In an interview with Bloodstock TV host Oran O'Beirne, bassist Paolo Gregoletto of Florida metallers TRIVIUM was asked if fans can expect to see a new full-length album from the band in 2026. He responded (as transcribed by BLABBERMOUTH.NET): "It's kind of hard to say. So, obviously, we have this EP ['Struck Dead'] coming up [in October]. And for us it's been about nine, 10 months since we finished it. So it's not super new to us, but it's new to a lot of people. So, we have this stuff coming up, the tour in the States, and then we'll probably be back around next summer. But we're gonna be working on new stuff. We've already started working on new stuff. We have our space, the Hangar [studio and band headquarters], back home. So we're kind of always writing. I think tentatively maybe end of next year or 2027 is possible. But, yeah, we just wanna really take our time and think about what we wanna do on the record. And I think part of why we turned this into an EP was it felt like these songs felt good together. It gave us a little time to take a breather and think about what we wanna do, while also giving people some new music to kind of have and not just kind of leave them hanging for another year."

"Struck Dead" will arrive on October 31 via longtime label Roadrunner. It was produced by TRIVIUM and recorded with Mark Lewis at the band's Hangar Studios in Orlando, Florida. It was mixed and mastered by Josh Wilbur.

TRIVIUM guitarist Corey Beaulieu told Forever Loud about "Struck Dead":  "We had all of last year off and we were rehearsing for [TRIVIUM's recent tour celebrating the 20th anniversary of the band's second album and Roadrunner debut] 'Ascendancy'. So we'd go up a couple times a week and just play the record from start to finish. And then we knew, 'cause we had the studio construction [at Hangar] going on, we knew by the time that the studio was finished, we obviously wanted to take it for a test run and make sure everything was working properly. So we were just, like, 'Hey, let's just write a…' Originally it was, like, 'Let's just write a song so we have something to record.' And then it was kind of while we were doing this anniversary tour, [we wanted to] drop a song in the middle of it to kind of use, I guess, the nostalgia to kind of hype up new music for eventually a new record. And then when all the plans changed — we wrote the song, but we had so much time, we ended up, like, 'Oh…' [We] wrote another song and we wrote another song, and next thing we had three songs and so we just recorded 'em all. And we weren't really sure what we were gonna do, if we were just gonna release like one song at a time kind of down the line as standalone singles. And then once the touring plans changed, that kind of a changed our mindset of what we should do with the music. And it turned into a three-song EP instead of just a song here or there. So we kind of made it a little mini release to hold people over till we have the time off to dive into the next album."

TRIVIUM performed "Bury Me With My Screams", the lead single from "Struck Dead", live for the first time at Bloodstock Open Air on August 8 after the song was officially released earlier that day. Corey told Forever Loud about the response to the track: "[It] seems like a lot of people have been listening to it, checking it out. So hopefully there'll be a couple people in the crowd [at Bloodstock] that heard it before they showed up here.

"When we wrote it last year when we were rehearsing, we've probably been playing that song for almost a year or so," Corey revealed. "Playing it in the set, it kind of feels like an old song to us at this point, since we played it so many times up until this point. So, it'll fit right in real naturally with the rest of the songs in the set."

When "Bury Me With My Screams" was first released, Gregoletto said in a statement: "In 2023, we decided it was finally time to take the next step with the Hangar space we purchased — it was time to turn it into a full studio. We brought in designer Roger D'Arcy, thanks to an introduction from Mark Lewis, and set out on a year-long build. While construction was underway, we were deep in rehearsals for 'The Poisoned Ascendancy' tour, celebrating 'Ascendancy''s 20th anniversary. What started as an idea to release one single during the tour quickly grew into two, then three, as we kept writing while we were waiting for the build-out to be completed."

He continued: "During that time, the energy of revisiting 'Ascendancy' started bleeding into these new songs. Matt [Heafy, TRIVIUM guitarist/vocalist] poured a lot of his personal struggles from the past year into the music, and we used the writing process as a cathartic release. Those sessions evolved into a three-song EP that we're incredibly proud of, and we can't wait to debut 'Bury Me With My Screams' live at Bloodstock Open Air festival."

"Struck Dead" EP track listing:

01. Bury Me With My Screams
02. Struck Dead (Pain Is Easier To Remember)
03. Six Walls Surround Me

TRIVIUM will embark on "The Ascend Above The Ashes" trek that kicks off October 31 in Myrtle Beach, South Carolina and runs through December 14, with an epic hometown show in Orlando, Florida. Special guests are JINJER and HERIOT.

TRIVIUM and BULLET FOR MY VALENTINE recently teamed up for "The Poisoned Ascendancy" tour during which the two bands celebrated the 20th anniversary of "Ascendancy" and "The Poison" albums, respectively, by playing them in full.

Produced by Live Nation, the North American leg of "The Poisoned Ascendancy" kicked off on March 30 at PNE Forum in Vancouver, British Columbia, Canada, making stops across North America in Las Vegas, Chicago, New York and more before wrapping up in Raleigh, North Carolina at Red Hat Amphitheater on May 18.

