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Norwegian alternative metal band Musth are sharing their new EP, Jollysad, a release that leans unapologetically into discomfort, excess, and the absurd, both lyrically and musically. The EP is out Friday as a self-release.

The post EP Premiere: Musth – Jollysad appeared first on Decibel Magazine.

– May 21st, 2026 –

Photo by Christoffer Rosenfeldt

Watch/stream GRADIENCE’s “Deathwish” HERE

Danish metallers GRADIENCE present their video for their latest single, “Deathwish.”

Comments guitarist/vocalist Jakob Lærke Harris, “‘Deathwish’ is our homage to the MySpace-era songs from bands we grew up listening to like Killswitch Engage, Job For A Cowboy and The Black Dahlia Murder but with our signature rap and melodic twist. We wanted to create a song with a lot of forward momentum that gets the circle pit going.”

Watch GRADIENCE‘s “Deathwish” video HERE.

Stream the track HERE.

The usually clear-cut boundary between apocalyptic, sludgy blackened death metal and dark urban trap-rap is thrillingly pulverized by GRADIENCE. Lines of musical convention are further blurred by disarmingly emotive and intimate vocal lines, and a vibrant sound picture heaving with glacial synths and hypnotic sonic details. At first it might daunt and confuse those who like their boundaries clear-cut, but at the heart of GRADIENCE‘s brash and radical new sound is an authentic and heartwarming new friendship. In 2022, guitarist Jakob Lærke Harris and vocalist Gavin Mistry struck up an immediate creative rapport at a Copenhagen show for local deathcore heroes Cabal. Although from very different backgrounds – Jakob a visual artist and musician playing in “a popcore band,” Gavin is a main player “in different hip-hop constellations” – they quickly found common ground in an area both were keen to explore.

“It just feels completely natural for us to mix everything,” notes Harris. “We’re really up for whatever label people want to put on us. We’ve actually found it difficult for ourselves to narrow it down but we like to think of ourselves as just being a metal band. We’ve used the description ‘blackened rap metal’ just to catch people’s attention. But to me, rap is just a tool we use to convey an emotion or feel, just like we use screams and melody. We’ve found different styles of rap and singing that suit Gavin really well, and when we’re writing vocals for a song, we’re only thinking about what would be the best fit with the energy and vibe. For us, there needs to be an emotional connection in order for heavy music to resonate with the listener on a deeper level.“

Stay tuned for more news on GRADIENCE to be announced in the weeks to come.

GRADIENCE:
Gavin Mistry – vocals
Jakob Lærke Harris – guitars, vocals
Frederik Kjelstrup Hansen – drums
Patrick Petersen – bass

“Deathwish” single cover

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In the past few weeks, I have seen a whole lot of evidence of a gathering JPEGMAFIA backlash. This makes sense. At times, it has appeared that JPEGMAFIA is actively courting just such a backlash. He makes jagged, trollish music, and he carries himself like he’s the one true king of who knows what. Recently,…

The post JPEGMAFIA Releases New Experimental Rap Album <em>Experimental Rap</em> appeared first on Stereogum.

Pre-Order / Pre-Save Stories From The Verdant Vale here:
https://mobrules.rpm.link/storiesPR 

German power metal veterans MOB RULES have unveiled their brand-new single, “Above the Maelstrom,” taken from the forthcoming studio album Stories From The Verdant Vale, set for release on August 21 via ROAR – A Division Of Reigning Phoenix Music. 

With “Above the Maelstrom,” the band presents a profound, melancholic ballad of exceptional beauty. Amid the otherwise concise and dynamic overall feel of the album, the song deliberately provides a moment of calm, creating a powerful atmospheric contrast that adds an additional emotional layer. 

Listen HERE: https://mobrules.rpm.link/maelstromPR 

Their much-waited new studio offering Stories From The Verdant Vale sees MOB RULES return to the narrative world introduced with their latest album Rise Of The Ruler (2025), which was widely praised and marked a major milestone in the band’s career. The material originates from songs written during the final stages of those sessions, now presented as a special standalone release.

As vocalist Klaus Dirks recently said:
“During the final stages of completing the album, we discussed possible bonus material for the earbook edition with the label. We were reluctant to use demo versions or similar material. This motivated us to write a few new songs. We were well aware of what we were getting ourselves into, but we also wanted to challenge ourselves a little.”

