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Holograms have been the future for a while now. The most recent celebrity to be immortalized via this technology is the late Ozzy Osbourne. During the second day of the Licensing Expo in Las Vegas this past Wednesday, Sharon Osbourne and Jack Osbourne revealed that they’ve partnered with the company HYPERREAL to configure “the digital DNA of Ozzy Osbourne, voice, image [and] movement” into a hologram avatar. According to Billboard, the life-sized interactive Ozzy will appear in the US and UK later this summer. Frankly, I am scared.

The post Ozzy Osbourne To Become Interactive AI Hologram, Family Announces appeared first on Stereogum.

The best of Skunk Anansie, in Skin’s own words

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The complicated history of Iron Maiden has taken a “harrowing” and controversial turn. Wes Orshoski, the acclaimed director behind the upcoming film Di’Anno: Iron Maiden’s Lost Singer, has revealed that the current members of Iron Maiden and their management officially refused to participate in the making of the documentary.

Labeled a “massive bummer” by Orshoski, the snub highlights the deep, unresolved tension surrounding the band’s original frontman. As the film prepares for its June 9, 2026, premiere, it promises an unvarnished, “warts-and-all” look at a man who spent his final years in a wheelchair, battling both physical decay and the “demons” of his own legacy.

“Not Unexpected”: The Rod Smallwood Rejection

In a revealing new interview with Billboard, director Wes Orshoski (who also helmed the definitive Lemmy documentary) didn’t hold back regarding the lack of support from the Maiden camp. After signing the contract with Cleopatra Entertainment, his first move was to reach out to the band’s long-time manager.

“Maiden manager Rod Smallwood was very kind, but immediately told me that neither he nor any of the current bandmembers would be participating,” Orshoski stated. “Obviously, it was a massive bummer, but not unexpected.”

While Steve Harris and the rest of the band appear in the film via archival footage, the refusal to sit for new interviews suggests that the “Beast” of Paul’s era remains a polarizing figure within the multi-platinum machine of modern Iron Maiden.

Check This Out – Iron Maiden Albums Ranked From Worst to Best: The Definitive 17-Album Verdict

The “Mr. Hyde” Side: Filming the Final Years

The documentary, shot between 2017 and 2023, captures Di’Anno at his lowest ebb. Orshoski describes a man of extreme duality—an “absolute sweetheart” who could transform into a “demon” without warning.

“I tried to show both sides in the film,” Wes explained. “When he was in a great mood, he could be super fun and a blast. Zero ego. But when the Mr. Hyde side of him reared its head, it could be ugly for everyone within earshot. And he was sort of unapologetic about that nastiness.”

The film even captures a raw moment where the director and Di’Anno are seen screaming at each other on camera while Paul was in a care center in Croatia. Orshoski later called Paul in Mexico to apologize, only to find the singer more interested in his lunch than the argument—a testament to the strange “grace” Paul possessed even in his darkest hours.

A Heroic Return Fueled by Fans

While the “official” Maiden camp stayed away, the film documents the incredible efforts of the fans who kept Paul alive. London’s Kastro Pergjoni and Croatian writer Stjepan Juras spearheaded the crowdfunding campaigns that allowed Di’Anno to receive the surgeries and care that U.K. doctors had reportedly refused to greenlight.

The documentary follows this journey from a wheelchair-bound nosedive during the pandemic to a heroic return to the stage, proving that despite the professional snubs, the global metal community never abandoned the voice of Killers.

Also – 13 Perfect Metal Albums With Zero Skips

FAQ: ‘Di’Anno: Iron Maiden’s Lost Singer’ Premiere

When does the Paul Di’Anno documentary come out? The North American premiere takes place at the Lumiere Music Hall Theater in Beverly Hills on June 9, 2026. This is also the official release date for digital VOD, Blu-ray, and DVD formats.

Are there other metal stars in the film? Yes. Despite the current Maiden line-up’s absence, the film features appearances by James Hetfield (Metallica), Gene Simmons (Kiss), and members of Exodus, Slayer, Megadeth, and Sepultura.

What years does the documentary cover? Director Wes Orshoski filmed Di’Anno on and off from 2017 to 2023, capturing his health decline, his time in Croatia, and his final return to live performance.

We Recommend – Best Iron Maiden 80s Albums: Ranking the Lyrical Storytelling From ‘Iron Maiden’ to ‘Seventh Son’

STAY LOUD: Catch the full breakdown of what’s happening in hard rock and metal on the Loaded Radio Daily Podcast with Scott Penfold. Visit LoadedRadio.com or download our free app now.

TL;DR:

Director Wes Orshoski reveals that Iron Maiden management and members refused to participate in the new Paul Di’Anno documentary, calling it a “massive bummer.” The “warts-and-all” film, premiering June 9, 2026, documents the late singer’s final years, his health struggles, and his fan-funded recovery in Croatia.

Is Iron Maiden’s refusal to participate a move to protect their brand, or does it disrespect the man who helped build their foundation? Let us know in the comments.

The post “A Massive Bummer”: Iron Maiden SNUBS Paul Di’Anno in Raw New Final Days Documentary appeared first on Loaded Radio.

Lately, people have been worried about Phil Collins’ health. Collins, now 75, sustained nerve damage in a 2007 spinal injury. On Genesis’ 2022 farewell tour, Collins wasn’t able to play the drums, and his son Nic took over. In an interview published last year, Collins said that he hasn’t been able to work on new music lately: “The thing is, I’ve been sick. I mean, very sick.” Today, though, Collins says that he’s generally doing better, though he won’t perform when he’s inducted into the Rock And Roll Hall Of Fame this year.

The post Phil Collins Says He Won’t Sing At His Rock Hall Induction, But His Health Has Improved appeared first on Stereogum.