Released in March of 2005, TRIVIUM crafted a classic in the form of "Ascendancy". It concluded 2005 as Kerrang!'s "Album Of The Year," went gold in the U.K., and has since surpassed global sales of 500,000 copies. Opening the main stage of Download festival that year, the Floridian four piece — barely out of their teens — delivered a set that left all who witnessed it in no doubt that they were looking at future legends, with Kerrang! readers later voting it as the tenth best gig of all time.

"Ascendancy" ignited a string of six consecutive Top 25 debuts on the Billboard 200 and five straight Top 3 debuts on the Top Hard Rock Albums chart, culminating on 2017's benchmark "The Sin And The Sentence". That album elevated the group's total stream tally past a quarter of a billion. Additionally, "Betrayer" received a Grammy Award nomination in the category of "Best Metal Performance". Unanimous acclaim followed from Decibel, Loudwire, Ultimate Guitar, MetalSucks and Metal Hammer, who dubbed them "quite simply one of the best bands in modern metal." 2020 brought LP "What The Dead Men Say". The album was produced by TRIVIUM and Josh Wilbur and debuted at No. 35 on the Billboard 200; at No. 2 on the Top Current Albums chart, and at No. 3 on both the Hard Rock Albums chart and Top Rock Albums chart.

October 26, 2024 saw Portuguese metallers MOONSPELL perform their first-ever symphonic show, dubbed "Opus Diabolicum", at the MEO Arena in Lisbon, Portugal's capital city. The band made history at this unforgettable live event, adding another magnificent chapter to both metal music made in Portugal and their very own legacy. Now, a year later, this monumental event can be yours to view anytime, available in DVD/Blu-ray, two-CD, black and colored vinyl and digital formats via Napalm Records on October 31, 2025.

On "Opus Diabolicum", MOONSPELL revisits its classics and its bombastic album "1755" at a one-off, exclusive show and its biggest production to date. The heavy metallic power of the dark metal pioneers meets the classical magnitude of the 45-piece Orquestra Sinfonietta de Lisboa (Lisbon Sinfonietta Orchestra) — one of Portugal's finest orchestras — conducted by maestro Vasco Pearce de Azevedo.

A new video clip for the MOONSPELL anthem, "Vampiria", is premiering today below. Captured live at the "Opus Diabolicum" show, it's a haunting tribute to the gothic roots of MOONSPELL, that now rises once more in full symphonic glory, unleashing dramatic orchestration and vampiric grandeur like never before!

MOONSPELL frontman Fernando Ribeiro comments: "'Vampiria' is a MOONSPELL classic, as old as time itself. It was a first choice for us because it's actually one of the most remarkable arrangements of the whole show, which granted new blood and life (aren't they the same?) to a timeless, eternal song. See it risen from the dead with your own eyes, after 'travelling oceans of time'."

Regarding his vision for "Opus Diabolicum", Fernando said: "I have never been the one to push MOONSPELL into an orchestral direction. I mean, like any fan, I can recognize the impact classical had over heavy metal (Quorthon, from BATHORY, used to quote Wagner as his favorite 'band') and in my musical collection Mussorgsky, Prokofiev and Ravel could be found, shoulder to shoulder with the aforementioned BATHORY, CELTIC FROST, SARCÓFAGO or [IRON] MAIDEN. But I wasn't a fan of the metal-meets-orchestra efforts myself and when I approached Jaime (Gomez Arellano) to mix this beast, I asked him: have you heard [METALLICA's] 'S&M' and other 'live-with-an-orchestra' metal bands' albums? We want nothing like that!

"This is work of passion: truly the work of the devil (opus diabolicum): imperfect, unprocessed, untamed. A release made by friends to all the friends we have around this goth forsaken world and that in an arena in Lisbon or in a sweaty club in Texas, keep the spell going, until we are no more."

"Opus Diabolicum" track listing:

01. Tungstennio (CD + DVD/Blu-ray only)
02. Em Nome do Medo
03. 1755
04. In Tremor Die
05. Desastre
06. Ruinas
07. Breathe (Until We Are No More)
08. Extinct
09. Proliferation
10. Finisterra
11. Everything Invaded
12. Scorpion Flower
13. Vampiria
14. Alma Mater
15. Fullmoon Madness

In a recent interview with Greece's Keysmash magazine, Ribeiro spoke about a possible follow-up to MOONSPELL's 2021 album "Hermitage". He said: "Well, material we never stopped writing. But I had a kind of dilemma, because we are 30 years old as a band. This year, it's 30 years of [MOONSPELL's debut album, 1995's] 'Wolfheart', three decades of 'Wolfheart'. Next year is gonna be three decades of [MOONSPELL's second album, 1996's] 'Irreligious'. So I entertained the idea of why not be a legacy band? Why not play some shows? What's the point of making new music? I think that's a question that every musician, every honest musician, has to answer. For instance, when I see METALLICA struggling with a new album… Personally, I didn't like [METALLICA's '72 Seasons'] — I mean, not liking, but I didn't [think] it was like such a special album. I like 'Hardwired[... To Self-Destruct]' but '72 Seasons', I think, 'Well…' But I understand, as a musician, that sometimes, even if you are the biggest band in the world, you are not inspired and you just do it for reasons that I want to understand. So we kind of delayed and delayed the album."

