Blog

Kelly Osbourne has given the most open interview of her life, and at the center of it is a conversation she had with her father three days before he died. Ozzy sat her down, told her he knew he wasn’t going to be around forever, and said something she’s now repeated in public for the first time. She also revealed that in the months after losing him she fell apart completely — and that she is now eight months sober.

STREAM THE METAL BREAKDOWN DAILY NOW:

Scott Penfold covers the latest hard rock and metal news stories on today’s Metal Breakdown Daily. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.

What Ozzy told her

Speaking to Paul C. Brunson on the We Need to Talk podcast, Kelly said her father knew he was going to die.

About three days before his death on July 22, 2025, he sat her down for a talk.

Her account of what he said:

“I need you to know something… No matter what happens in this life, you can live the rest of your life knowing that there was one man on this planet that truly loved you for every single thing that you are. And that man is me.”

He reminded her he wasn’t going to be alive forever. And — this is the part that tells you he’d thought about it — he acknowledged that she had struggled with feeling loved.

She cried through the conversation. He died three days later.

Her verdict on it now: everything he told her would happen has happened. Every warning, every person he told her to stay away from, all of it.

That’s not a man saying goodbye. That’s a man doing one last piece of work for his daughter, knowing he had days left, and making sure the one thing she’d need to hear for the rest of her life was said out loud while he could still say it.

He knew

The other thing Kelly confirmed is the part fans have wondered about since July 2025.

He knew.

She praised her mother Sharon for putting together Back To The Beginning, the Black Sabbath farewell concert at Villa Park that took place seventeen days before he died.

Her words: her mum allowed him to die the happiest she’d ever seen him. All he wanted before he left this planet was one last show — one more chance to let his fans know how grateful he was for the life they’d allowed him to have, and how much he loved them. And to say goodbye.

And then the detail that recontextualises that entire evening.

She knew he was ready to die. Which is why he sang despite his doctors warning him it would probably kill him.

He did it anyway.

Kelly described watching him struggle for so long — the Parkinson’s, the injuries from years before — as insufferable. He was 76.

Anyone who watched that Villa Park footage and felt something they couldn’t name — that’s what it was. Everyone on that stage and most of the people in that stadium understood what they were watching, and he went out and did it regardless.

What happened to her afterwards

This is the part that takes some courage to say out loud, and she says it without any hedging at all.

Her opening line on it is remarkable: losing her father taught her that there is an honour in grief, because it meant she had loved, and was capable of loving, someone so much that she lost her mind.

Then the plain version. She was a shell of herself. She couldn’t speak, couldn’t eat, couldn’t do anything. Empty, broken in every way a human can be broken, and completely unable to take care of herself.

“I was at ground zero. I started drinking again. I lost my mind. I couldn’t handle it.”

And then, in the same breath:

“I can honestly say today that I’m eight months sober and I have the most incredible people around me.”

Eight months. Counted, and said in public on a podcast, which is not a small thing to do.

She’s also been clear-eyed about what it cost her socially. She closed her circle, and she lost a lot of friends — because, as she put it, people don’t like sadness. They expected her to be over it.

“I’ll never be over it. I’ll never ever be over it.”

We Recommend – The Ultimate Ranking: The Top 13 Jake E. Lee Era Ozzy Osbourne Songs

The BRIT Awards, and what people did

Worth covering because she raised it, and because what happened was genuinely indefensible.

In the middle of all of that, Kelly joined Sharon on stage at the BRIT Awards to accept a lifetime achievement award for Ozzy. It should have been a night about her father.

Instead the internet spent it commenting on how she looked.

Her account is difficult to read. She says she didn’t know what she looked like — she didn’t see it, she was so unwell that she didn’t see it. Then she saw the pictures.

And then the observation that should stop anyone who joined in:

“If I had cancer, people would be like, ‘You look great, bravo. How brave of you.’ But no, what I was suffering from was mental health issues and grief. And I got literally assassinated over something that should’ve been about my dad and his legacy.”

She said it makes her sad to see the state of the world — that people could be so cruel, and how does that make them feel good.

She also said, fairly, that it did one useful thing: it let her see what other people were seeing, and it was a wake-up call. But there was a great deal more going on in her life that she can’t talk about.

I’d add one thing to that as someone who’s worked in this industry a long time. The people who type that stuff have no idea what’s happening in the life of the person they’re typing about, and they never stop to wonder. She was burying her father. That was the whole story, and it was available to anyone who thought for two seconds.

Where she is now

Eight months sober. A closed circle. And a stated intention to stop letting other people define her.

On what she’s learned about herself: she’s good enough on her own. She doesn’t need to just be Ozzy Osbourne’s daughter. She’s her own person, she can do it alone, and she never relied on her parents for that.

And on the narrative: she’s sick of everyone else trying to control the story of who she is. She gets to say who she is. And if she gets it wrong, she’ll own it and move on.