Last August, Philly’s Chemical released their self-titled debut EP, which was then followed up by the single “She She” in March. That single was not a one-off. Today, they’ve announced a new EP My Little Dogma and shared another song “Saturday’s Child.” For a moment I thought I was listening to three different songs. No.…

The post Chemical Announce New EP <em>My Little Dogma</em>: Hear “Saturday’s Child” appeared first on Stereogum.

The post DEVIL’S ISLAND featuring Small Town Saviours appeared first on The Razor's Edge.

Seattle heavy pop and progressive alternative rock quartet The Home Team have announced a headline UK tour for November 2026. The major autumn run serves as a celebratory precursor to their highly anticipated live appearances at Slam Dunk Festival this coming weekend, where they are scheduled to share stages alongside the likes of President. The … Continue reading The Home Team announce November 2026 UK headline tour

Enigmatic, anonymous metal outfit President have officially announced the details of their highly anticipated debut full-length album, Blood Of Your Empire, set for release on 4th September 2026 via Atlantic Records. In tandem with the album announcement, the band has mapped out a 13-date autumn headline campaign across the UK and Europe. Operating under a … Continue reading President announce debut album ‘Blood Of Your Empire’ and autumn 2026 UK tour dates

Acclaimed biographer Jimmy McDonough’s new book Gary Stewart: I Am From The Honky-Tonks goes deep into the rough-and-tumble life of Stewart, one of country music’s unsung greats. My own first exposure to Stewart came via an incredible cover of his song “She’s Actin’ Single (I’m Drinkin’ Doubles)” on Wednesday’s 2022 album Mowing The Leaves Instead Of Piling ‘Em Up. The cover quickly became one of my all-time favorites, and it piqued my interest about the source material. So I’m excited to share this new essay from Wednesday’s Karly Hartzman discussing her love of Stewart’s music and reflecting on McDonough’s book. —Chris DeVille

The post Karly Hartzman Reviews The New Gary Stewart Biography <em>I Am From The Honky-Tonks</em> appeared first on Stereogum.

I am often late to the party when it comes to artists who may have already been around for years. I will admit that Plini and Sungazer were both bands who were really in peripheral vision only prior to this Electric Bristol show.

Plini – Sungazer

Electric Bristol – 21 May 2026

Words And Photography: Paul Hutchings

I was unsurprised that a virtuoso guitarist, whose debut album Electric Sunrise prompted Steve Vai to comment over a decade ago that “When I saw Plini play, I felt that the future of exceptional guitar playing was secure,” could have a good pop at filling one of the bigger venues in Bristol.

There are many people who find this music deeply absorbing. For me, it was a night of discovery and appreciation of true high-level ability. 

Plini (Plini Roessler-Holgate) takes the stage flanked by a trusty trio of musicians. Simon Rowe on bass, Jake Howsam Lowe on guitars and drummer Chris Allison provide the vehicle for the Australian to showcase his talent, and over the 90 minutes of the show, all four demonstrate why technically Vai was correct.

The musicianship flows beautifully, with each member of the band (apart from Allison) switching to instruments with more strings. Eight-string guitars, six-string bass? No worries. It is all here.

It is a set based on his most recent album, An Unnameable Desire, with six tracks, including two of the opening trio, the title track, and Ciel getting an airing. 

Virtuosity only counts for so much, though, and although the healthy-sized audience was soaking up every note, there were times I found my attention wandering.

It is ironic that I had spent the previous weekend in Zottegem, Belgium, lapping up post-rock bands of all shapes and sizes. Ironic because this is another outfit who avoid lyrics. But Plini has a couple of key strategies to maintain attention. The main one is getting the audience a little “weirded out.”

At various points in the evening, we have the audience making farmyard animal noises instead of applause or cheers. Of course, getting the crowd to moo is suspiciously close to a boo, something that Empyre used to make their own strategy.

At the start of the penultimate song, The Time Will Pass Anyway, there is a surreal wall of death, one side mooing and the other imitating a rooster, before a gentle yet lively mosh pit briefly kicks into life. 

It is something of a challenge to watch musicians as skilful as this. Rowe looks like he could be out for a walk on a Sunday, whilst Allison’s controlled percussion anchors everything. And Howsam Lowe is no slouch either, trading licks or solos with the main man. 

It is a lively evening, closing with Electric Sunrise to a huge ovation. Plini is a maestro, his band are exemplary musicians, and it is an honour to watch such talent up close. I may not have the attention span needed for such intricate work, but I can certainly admire and appreciate it. 

Sungazer

With 56,000 streams a month, Sungazer are hardly unknowns. Tonight they strike a nerve, which is welcomed.

Their avant-garde progressive jazz fusion is compelling, as is the between-song banter from bassist and founder Adam Neely. Having missed the band at ArcTangent in 2025, this was the perfect opportunity to find out why the band straddle genres. 

It is the dominance of saxophonist Jared Yee that stands out, although once more, the combination of Neely, drummer Shawn Crowder and guitarist Joshua De La Victoria make this such a compelling band. 

Their style is relaxed, consummate musicians going about their art with a gentle confidence. The songs are driven yet not forced, with the interplay between Neely and Crowder and the audience a true highlight. They have the audience dancing, well, shuffling to the Sungazer two-step, and there are smiles all round.

A striking uniform approach is there on stage, too. The band appear in matching tie-dye outfits, which look like whoever oversaw laundry had made a drastic cock-up.

But their skill is in making things look easy, and they do that magnificently. They even eschew the laptop and click track for the last song. There is a ceremonious closing of the equipment before they hit a very impressive cover of Return To Forever’s Hymn Of The Seventh Galaxy to close out a massively enjoyable set.

The post Plini Brings Virtuoso Chaos And Farmyard Mayhem to Bristol first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.