted by Live Nation. The run kicks off Sept. 4 at Brooklyn Bowl in Nashville and makes stops in Chicago, New York, Toronto, Boston, Atlanta, Denver, Seattle and Los Angeles before wrapping Oct. 14 at House of Blues in Dallas. Cenobia and Showing Teeth will support on select dates.

The post PRESIDENT Announces Debut Album “Blood of Your Empire” & Shares New Single “Doom Loop” appeared first on Sonic Perspectives.

According to License Global, Jack and Sharon Osbourne confirmed at Licensing Expo 2026 in Las Vegas that the Osbourne family has partnered with a company called Hyperreal to create what Jack described as “the digital DNA of Ozzy Osbourne — voice, image [and] movement.” The expo took place May 19 through 21 at the Mandalay Bay Convention Center. Sharon said of the project: “The things that you can do with that are just endless.”

Jack elaborated: “It’s kind of scary how it’s really very accurate. He will exist digitally as himself for as long as we have computers. Technology has come such a long way to where it’s almost drag and drop. You could shoot a template for a commercial… literally prompt what you want digital Ozzy to do in that commercial and you just drop it in. It’s that simple now.” Sharon added: “You can ask Ozzy anything, and he will answer you in his own voice — and the answers will be what Ozzy would have said. We’re going to take it all around the world. People can talk to him and he will talk back.”

Hyperreal describes itself as “powering ownership, control, performance, and monetization of identity across digital ecosystems.” The company previously created a life-sized A.I.-powered avatar of late comic book legend Stan Lee that interacted with attendees at the 2025 Los Angeles Comic Con, where visitors could pay $15 to speak to the holographic Lee and receive responses in his recognizable voice. Hyperreal has also developed digital avatars of Paul McCartney, the Notorious B.I.G. and Mike Tyson.

Sharon and Jack Osbourne appeared at a session titled “The Enduring Legacy of a Rock Icon and His Family: Ozzy Osbourne and the Osbournes” on May 20, moderated by Jens Drinkwater, head of licensing at Global Merchandising Services, and Lisa Streff, senior vice president of licensing and brand development at Global Merchandising Services.

Ozzy Osbourne, known globally as the Prince of Darkness, died July 22, 2025 of a heart attack. He built his legacy redefining heavy metal with Black Sabbath before launching a solo career that became a global phenomenon. Upcoming projects tied to his name include an Ozzy Osbourne biopic, the “Back to the Beginning” Ozzy and Black Sabbath theatrical project and the return of Ozzfest in 2027.

The post JACK and SHARON OSBOURNE Announce Partnership With HYPERREAL to Create A.I.-Powered Digital OZZY OSBOURNE Avatar appeared first on Sonic Perspectives.

Don’t we all want our person? Anthony da Costa does, too. But “Everybody Wants Their Person” isn’t really a love song. He’s found her — he’s just not sure he’s worthy of her. The longing here isn’t for another person. It’s for a better version of himself.