He continued: "'Hermitage', the last [MOONSPELL] album, was from 2021. We had our label saying, 'What's up with the new album?' But we did touring, we did the theater acoustic show in Portugal, we did the orchestra show in Portugal. That's all coming out. And I know it's very romantic sounding, but we had to feel the muse calling. And I went to Pedro [Paixão, MOONSPELL keyboardist] and Ricardo [Amorim, MOONSPELL guitarist], because we write the songs, and I said, 'I think it's time for a new album. I think it's time to man up and do something.' And I think that this is gonna be one of the most important albums of our lives. That's what I'm writing. I wrote a lot of lyrics, like 30 lyrics or more. We wrote a lot of songs. We are now cherrypicking what's coming in the album, what's not coming in the album [and what] can be used later on. And I think we're gonna have a new MOONSPELL album in the first semester of 2026."

Regarding the musical and lyrical direction of the new MOONSPELL material, Fernando said: "It's still in the early days. It's not going to be progressive like 'Hermitage', 'cause we've done that before. But I want make an album that is about pure feeling and an album that will grab [people] immediately as the sound of MOONSPELL. So, as I do more the lyrics than the music, I'm not writing about politics or society, money or ambition. People have this every day in their news, in their feed, so I'm writing a very romantic, even gothic album about love, death, what are we doing here? You know, more existentialism. And I think that's the direction we want to go now. So, wish us luck, because I think we'll need it. There's so many bands coming, but I think it's high time and also as a kind of a reward to the fans that have waited so much for the new album. I think we never spent so much time in between albums, so it's gotta be special. And for us too, because otherwise why make something just to fill the calendar when you have albums like 'Wolfheart', 'Irreligious' or [2015's] 'Extinct'? So the stakes are high. So we have to be on par with the stakes."

In the spring of 2023, MOONSPELL completed the "American Full Moon" 30th-anniversary trek.

Three years ago, MOONSPELL canceled its summer 2022 North American tour due to "unsolvable logistic and transportation problems".

In September 2022, MOONSPELL released a very special Blu-ray/DVD and album, a live performance of their latest studio album, "Hermitage", with "From Down Below - Live 80 Meters Deep" via Napalm Records.

MOONSPELL's 13th studio album, "Hermitage", was released in February 2021 via Napalm Records. The LP was recorded, mixed and mastered by Jaime Gomez Arellano (PARADISE LOST, PRIMORDIAL, GHOST, SÓLSTAFIR) at the Orgone Studios in the U.K.

In 2020, MOONSPELL parted ways with original drummer Miguel "Mike" Gaspar and replaced him with Hugo Ribeiro (no relation to Fernando Ribeiro).

MOONSPELL is:

Fernando Ribeiro - Vocals
Ricardo Amorim - Guitars
Pedro Paixão - Keys
Aires Pereira - Bass
Hugo Ribeiro - Drums

Photo credit: Rui Vasco

In a new interview with Rev. Tom Brice of Sportzwire Radio, SYMPHONY X bassist Mike LePond spoke about the progress of the songwriting sessions for the band's long-awaited follow-up to 2015's "Underworld" album. He said (as transcribed by BLABBERMOUTH.NET): "We are getting closer. And, yeah, the fans, they're clamoring for a new album. I can't blame 'em. It's been 10 years. If JUDAS PRIEST didn't come out with an album for 10 years, I'd be pretty mad too. We have been writing it. We have most of the parts kind of together. Now it's just a matter of recording it, really. So, it's definitely coming. And if things stay on track the way they are, we're thinking next year [it will be out], so we're excited. I mean, the stuff sounds really, really cool. And believe me, I want you guys to hear it as soon as possible."

Regarding the musical direction of the new SYMPHONY X material, Mike said: "Well, the 'Underworld' record, I felt, encompassed a bunch of SYMPHONY X styles. I think the new record, judging from what I've been hearing, it's gonna even more kind of be like a summary of SYMPHONY X's career, as far as our musical directions. 'Cause we went on a few directions. There was a point in our career where we got noticeably heavier and a little more straighter."

LePond went on to elaborate on the reasons for the delay in putting out new SYMPHONY X music, explaining: "With SYMPHONY X, there's tremendous pressure on us to consistently do great records. Our fans, they're really diehard fans and they're so supportive and they expect only excellence from us. So that's always in the back of our mind. So, if we're working on something and maybe it's good, but we're not sure, we won't use it. We're only gonna put songs on the record that we feel are excellent and worthy of the fans. So absolutely that plays a role. But the other things too — you had COVID, and in and out of touring. Once you start touring, then you forget about the writing and then you come back to it and then you forget where you left off and you start again."