She’s also making a three-part documentary about her grief and her mental health in the wake of Ozzy’s death — which, given how openly she’s talking about all of this already, is likely to be a considerably more useful piece of work than most celebrity documentaries.

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

The thing worth sitting with

Ozzy Osbourne spent fifty-odd years being the most cartooned man in rock music. The bat, the ants, the reality show, the mumbling, the myth. Most of the stories people tell about him are about chaos.

And in the last week of his life, knowing exactly what was coming, what he did was sit his daughter down and make sure she knew somebody had loved her completely.

He’d already done the show. He’d already said goodbye to the band and to the fans, on a stage in Birmingham, against medical advice, because he wanted to. That was the public work.

Then he did the private work. Three days out. One conversation. One sentence she’ll carry for the rest of her life.

That’s not the Prince of Darkness. That’s a dad.

TL;DR

• Kelly Osbourne, speaking on the We Need to Talk podcast with Paul C. Brunson, has revealed a conversation she had with Ozzy roughly three days before his death on July 22, 2025.
• What he told her: that no matter what happened in her life, she could live the rest of it knowing there was one man on the planet who truly loved her for every single thing she is — and that man was him.
• He knew he was going to die, according to Kelly, and acknowledged in that conversation that she had struggled with feeling loved.
• She credits Sharon with organising Black Sabbath’s Back To The Beginning concert seventeen days before his death, saying it allowed him to die the happiest she’d ever seen him.
• He performed despite doctors warning him it would likely kill him — Kelly says she knew he was ready.
• She fell apart afterwards, describing herself as a shell of herself and unable to take care of herself, and said she started drinking again.
• She is now eight months sober, with a closed circle of people around her.
• On the BRIT Awards body shaming: she noted that if she’d had cancer people would have called her brave, but because she was suffering from grief and mental health issues she was torn apart instead.
• She is making a three-part documentary about her grief and mental health.

FAQ

If you or someone you know is struggling, support is available. In the US, the 988 Suicide & Crisis Lifeline is free and available 24/7 by calling or texting 988. SAMHSA’s National Helpline for substance use is 1-800-662-4357.

Three days out, knowing exactly what was coming, and what he chose to do was make sure his daughter knew. Rest easy, Ozzy. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.

The post Kelly Osbourne Breaks Silence on Sobriety and the Heartbreaking Final Words Ozzy Told Her 3 Days Before He Died appeared first on Loaded Radio.

200 Stab Wounds is coming back in 2027 with Lowest Form, set for release Feb. 19 via Metal Blade Records. The eight-track follow-up to the acclaimed Manual Manic Procedures was produced, mixed and mastered by Arthur Rizk(Power Trip, Cavalera), with artwork from James Bousema (Municipal Waste, Frozen Soul), and finds the band sharpening its signature blend of brutal death metal, monster riffs and hooks that actually stick.

Built on the same old-school brutality that’s defined 200 Stab Wounds since day one, Lowest Form trims the fat, tightens the dynamics and widens the atmosphere without dulling any of the intensity.

Since arriving on the scene, 200 Stab Wounds has carved out a spot as one of modern death metal’s most exciting forces, driven by relentless touring, a punishing live show and songs built to stick around. With Lowest Form, Steve Buhl (vocals, guitars), Raymond Macdonald (guitars), Todd Thompson (bass) and Owen Pooley (drums) deliver their strongest batch of songs yet, mixing full-throttle aggression with sharper pacing, arrangements that stand out and a tension that only gets better on replay.

The bones are still unmistakably 200 Stab Wounds, but Lowest Form shows a band writing with more confidence across the board. The riffs land harder because they’re given space, the pacing swings naturally between chaos and quiet tension, and every track carries its own identity while still feeding into the record as a whole. Atmospheric synth interludes add texture without crowding out the guitars, and a spoken-word passage on “Symbolic In Glory” shows the band’s willingness to stretch its sound in service of the song rather than just for the sake of it. The end result stays rooted in classic death metal while pushing the band’s songwriting into sharper, more focused territory.

“We are very excited to finally release Lowest Form to the world,” the band says. “We’ve worked harder on this record than anything else in our lives. We’re really proud of this one, and we hope you guys enjoy it as much as we do. See you somewhere in the world. Here’s to a new chapter.”

That new chapter opens with lead single “Pangs Of Conscience,” a track that balances the record’s aggression with a heavier dose of introspection. Driven by the band’s usual ferocity while digging into self-reflection, accountability and growth, the song sets the tone for an album that pairs trademark heaviness with more dynamic contrast and more personal lyrics.

“This song is about entering a point in your life where you find yourself sometimes making mistakes that go against who you really are as a human, and having to find yourself again,” the band explains. “This song is one of the most dynamic musically and lyrically that we’ve done, and we’re really proud of it.”