The songs reveal a slightly more direct and compact approach compared to Rise Of The Ruler, while staying true to the band’s signature blend of melodic power metal, atmosphere and storytelling. Expanding the original concept from a different perspective, the material forms a natural extension of Rise Of The Ruler, while each track also stands strong on its own.

Originally conceived in part as exclusive material, Stories From The Verdant Vale will now receive a proper release on vinyl and digital platforms due to high demand. The record was mixed by Markus Teske, with artwork created by Stan W. Decker.

Pre-Order / Pre-Save Stories From The Verdant Vale here:
https://mobrules.rpm.link/storiesPR 

Tracklist:
Side A:
1. Savage Land Reprise
2. Master Of The Black Crow 
3. Masquerade Ball 
4. Above The Maelstrom 
5. Balance Of Power 

Side B (Bonus Tracks)
6. Celebration Day (2014 Version, feat. Bernhard Weiß)
7. Insurgeria (2014 Version, feat. Udo Dirkschneider)
8. Coast To Coast (2014 Version, feat. Chity Somapala)
9. End Of All Days (2014 Version, feat. Amanda Somerville)
10. Broken 

MOB RULES:
Klaus Dirks – Vocals
Sven Lüdke – Guitar
Florian Dyszbalis – Guitar
Markus Brinkmann – Bass
Jan Christian Halfbrodt – Keys
Sebastian Schmidt – Drums

About MOB RULES:

Formed in Northern Germany in the early 1990s, MOB RULES have established themselves as a constant force in melodic power metal. Known for their concept-driven albums, strong melodies and atmospheric depth, the band has built a loyal international following over the decades.

With ten studio albums to date, including the critically acclaimed Rise Of The Ruler, MOB RULES have continuously refined their sound while staying true to their roots. Their blend of classic heavy metal influences and modern production has secured them a lasting place within the genre.

Connect with MOB RULES:
Facebook | https://www.facebook.com/mobrulesband
Instagram | https://www.instagram.com/mobrulesband

Find ROAR bands online @distortion.musicgroup:
Facebook | Instagram | YouTube | Spotify

Source: C Squared Music

SiM are preparing for their appearance at Slam Dunk Festival this weekend with the announcement of their new full-length album.

Titled ‘HOOMAN AFTER ALL’, it is set for release on September 02 via UNFD. It serves as the follow-up to the band’s previous output, 2024’s ‘PLAY DEAD’.

Frontman MAH had this to say about the announcement, stating, “We are so pumped to announce that our new album HOOMAN AFTER ALL drops September 2! This album is our full-on tribute to the prime era of rock from the late ’90s to early 2000s. It feels fresh, but at the same time, there’s this weird nostalgia running through it. We’re taking this album all over the world, so get ready. See you in the pit!”

The artwork looks like this:

Whilst the tracklisting is a bit more like this:

1. FIVE TIMES DEAD (by my wallet)
2. BLiNDEYES ft. Yukina from HANABIE.
3. DALALA
4. HOLD MY BEER
5. Karen’s Son
6. The Sniffling Cats Ska feat. HEY-SMITH
7. HOOMAN AFTER ALL
8. GHOST IN TOKYO
9. ZiON feat. Masato from coldrain
10. BLACK SUBMARINE
11. FREEZE ME UP
12. Sailing On

And the latest track pulled from the record is out now as well, in the form of ‘BLiNDEYES’, which features a guest appearance from HANABIE.’s own Yukina. Cutesy, cutting and catchy as all sin, it’s going to be trapped in your head in minutes.

MAH had this to add about the track, stating, “‘Mou sumimasen deha sumimasen’ means ‘Your apology won’t fix this anymore.’ Yukina added the perfect spice to my rage track. Can’t wait to tear it up live!”

You can also check out ‘FIVE TIMES DEAD (by my wallet)’, a crushing, sporadic piece of brilliantly eccentric metalcore brilliance. Punishing, unpredictable and as catchy as heavy music can possibly get, it is full of character and charm as much as it is pit-spinning intent.

The post SiM Announce New Album ‘HOOMAN AFTER ALL’ appeared first on Rock Sound.

STREAM THE METAL BREAKDOWN DAILY BELOW:

Ozzy Osbourne may have left the physical world in 2025, but the Prince of Darkness is far from finished. In a move that feels equal parts futuristic and eerie, the Osbourne family has officially partnered with tech pioneers HYPERREAL to create what they’re calling “Digital Ozzy.”