Early next month, SYMPHONY X will embark on a summer/fall 2025 North American tour with Finnish metallers SONATA ARCTICA. The trek will launch on September 4 in Stroudsburg, Pennsylvania and conclude on September 29 in Red Bank, New Jersey.

During this year's 70000 Tons Of Metal cruise, LePond told Metal Anthology about the band's follow-up to "Underworld": "[We've been working on new material for] many years. A bunch of years. We are working on a new album, and it's gonna have all the cool stuff you guys like. It's gonna have the big symphonic stuff, it's gonna have the heavy riffs, it's gonna have the classical [elements as well]. It's gonna have all that stuff in there."

He continued: "When we write, it just takes time, because [SYMPHONY X guitarist and main songwriter] Michael Romeo, his rule [is] there's no filler songs, no songs that are, like, 'Ah, it's not bad.' And it goes in the garbage. They've all gotta be where at least we think they're all great. They all have to be that.

"The fans are, like, 'Hey, it's been so long.' But we promise you it's coming," Mike added. "It's gonna be good."

Asked if there will be a longer song on the upcoming SYMPHONY X album, considering "Underworld" contained mostly "shorter, more straightforward" tracks, Mike said: "We're still thinking where we wanna go with that. There's gonna be something crazy epic on it. We just don't know how we're gonna present it yet. But with all the newer technology for the symphonic stuff, it's gonna be monstrous."

LePond added: "So, yeah, we're excited to finally do it again. When it's time to record the bass, I'll been sweating for days, but once it's done… I have this routine. Once I finish all my bass tracks and I'm just so tired and wiped out, I go to McDonald's [fast food restaurant chain]. That's the only time I go, and it's, like, 'Ah.' My comfort."

Last October, Romeo told the "Coffee With Ola" podcast about the upcoming SYMPHONY X LP: "With us, it's not like, 'Oh, yeah, we're just gonna write one — how do you say? — single, and then just have a bunch of filler. It's, like, everything's gotta be as good as it can be. So, yeah, it gets harder and it takes longer. Then you throw in COVID and a bunch of other things, and then it's just, like, 'Oh, shit.' Now it's, like, I don't know — eight years or something. I lost track.

"What's different now than in the past is that we could take a bunch of time off. There would be some royalties from CDs back in the day coming in and kind of float on the downtime and really get the record done and then come back out [with a] new record, tour. So now it's, like, well, that money's gone. So we have to tour a little bit, keep things going, work on the record, go back out. So it's been like that for a while. And for me — I do most of the writing, so for me it's hard because you're sitting in the studio for whatever month, 'I got this idea,' and you're trying to put these things together, and it's, like, 'Oh, we've gotta go on tour now.' All right, cool. We do our thing. And then you come back, and it's, like, 'What the fuck was I working on again? Was this riff here?' And so you're trying to arrange all this stuff. And then you're, like, 'Oh, I've got all these new ideas.' So then you keep adding. And then after a long period of time, it's, like, 'Oh my god, there's so much stuff I can't even manage it now.' Plenty of material — like three hours of stuff — but now it's actually making sense."

Elaborating on when SYMPHONY X might be done composing the material for the next album, Michael said: "It's gonna take some time to organize everything. It's not like there's nothing there. It's [not], like, 'Oh, man, we have to start from scratch.' There's quite a bit. It's actually overwhelming. I never remember being this overwhelmed by the amount of stuff, 'cause over the last year and a half or whatever, every time there was a break, it's, like, 'Okay, I'll write something.' I didn't stop and [go], like, 'Well, let me finish this.' It was, like, boom, 'I got all these ideas,' and I just kept going. So now it's, like, all right, no more writing. Now more arranging."

SYMPHONY X completed an extensive tour behind "Underworld" in 2016, including a U.S. run of shows with OVERKILL and a pair of headlining performances in Australia.

In July 2017, SYMPHONY X singer Russell Allen and his ADRENALINE MOB bandmates were involved in a crash that killed the latter group's bassist, David Zablidowsky.

In 2019, Allen — who has toured with TRANS-SIBERIAN ORCHESTRA since 2013 — was injured during the rehearsals for TSO's annual winter trek and was unable to make the tour.

Romeo released his latest solo album, "War Of The Worlds Pt. 2", in March 2022 via InsideOut Music. The record featured guest vocals by Dino Jelusick (WHITESNAKE, TRANS-SIBERIAN ORCHESTRA).

Industrial metal legends DIE KRUPPS have inked a multi-album deal with Dependent Records. The German band's new album will be released in 2026, and a large part of their catalog will also be reissued in digital and physical formats via the label.