200 Stab Wounds is:

Steve Buhl / Vocals and Guitars
Raymond Macdonald / Guitars
Todd Thompson / Bass
Owen Pooley / Drums

The post 200 STAB WOUNDS Announces New Album “Lowest Form” & Shares Lead Single “Pangs Of Conscience” appeared first on Sonic Perspectives.

The sideshow schedule for this year’s ‘Good Things Festival’ is in.

The post Ministry, P.O.D., The Devil Wears Prada, Bilmuri, The Black Queen, Etc. Announce Australian/New Zealand Headlining Shows appeared first on Theprp.com.

Butcher Babies have dropped a new single and video, “Leaving California,” out now via Judge & Jury Records, the label and production outfit built by multi-platinum producer Howard Benson (credits include My Chemical Romance, Seether, Skillet and Of Mice & Men) alongside Neil Sanderson of Three Days Grace. Benson produced the track himself, marking the fifth single pulled from Butcher Babies‘ upcoming album, Nightbloom, due Oct. 2.

“Leaving California” digs into the push and pull of walking away from a life that once felt permanent to chase something uncertain, a feeling that reads as both intensely personal and easy to relate to. The song sits at the center of an album that plays like a love letter to Butcher Babies vocalist Heidi Shepherd‘s own history, working through 25 years of relationships, heartbreak and hard lessons. It’s a record built on looking back without losing sight of who she’s become.

Shepherd shared the story behind it: “The writing of this song began in July of 2020 as I saw my industry, family, and friends all one by one leaving California, a place I truly believed would be my forever home. I built my life there. I traded in my 20-year comfort of sandy beaches, ocean air, and the walk of fame for the big unknown. During that time, I wasn’t only breaking up with California, I was moving on from a life that I am so grateful to have experienced, but needed a change. I was leaving a relationship that gave me so much for so many years, but had run dry. On the drive out of town, I found myself humming this chorus melody into my voice notes, documenting in real time, my shedding of that skin. ‘Leaving California’ is about that bittersweet moment where new beginnings seem daunting, yet, oh so, exciting.”

Benson said the song hit close to home for him too: “I really relate to Heidi‘s lyrics on ‘Leaving California.’ It’s very of the moment and timely, but the lyrics are also deeply personal. On the track, the band captures the conflicting emotions of the lyrics with their scorching performance!”

Sanderson had his own take on the new material: “I knew the sky was the limit when I heard the new Butcher Babies record. I said, ‘This is a decades-long band out there being OG’s in a time when people are worried about A.I. They are what rock is supposed to be, dangerously human.’ And ‘Leaving California’ just jumps outta the speakers for me.”

Butcher Babies will keep their 2026 world tour rolling with a U.S. run alongside Chad Gray (Mudvayne, Hellyeah) starting in late summer and running into fall, plus a stop at Louder Than Life in Kentucky. The band’s live show has long been its calling card, and it’s kept them coming back to festival stages with a loyal fanbase in tow.

Butcher Babies have spent more than a decade building a lane all their own in heavy music. Formed in 2009 and now based in Las Vegas, the band has made its name on explosive live shows and a sound that refuses to sit still, mixing thrash and groove metal aggression with big melodic hooks and a punk-rock streak.

The band’s 2013 debut, Goliath, put that raw energy on full display right out of the gate. From there, Butcher Babies kept pushing: Uncovered (2014), Take It Like A Man (2015), Lilith (2017), and the 2023 double album Eye For An Eye… / …’Til The World’s Blind. Every release has leaned further into heavier extremes and more personal songwriting without losing the hooks.

Now the band is heading into what looks like its most ambitious stretch yet. The new singles rolling out through Judge & Jury Records point toward a heavier, more focused, more vulnerable era, each one revealing another side of where Butcher Babies are headed next.

More than 15 years in, Butcher Babies show no interest in coasting on past work. Judging by the new material, whatever comes next isn’t just another chapter, it’s a fresh start.

Pulling from the crushing weight of Pantera and Slipknot as much as the genre-hopping energy of No Doubt, the band has never worked off a formula. That range has carried Butcher Babies around the globe, earning them a dedicated fanbase and stage time alongside some of heavy music’s biggest names.

Butcher Babies played their first show since co-vocalist Carla Harvey‘s departure on July 27, 2024 at the Stonehenge festival in Steenwijk, the Netherlands.

The post BUTCHER BABIES Share New Single “Leaving California” Off Upcoming Album “Nightbloom” appeared first on Sonic Perspectives.

Just last week, Anna Butterss released a new song called “Ninths.” Now, the prolific bassist is part of a new trio with jazz trumpeter John Raymond and drummer/audio engineer/mixer/producer Ben Lumsdaine. Today, they’re announcing their debut album Beginningless.