This isn’t just a hologram meant to collect dust on a shelf; it’s a living, breathing digital DNA platform designed to ensure Ozzy can speak, move, and even interact with fans until the end of time. Whether you’re ready for a virtual Ozzfest or just want to ask a digital avatar what he thinks of modern metal, the era of the Eternal Ozzy has officially begun.

The Birth of Digital DNA: More Than a Hologram

Appearing at the 2026 Licensing Expo in Las Vegas, Sharon and Jack Osbourne pulled back the curtain (via License Global) on their partnership with HYPERREAL—a company known for creating the Stan Lee avatar that stunned fans at L.A. Comic Con. According to Jack, the technology has reached a point of “drag and drop” simplicity that allows the family to create entire commercials or performances by simply prompting the digital avatar.

“He will exist digitally as himself for as long as we have computers,” Jack shared. This “Digital DNA” captures Ozzy’s specific voice, image, and unique movements. But the family is most excited about the interactive potential. In my opinion, while this tech is undeniably impressive, there is something inherently haunting about a “prompt-based” Ozzy. Imagine a world where you can ask a digital spirit a question and he answers back—not with a canned response, but with the specific humor and attitude the real Ozzy would have used.

Check This Out – THE BERSERKER & THE PRINCE: Ranking the Zakk Wylde Era Ozzy Osbourne Albums From Worst To Best

Authenticity vs. Branding: What Would Ozzy Do?

The Osbournes have never been shy about branding, from the reality show that defined the early 2000s to the legendary Ozzfest. However, Jack admitted that keeping Ozzy’s legacy authentic is a constant battle. He recalled family arguments over putting the Osbourne name on things as simple as rubber ducks.

“I don’t want to pretend that Ozzy Osbourne was this refined poet,” Jack said during the fireside chat. “We know who he was. Everything the family does… has to reflect who he really was.” The goal for the family is to maintain that “Prince of Darkness” edge, even in a digital format.

The Future: Ozzfest 2027 and Beyond

The digital avatar is just one piece of the puzzle. Sharon Osbourne confirmed that the wheels are already in motion for Ozzfest 2027, a revival that will start with a two-day event in Ozzy’s hometown of Birmingham before heading to North America. While Ozzy won’t be there in the flesh, his digital presence is expected to play a major role in the festival’s future.

“Elvis died 50 years ago and everybody knows Elvis,” Sharon explained. “I just want that for Ozzy.” By creating this digital immortal, the family ensures that the next generation of metalheads won’t just hear about Ozzy in history books—they’ll be able to talk to him. Personally, I hope the tech captures the “mumbles” and the “God bless you alls” that made the real man so beloved.

Also – Ranking the 13 Ozzy Osbourne Solo Songs That Built a Heavy Metal Throne

FAQ: The Digital Ozzy Experience

Is this just a hologram? No. While it can be projected as a hologram, HYPERREAL’s technology is an interactive AI-driven avatar. It uses “Digital DNA” to mimic Ozzy’s voice and personality, allowing for real-time conversations.

When did Ozzy Osbourne pass away? Ozzy Osbourne died on July 22, 2025, at the age of 76, shortly after performing a final emotional farewell show with the original Black Sabbath lineup in Birmingham.

Will ‘Digital Ozzy’ perform at Ozzfest 2027? While specific performance details haven’t been released, the family has hinted at using the technology for “immersive entertainment,” which likely includes a presence at the upcoming Ozzfest revival.

STAY LOUD: Catch the full breakdown of the Osbourne family’s digital plans and more on the Ozzfest 2027 revival on the Loaded Radio Daily Podcast with Scott Penfold. Visit LoadedRadio.com or download our free app now.

Also – THE MADMAN UNFILTERED: 13 Facts About Ozzy Osbourne’s Attempted Murder, The Bat, and The Alamo

TL;DR:

The Osbourne family has partnered with HYPERREAL to create an interactive “Digital Ozzy” avatar. Using AI and “Digital DNA,” the avatar will be able to speak and interact with fans, preserving Ozzy’s legacy alongside the confirmed 2027 return of Ozzfest.

Is a digital Ozzy the best way to honor his legacy, or is this “dystopian” technology going a step too far? Let us know in the comments.

The post Immortal Ozzy: The Prince of Darkness to Exist Forever via ‘Digital DNA’ appeared first on Loaded Radio.

The post PYLAR: Spanish Avantgarde Black/Doom Metal Entity To Release Uncompromising Delyrio LP July 10th On Cyclic Law/Cavsas; Video Teaser, Single, And Preorders Posted appeared first on INFRARED MAGAZINE.