DIE KRUPPS's Jürgen Engler comments: "We're coming full circle and that is a good thing! Our first contact with [Dependent director] Stefan Herwig goes back about 30 years, before he founded Dependent Records. Back in the days, he hooked us up with FRONT LINE ASSEMBLY for the compilation series 'Remix Wars' and put us on a tour with them in North America in 1996. Now in 2025, the time has come for DIE KRUPPS and Dependent to join forces in order to write the next chapter in our long history. It somehow feels like a homecoming — a great omen for the successful collaboration that we are very much looking forward to!"

Ralf Dörper adds: "With the exception of a short detour at a major record company during the early days of our career, we have always been with independent labels. Therefore it is quite logical that we are joining Dependent Records in the 45th year of our band history. Particularly as the label is run by a veteran and companion of many years such as Stefan Herwig, who has continually brought new impulses to the scene."

Stefan Herwig states about DIE KRUPPS's addition to the label: "DIE KRUPPS are a musical legend, perhaps even the most traditional electronic band of their scene to be named in the same breath as DAF and EINSTÜRZENDE NEUBAUTEN. What sets them apart from many of the peers is the undeniable fact that they are still very much active and going strong. This is exemplified by their highly successful U.S. tour with MINISTRY and NITZER EBB, where the band enjoyed a phenomenal reception. We are electrified and thrilled to begin this cooperation."

DIE KRUPPS have left a massive mark on the German electronic music scene and also created a massive impact around the globe. And they are not done with continuing their work at all. Although in the 45th year of their fascinating career, DIE KRUPPS are ready to take on the world with their forthcoming new studio album.

DIE KRUPPS were formed in Düsseldorf in 1980 by frontman Jürgen Engler and bass player Bernward Malaka, who had already played together in MALE — one of the first German punk rock bands. They were soon joined by electronic musician Ralf Dörper. At their core a German industrial and EBM band, their name was inspired by the famous Krupp steelworks, symbolizing industrial revolution, massive firepower, and the fusion of machine and music that defined the band's style. Blending elements of electronic rhythms, heavy metal guitar riffs, and socio-political themes, DIE KRUPPS were pioneers of several genres including industrial, EBM and industrial metal.

The early works of DIE KRUPPS, such as the debut album "Stahlwerksynfonie" (1981),were heavily experimental, drawing on industrial noise and mechanical soundscapes. With their sophomore full-length, "Volle Kraft Voraus!" (1982),and even more so with the previous single "Wahre Arbeit - Wahrer Lohn" (1981),the Germans delivered a musical blueprint for the developing EBM scene and its leading acts such as FRONT 242 and NITZER EBB.

During the 1990s, DIE KRUPPS incorporated more metal-oriented guitars, leading to a crossover industrial-metal style heard on albums like "I" (1992) and "II - The Final Option" (1993). Their blending of EBM sequences and heavy guitars influenced the German NDH (Neue Deutsche Härte) scene including RAMMSTEIN. This period gained DIE KRUPPS international recognition and collaborations, while the band also included EXODUS guitarist Lee Altus in their lineup at the time.

After a hiatus in the late 1990s, DIE KRUPPS reformed in the 2000s, resuming touring and releasing new material. Later albums, such as "The Machinists Of Joy" (2013) and "Vision 2020 Vision" (2019),reaffirmed their position as a longstanding and influential act in the industrial and EBM scenes.

For 45 years, DIE KRUPPS have been synonymous with innovation, energy and uncompromising attitude. What Jürgen Engler as the driving creative force and composer and the visionary lyricist and sound artist Ralf Dörper have created is more than just music — it is a movement, a soundtrack for rebellion and change that has blurred the boundaries between EBM, industrial and metal. They are now joined by drummer extraordinaire Paul Keller and as the latest addition, guitarist Dylan Smith, who is well-known from his time with the legendary THE SISTERS OF MERCY. Smith brings a breath of fresh air and a special dynamic to the group, taking the band's already powerful sound to a new level.

DIE KRUPPS is:

Jürgen Engler - vocals, keyboards, guitars, steelophone
Ralf Dörper - keyboards
Dylan Smith - guitars
Paul Keller - drums

In a new interview with Meltdown of Detroit's WRIF radio station, JUDAS PRIEST singer Rob Halford reflected on last month's passing of legendary BLACK SABBATH frontman Ozzy Osbourne. Rob said (as transcribed by BLABBERMOUTH.NET): "Oh, man. I got a call the day [Ozzy's death] happened. I just put the phone down in my hotel room in — I think I was in Leeds, in England, and I just curled up in a ball and bawled my eyes out for hours. I just couldn't believe it. I still can't believe it now. I'm still grieving, like so many people. And then we had a show the next day. So, God, how do you process all of this tragedy, all of this love, because I've never seen such an outpouring of love. And we did the show and we came to the song that we'll be playing when we come to see you guys — it's called 'Giants In The Sky', from the 'Invincible Shield' album — and that song talks about people that we love in music that have moved on to this beautiful place. We reference Lemmy [MOTÖRHEAD] and Ronnie [James Dio] and Paul Di'Anno [IRON MAIDEN] and Jill [Janus from] HUNTRESS and Chris [Cornell from SOUNDGARDEN] and all of these greats, Janis Joplin, Freddie Mercury. And then for that show we added Ozzy at the end. And I said to everybody, this just so much to try and comprehend and so tough, but Ozzy would say, 'Let's party. Let's rock and roll. Let's live it up. Let's enjoy.' That was in his heart, his soul, and his spirit. Whenever we did shows together, he would always say that to me after, 'Did you have a good time?' 'Yeah. Yeah.' 'Did you have a good time? Did you really have a good time?' The stuff he pushed out from himself to his fans to everybody, the generosity, the caring, all of the incredible things that he did in music, he was the embodiment of kindness in that respect.