The post Anna Butterss, John Raymond, & Ben Lumsdaine Announce New Album <em>Beginningless</em>: Hear The Title Track appeared first on Stereogum.

Adelaide sludge merchants Sundowner are back, and things haven’t gotten any prettier. Three years after Lysergic Ritual dragged listeners through a feedback-soaked wasteland of nihilism and decay, the Australian quartet have announced their third full-length, Cesspool, due out October 15 via Melbourne’s Disdain Records. The band are offering the first taste of the album with […]

Don McLean is saying goodbye to the U.K. and Ireland with eight shows across May 2027, ending where his British journey started 55 years ago. Continue reading…

Grammy-nominated metalcore mainstays As I Lay Dying are gearing up for a new chapter. The band’s new self-titled record, As I Lay Dying, arrives Feb. 5, 2027 via Napalm Records.

Lead singles “Polarized” and “Retribution” give an early sense of just how wide a net the album casts. “Polarized” pushes toward a more melodic, hook-driven sound built around heavy riffs, while “Retribution” swings the other way entirely, leaning darker, faster and meaner to show off the band’s heavier instincts. Together, the two tracks bookend a record that mostly lives in the space between them. Both songs are also available together as a physical vinyl single, and the band plans to work new material into its upcoming North American dates.

As I Lay Dying on the new singles: “‘Polarized’ and ‘Retribution’ show two very different sides of what we’ve been creating. One leans more melodic, while the other is darker, faster, and heavier, with much of the record living somewhere between the two. Despite how different they are, both still feel rooted in what As I Lay Dying is. We’re excited for people to hear them and to bring this new chapter of the band on the road in February.”

On why the album carries the band’s own name, As I Lay Dying added: “Making this the first self-titled As I Lay Dying album felt significant because the record feels like both a continuation and a reset. We weren’t trying to recreate one era of the band or force the songs into a narrow definition of what As I Lay Dying should sound like. We wanted to bring together everything we naturally gravitate toward: melody, aggression, speed, heaviness, emotion, atmosphere, and big riffs, while making sure every song still felt unmistakably like As I Lay Dying.”

As I Lay Dying plays like a natural next step for the band, folding melody, aggression, speed, heaviness and atmosphere into one record without leaning too hard on any single era of the band’s history.

The album came together through a heavily collaborative writing and production process. Since forming around the turn of the millennium, As I Lay Dying has carved out a defining role in modern metalcore, moving more than a million albums worldwide, landing Top 10 chart positions on the German album charts and the U.S. Billboard 200, and shaping generations of bands with a mix of crushing heaviness, melodic songwriting, and technical chops.

As I Lay Dying pairs the band’s trademark heaviness with melodic, modern touches, swinging through a wide range of dynamics across its 10 tracks. Lyrically, the record centers on transformation, letting go and personal growth. “If I Fall” mixes raw intensity with vulnerability, working through abandonment and judgment and the fight to rise back up, while “Echoes” builds a darker, emotionally heavy atmosphere around breaking away from destructive bonds.

Chris Clancy and Tim Lambesis, bassist/vocalist and vocalist of As I Lay Dying respectively, produced the album, with Dusten Boles handling production on “No Way Out,” a track that bridges the band’s past and its next direction.

Guest vocalist CJ McCreery of Immortal Disfigurement appears on “No Way Out.” The album’s artwork comes from Corey Meyers, who has handled the band’s visual identity since My Own Grave.

As I Lay Dying returns to North America in November and December 2026 with support from The Curse Within, closing out the final dates of the “Shadows Are Security” run. Come February and March 2027, the band heads out on a full North American tour with Immortal Disfigurement in support, bringing the new album straight to fans across the U.S.

Over the past eight years, As I Lay Dying has cycled through a series of lineup changes that have left Lambesis as the sole remaining founding member. In late 2024, four members left the band in quick succession: longtime guitarist Phil Sgrosso, drummer Nick Pierce, guitarist Ken Susi and bassist/vocalist Ryan Neff.

As I Lay Dying 2026 lineup:

Tim Lambesis / Vocals
Chris Clancy / Bass and Vocals
Don Vedda / Guitar and Vocals
Bill Hudson / Guitar
Tim Yeung / Drums

The post AS I LAY DYING Announces Self-Titled Album, Drops Lead Singles “Polarized” & “Retribution” appeared first on Sonic Perspectives.

Just after wrapping up their ‘Good Things Festival’ run.

The post House Of Protection Announce Their First-Ever Australian Headlining Shows appeared first on Theprp.com.

Apotheus is a Portuguese progressive metal band blending heavy riffs, intricate rhythms and atmospheric melodies with ambitious science-fiction storytelling. Their conceptual albums The Far Star and Ergo Atlas established a narrative universe exploring humanity, artificial intelligence and the boundaries of existence. With The Complex Permutation, Apotheus bring this trilogy to its conclusion, pushing their sound […]