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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.

"It's kind of scary how it's really very accurate," Jack Osbourne marveled at Licensing Expo 2026. Continue reading…

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.

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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.

FOR IMMEDIATE RELEASE
GODLESS PREMIERE NEW VIDEO “ARCHITECT OF TORMENT” WITH DECIBEL MAGAZINE
Indian death metal force Godless have unleashed their brand new video for “Architect of Torment,” premiering through Decibel Magazine. The track marks a darker and more oppressive evolution in the band’s already devastating sound, pushing deeper into sinister territory while maintaining the precision and brutality fans have come to expect.
Decibel Magazine praised the single for its “tightly controlled aggression, jagged rhythmic turns, and suffocating atmosphere,” describing the song as “violent, focused, and mean enough to leave a mark.”
The accompanying video captures Godless performing “Architect of Torment” live for the very first time during their co-headlining appearance at the Wacken Open Air Pre-Party in Bangalore. Rather than relying on overproduced visuals or cinematic gimmicks, the band chose to present the track in its rawest form: live, loud, and completely unfiltered.
Speaking on the new release, Godless commented:
“‘Architect of Torment’ feels like a progression for us, leaning into a darker, more sinister atmosphere without losing the core of what Godless is. After over a decade of locking into a sound, it felt right to push things further and see where it goes.”
With more than a decade behind them, Godless continue proving why they remain one of India’s most relentless extreme metal exports. “Architect of Torment” showcases a band tightening the screws on their sound while continuing to evolve without compromise.
Watch the premiere now via Decibel Magazine: https://www.decibelmagazine.com/2026/05/20/video-premiere-godless-architect-of-torment/
For fans of: Decapitated, Vader, Behemoth
Follow Godless for more updates and upcoming announcements.
Press inquiries: zach@metaldevastationradio.com

  Connect with GODLESS:
https://linktr.ee/godlessindia
www.godless.in
Contact: Abbas Razvi | godlessindia@gmail.co

Back in 2023, the young Pittsburgh noise-pop greats Feeble Little Horse, one of our finest horse bands, released their sophomore album Girl With Fish. It ruled. Then, a lot of other stuff happened. They canceled a tour for health reasons. They dropped a single. Founding guitarist Ryan Walchonski left the band and then released a solo album under the name Aunt Katrina. Now, Feeble Little Hose are ready to announce a new album called bitknot, and it’s coming out May 26. Wait! Hold on! That’s Tuesday!

The post Feeble Little Horse Announce New Album <em>bitknot</em>, Out Next Week appeared first on Stereogum.

“Our teams will be on hand at stations to support customers and help them complete their journeys, without their bins or trolleys, as smoothly as possible,” says East Midlands Railway

Posted on May 21st 2026, 4:12p.m.

How many bands have tried to sound like Quicksand over the years, and how many have failed? Dozens? Hundreds? More than that, even? There are lots of reasons why nobody else can pull off the Quicksand sound quite as well, but my working theory is this: None of these kids had formative experiences at shows…

The post Quicksand – “Crystallize” appeared first on Stereogum.

TikTok comedy guy Petey USA impressed me with last year’s Chris Walla-produced album The Yips and its deluxe addendum. I summed up the sound of that project as “electronic heartland emo,” and the description holds true on new single “Kiss The City.” The song arrived in my inbox with comparisons to the Killers and the…

The post Petey USA – “Kiss The City” appeared first on Stereogum.