"So it's great that we are talking about him now and we should keep talking about him forever, like I always talk about Ronnie, I talk about Lemmy," Rob added. "These are all friends of mine. And we have to celebrate — we have to celebrate. That's the way of helping you through the grief. You think about the memories, you think about the joy, you think about the good times, and that's what we will always do with Ozzy."

Asked if he remembers the last time he had a conversation with Ozzy or the last time he was in contact with him, Rob said: "No. We used to text occasionally. 'Cause he's another guy I was in awe of. I'm still in awe of Alice [Cooper]. [Laughs] 'Oh my God. He's Alice Cooper.' And I used to feel the same whenever I was in Ozzy's presence, because he had this larger-than-life personality. It'd been a while since we've been in touch. But, again, I just have the wonderful memories of the two opportunities I was able to sing for him with SABBATH. And then this recent opportunity to cover 'War Pigs' [with PRIEST], which we still play at the start of our show, which is one of the greatest metal songs ever written. So that connection will never be severed in that respect."

JUDAS PRIEST paid tribute to Ozzy during the band's July 23 concert at Scarborough Open Air Theatre in Scarborough, United Kingdom. Introducing the aformentioned song "Giants In The Sky", Rob acknowledged the BLACK SABBATH frontman's death a day earlier, saying: "Okay. Look, it's been tough, the last 24 hours, right? It's been tough. But he would want us to be doing this. He would want us to be together, he would want us to be having a good time, which is what we're doing right now. We love you, Ozzy."

After a brief pause amid chants of "Ozzy! Ozzy! Ozzy!", Halford continued: "This next song is all about him and all of the other greats that we've lost. Their music lives forever. They used to be down here on the earth plane. Now they're in the sky plane, as we call it. This is 'Giants In The Sky'."

During the song — a tribute to musicians now gone — the screen displayed images of the likes of Ronnie James Dio, Lemmy, Freddie Mercury, Taylor Hawkins and Christine McVie, finishing on two gigantic images of Ozzy.

A few hours after Ozzy's passing was announced on July 22, JUDAS PRIEST released the following statement via social media: "Our hearts are broken like millions around the world. Words can't express the love and loss we are all feeling.

"Sharon, may God surround you and your beautiful family with love, peace and light.

"Ozzy, you will never leave us — your music is eternal. God blesses you now more than ever after you blessed us all through your magnificent life.

"Rob, Glenn, Ian, Richie & Scott".

Earlier in July, PRIEST released a cover of BLACK SABBATH's "War Pigs" ahead of the "Back To The Beginning" concert, which marked the original SABBATH lineup's last-ever performance.

PRIEST was unable to appear at "Back To The Beginning" on July 5 in Birmingham, United Kingdom because the band was scheduled to perform at SCORPIONS' huge hometown 60th-anniversary concert at the Heinz Von Heiden Arena in Hannover, Germany on the very same day.

This past May, Halford said that he was "absolutely gutted" to have to miss the last BLACK SABBATH concert. Rob told Metal Hammer: "I had no idea [the SABBATH show] was happening. It all got announced and was a big deal — [the Hannover concert featuring] SCORPIONS and PRIEST — and suddenly I get this phone call [from Ozzy Osbourne's wife and manager Sharon Osbourne]: 'Robbie, I know you've got this gig with SCORPIONS, but could you consider coming over to do a thing with Ozzy and the guys. He'd love to see you.'"

Halford explained that trying to make both performances happen would be "dangerous", adding: "Even with a private plane, there's a word called 'technical', where something could go wrong, or the weather that time of year could cause problems… I was absolutely gutted."

Acknowledging that K.K. Downing was going to perform at the Villa Park concert, Halford said that the founding PRIEST guitarist would represent "the spirit of the band".

In August 2023, Halford picked BLACK SABBATH's classic 1970 self-titled debut album as one of the albums he'd be willing to listen to in perpetuity if he found himself stranded and alone on an island. He said: "I would have to go with BLACK SABBATH, the original 'Black Sabbath' album that I think is the motivator for all great things in heavy metal."