At their best, Dimmu Borgir exudes a wicked majesty, governing the forces of darkness with dispassionate contempt and an utter certainty in their ungodly mandate. This attitude, along with the confluence of grandeur and melodrama, defines what initially drew me to Dimmu Borgir years ago, and what has kept me interested despite the interminable gaps between releases. Since forming in 1993, Shagrath and Silenoz have consistently delivered symphonic black metal that tempers the unrelenting acrimony of second-wave black metal with wistful melodies, sculpting an extensive emotional palette. In 2000, Dimmu Borgir enlisted Old Man’s Child’s Galder as lead guitarist, and the three of them penned bewitching black metal for a quarter century. As with all good things, though, it didn’t last, and Galder departed in 2024 to focus on Old Man’s Child once more. Given the shakeup of a longtime winning formula, do Shagrath and Silenoz silence naysayers with Grand Serpent Rising, or are listeners saddled with Temu Borgir?¹

As ever, Dimmu Borgir discharges extravagant theater through the lens of black metal, drenching Grand Serpent Rising in haunting atmospherics and lush orchestrations. Since Death Cult Armageddon, the incorporation of symphonic elements has steadily grown more prominent, and over the years, these Norwegians have carved out a niche that exists somewhere between Gorgoroth and Nightwish. And like Cradle of Filth, Dimmu Borgir goes for baroque, though instead of luxuriating in garish excess, they compose with nuanced sophistication. Grand Serpent Rising is the culmination of the intervening albums, with Galder’s departure pushing Dimmu Borgir to fill the void he left with more deliberate arrangements. Thankfully, Grand Serpent Rising advances what yielded success for the band over the last couple decades, dredging textural depths and honing the intricate interplays of instrumentation that didn’t reach quite far enough on Eonian.

Though Shagrath and Silenoz shoulder many of Grand Serpent Rising’s performances, a handful of guests play pivotal roles in defining one of Dimmu Borgir’s best-sounding records. Longtime session and live drummer Daray gets an immediate boost, where the drumheads’ natural timbres and resonances leap out of the mix to imbue a thunderous dimension missing from Eonian (“The Qryptfarer,” “Phantom of the Nemesis”). The orchestrations and keyboards also integrate better on Grand Serpent Rising,² their presence is more intentional and interwoven in lieu of Galder’s nimble lead work. None of this should suggest that the guitars take a backseat, though, as Silenoz and Kjell ‘Damage’ Karlsen (Chrome Division)³ pluck and shred with conviction as songs demand (check the intro to “Repository of Divine Transmutation” and the solo in “Ascent”). The riffs and leads merit attention as well, with soaring melodies (“Slik Minnes en Alkymist”), crystalline cleans (“As Seen in the Unseen”), and trem-picked offensives emboldening the Serpent. All the while, Shagrath croaks (“Slik Minnes en Alkymist”) and croons (“Ascent”), supplying one of black metal’s least abrasive vocal styles.

Dimmu Borgir prevails throughout Grand Serpent Rising, although a few issues from previous albums linger. At sixty-nine minutes long, Grand Serpent Rising sprawls. To be fair, the album is dynamic and intricate enough that parts rarely (if ever) feel repetitive, and proceedings slither quicker than the length suggests. Yet condensing the runtime by ten minutes would improve the overarching impact and effectiveness. Compounding and confounding the duration is the complexity of Grand Serpent Rising’s arrangements—they richly reward those with the patience to fully engage for multiple listens, but present a hurdle for impatient or distracted listening. Still, while the album isn’t perfect, these complaints pale in comparison to the triumph Dimmu Burger devises on Grand Serpent Rising.

In the end, Dimmu Borgir has written an album that refines their sound rather than reinventing it. If you’ve listened to any of their recent albums and formed an opinion, Grand Serpent Rising won’t change it. Instead, it proves that Dimmu remains as skilled as ever at creating opulent symphoblack, regardless of how long it takes between albums or what crucial personnel changes they endure. Dimmu Borgir perseveres For all tid, and if you’re not wholly opposed to flamboyant black metal on principle, their latest awaits to stimulate, captivate, and ensure your Grand Serpent’s Rising.

Rating: Very Good!
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Nuclear Blast Records
Websites: Website | Bandcamp | Facebook
Releases Worldwide: May 22nd, 2026

The post Dimmu Borgir – Grand Serpent Rising Review appeared first on Angry Metal Guy.