Back in 2020, Halford broke down his top 10 favorite albums in an interview with Rolling Stone and explained how they helped make him who he is. Among the records included on the list was BLACK SABBATH's debut. At the time, Halford said about his choice: "They were local guys from the same neighborhood, the same neck of the woods as PRIEST. We literally grew up together, inventing this great music that we love and cherish so much called heavy-metal music.

"I chose the 'Black Sabbath' album just because, like so many bands, your first one or two records really establish who you are as a band," he explained. "It's a bit like PRIEST with 'Rocka Rolla' and 'Sad Wings Of Destiny'; 'Sad Wings Of Destiny' becomes the one we love so much because it becomes defining. With 'Black Sabbath', here was the first example of what heavy-metal music should sound like, just the texture, the tone, the structure of all of the material, Ozzy's very unique voice. It's just become a very important record in the discography of BLACK SABBATH."

Halford joined SABBATH for two gigs to support Ozzy Osbourne on his last shows for the "No More Tours" tour in November 1992 in Costa Mesa, California after SABBATH's singer at the time, Ronnie James Dio, refused to take the stage. Rob also performed with SABBATH members Tony Iommi, Geezer Butler and Bill Ward on August 26, 2004 at the Camden, New Jersey stop of Ozzfest after Ozzy came down with an "attack of bronchitis" and was unable to take part in the concert.

Asked which SABBATH tune he'd most enjoying performing with the band, Halford told The Georgia Straight: "Ooo, that's a good question. Um, I'd probably say the actual song 'Black Sabbath', which is, to me, the most evil song that's ever been written. [Laughs]. It's very fucking scary. There's something very malevolent about that song. It's just the whole — it's the way it starts, and then it's almost deathly quiet, and then that opening line: 'What is this I see before me?' You know, I just get goosebumps thinking about it now. And when I sang that song live, it makes you feel really… Wow… I can't describe it. It's just very overwhelming, the emotion is very overwhelming. And when you see Ozzy singing it you can see him change, you know, his whole demeanor, he just changes as a person to sing that song. It's really spooky."

According to BBC News, BLACK SABBATH's farewell concert made a total of £33.8 million (approximately $45.5 million).

New figures from the University of Birmingham show £27.6 million (approximately $37 million) of the total amount raised by the "Back To The Beginning" event at Villa Park in Birmingham, United Kingdom was retained in the West Midlands region, which consists of seven metropolitan boroughs, including the city of Birmingham.

Dr. Matt Lyons, who conducted the analysis, told BBC News: "As regional economists from the University of Birmingham, we thought we would do our bit to honor Ozzy's legacy by estimating the economic impact of his last gig.

"The impact of the Prince Of Darkness obviously goes far beyond the financial impact his gigs and TV shows have netted.

"Ozzy is a global legend, and his gift of incredible music, and now his final economic impact, will go on to benefit his home city far into the future."

42,000 tickets were sold for the concert, with 20% of them being purchased by international fans, paying prices ranging from £197.50 to £834.

Last month, Sharon shot down as "ridiculous" reports that "Back To The Beginning" raised nearly $200 million.

In the days after "Back To The Beginning", the event's musical director, Tom Morello, shared an Instagram post stating that roughly $190 million (140 million British pounds) would be donated to charity from the concert. Billboard magazine later also reported that the event had raised $190 million, while The Guardian reported that the pay-per-view livestream of the event reached nearly six million fans, generating an estimated $150 million in revenue. At the time, it was expected that the funds would be distributed equally to Birmingham Children's Hospital, Acorn Children's Hospice and Cure Parkinson's — an organization dedicated to finding a cure for the disease Osbourne had lived with since 2019.

In an interview with music industry trade publication Pollstar, conducted on July 17 — just five days before Ozzy's death — his wife and manager said that claims of "Back To The Beginning" raising nearly $200 million were highly inaccurate.

"One of the things that's frightening me is all this false press about [how], we've made $140 million and all of this, and I'm like, God, I wish we could have, for one gig," Sharon said. "It's just ridiculous, the different stories. I went on the internet the next morning and it was like, $140 million, $160 million. And I'm like, Where does this stuff come from?"

"It takes a really long time [to arrive at the final number that will be donated to charity], because we've had all of the bands that we had come in and their expenses, and it'll take a good six weeks to get the final number," she continued.

When Pollstar writer Ray Waddell noted that "these reports are not helpful for the Children's Hospital to see, waiting for their $190 million", Sharon responded: "Oh my God! It's the Children's Hospital, a children's hospice, and Parkinson's research. Everybody thinks that they're going to cure everything with this much money, but it's not the real world."

Sharon went on to say that the concert, which also featured a solo performance from Ozzy, as well as appearances by METALLICA, SLAYER, PANTERA, GUNS N' ROSES and TOOL, among many others, was "a huge success." She said: "It was a phenomenal event. It was the first time, I think, that anybody's gone into retirement and done it, where the show is streamed and it goes to charity. So it's the first time anybody has said goodnight like that, it's the perfect way, when you've had such a long career, to end it. I never wanted Ozzy to just disappear without some big event."

Billboard reported last month that the concert was watched by 40,000 ticketholders and 5.8 million individuals online, with each of the above-mentioned charities also raising tens of thousands of pounds in additional donations by raffling off tickets to the show, auctioning off iconic art and band photographs donated by BLACK SABBATH, and through individual contributions from fans as they streamed into the concert, which took place at Villa Park in Birmingham, England.

At "Back To The Beginning", Ozzy played a five-song set with his solo band — consisting of guitarist Zakk Wylde, bassist Mike Inez, keyboardist Adam Wakeman and drummer Tommy Clufetos — before being joined by fellow original BLACK SABBATH members Tony Iommi (guitar),Geezer Butler (bass) and Bill Ward (drums) for four classic SABBATH songs: "War Pigs", "Iron Man", "N.I.B." and "Paranoid".

Ozzy's solo set consisted of four songs from Osbourne's 1980 solo debut album "Blizzard Of Ozz" — "I Don't Know", "Mr. Crowley", "Suicide Solution" and "Crazy Train" — along with his 1991 "No More Tears" ballad "Mama, I'm Coming Home".

The 76-year-old heavy metal singer sang while seated on a black throne and appeared overcome with emotion at times. "You have no idea how I feel. Thank you from the bottom of my heart," he told the crowd.

At the end of SABBATH's set, Ozzy said: "It's the last song ever. Your support has enabled us to live an amazing lifestyle, thank you from the bottom of our hearts." Osbourne was then presented with a cake, while fireworks lit up the stadium from overhead.

A message on screen then read, "Thank you for everything, you guys are fucking amazing. Birmingham Forever," before the sky lit up with fireworks.

Ozzy died on July 22 of a heart attack, his death certificate revealed. The certificate also reportedly said the musician suffered from coronary artery disease and Parkinson's disease.

Photo credit: Ross Halfin

In a new interview with Strefa Music Art, DARK ANGEL and DETHKLOK drummer Gene Hoglan, who is known for combining great chops with blistering speed and technical brutality, spoke about how he maintains his way of playing extreme metal music after four decades. He said (as transcribed by BLABBERMOUTH.NET): "I'm always trying to keep my chops up. And one thing that I have noticed over the years is that, for whatever reason, there are things that occur where, like, say a Bear McCreary tour is not gonna challenge me physically the way a DARK ANGEL or DETHKLOK is, but I notice I can kind of jump back into the physicality and the cardio or whatever that a DETHKLOK or a DARK ANGEL or a DEATH TO ALL needs pretty quickly after the Bear run, which definitely shows a different aspect of my drumming, a more well-rounded aspect of my drumming as opposed to just [full speed ahead for] 12 songs a night kind of thing."

After the interviewer noted that Hoglan said in the past that he wanted to keep playing until he is at least 70, Hoglan said: "Into my seventies, yeah, definitely. So, yeah. I'm 57 now. 70 is 12 years away. No problem. 75 is, whatever, 17 years away, and 80 is just, whatever, 23 years away, whatever it's gonna be. 12 years [until I'm 70]. Shoot, man, as long as I just remain healthy, I see no problem with pummeling people until my eighties. That's my intent. I'm not gonna hang up the sticks at some point. I'm going to be crushing until very much longer than this.

"I admit, when I was 19 or 18 doing [DARK ANGEL's] 'Darkness Descends' [album], I never thought this far in advance, that, 'Hey, 40 years from now, are you gonna be playing this material?' Never even thought about that. But here we're now — [I'm] definitely doing it."

DARK ANGEL's first new album in 34 years, "Extinction Level Event", is due later in 2025 via Reversed Records.

The "Extinction Level Event" title track was written by guitarist Jim Durkin long before he suffered from severe liver disease, and, to the surprise of everyone, passed away on March 8, 2023 at the age of 58. It was recorded and mixed at the Armoury Studios in Vancouver, British Columbia, Canada, executive produced by Hoglan, produced and engineered by Rob Shallcross and mixed by Mike Fraser.

An original member of DARK ANGEL, Durkin played on the band's first three albums — 1985's "We Have Arrived", 1986's "Darkness Descends" and 1989's "Leave Scars" — before departing the group in 1989. He was part of DARK ANGEL's lineup when the band reformed in 2013, and had been playing with them, on and off, ever since.

Prior to his death, Durkin had been sitting out some of DARK ANGEL's gigs. He was replaced at the shows by Hoglan's wife Laura Christine, who has since joined DARK ANGEL as a permanent member.

The "Extinction Level Event" artwork and layout was designed by Cain Gillis, with concepts by Hoglan.

DARK ANGEL released two albums with Don Doty on vocals — the aforementioned "We Have Arrived" and "Darkness Descends" — before he exited the group and was replaced by Ron Rinehart (after a brief stint with Jim Drabos in 1987). The band issued two more studio LPs — "Leave Scars" and "Time Does Not Heal" — before calling it quits in 1992.