#ozzyosbourne — Public Fediverse posts on home.social

The life of the unpaid, overworked metal reviewer is not an easy one. The reviewing collective at AMG lurches from one new release to the next, errors and n00bs strewn in our wake. But what if, once in a while, the collective paused to take stock and consider the discography of those bands that shaped many a taste? What if multiple aspects of the AMG collective personality shared with the slavering masses their personal rankings of that discography, and what if the rest of the personality used a Google sheet some kind of dark magic to produce an official guide to, and an all-around definitive aggregated ranking of, that band’s entire discography? Well, if that happened, we imagine it would look something like this…

For my money, Japan’s Sigh reigns uncontested as the standard for avant-garde metal, resting on a throne forged from a stellar back catalogue over thirty years in the making. Though the band has mustered an appreciable following, how Sigh isn’t a much bigger deal in the metalsphere boggles the mind. From modest, key-forward black metal roots to totally unhinged, free-for-all arrangements, Sigh never holds back from the extraordinary visions mastermind Mirai Kawashima wields. Fully integrating orchestral might, from winds, strings and brass to sundry keys the world over, Sigh’s discography consistently challenges the definitions and boundaries of metal.

With new album Goh-Ka arriving soon, we here at Angry Metal Guy felt compelled to honor this legendary and influential act with due consideration and a thoughtful dissertation. Whether you’re new to Sigh’s oddball antics or a longtime subscriber to their wonderfully outlandish hijinks, you can’t go wrong diving into any part of the band’s history. But in case you don’t want to jump in blind, outlined below is our definitive guide to appreciating one of metal’s most remarkable personalities.

– Grin Reaper

The Rankings

Grin Reaper

Each release within Sigh’s discography is unique, and as I weigh any one album against the others, I find myself categorizing each based on what instruments or styles feature most prominently. Imaginary Sonicscape indulges in keys and synths, Scenes from Hell spotlights big fat brass, and Scenario IV lumbers with thunderous umbrage. Yet no matter the prevailing mood, Sigh’s phasers are set to thrill. This has been a difficult ranking to assess and assemble, but also an incredibly rewarding one since I got to spend so much time blasting cherished records. At the very least, I hope reading this inspires you to either discover or revisit an unquestionably impeccable discography.

#12. Scorn Defeat (1993) — Sigh’s debut, Scorn Defeat sits squarely under the black metal banner while manifesting in utterly different ways than the burgeoning second wave fomenting in Norway at the time. Though it’s a strong LP that exhibits plenty of character, Scorn Defeat still ranks at the bottom when assessing Sigh’s overarching canon. Mirai Kawashima’s unhinged vocals and the tremolo riffing satisfy black metal appetites, yet the key-driven dirge of “Gundali” that morphs into a captivating piano feature and the crawling trudges in “Ready for the Final War” and “Taste Defeat” completely subvert expectations of the genre. Although interesting ideas reside on Scorn Defeat, I rarely return to it unless I’m listening to Sigh’s discography in full.

#11. Infidel Art (1995) — Picking up where Scorn Defeat left off, Infidel Art finds Sigh writing almost exclusively long-form tracks, with only “Suicidogenic” clocking under the eight-minute mark. Though the girthy durations don’t weigh down the front of the album, by the time “The Last Elegy” arrives on the heels of “Desolation,” Infidel Art begins to buckle. Luckily, “Suicidogenic” restores momentum, beginning with a flowery piano ballad supported by uplifting strings when a sinister chord progression waylays the build and diverts into a balls-out blackened thrasher that ends on the coy grace of a forlorn flute. The track presages Sigh’s unconventional song structures that would become an enduring hallmark of their sound, and the tandem of “Suicidogenic” and “Beyond Centuries” defines the best ending duo in Sigh’s discography until Gallows Gallery.

#10. Scenario IV: Dread Dreams (1999) — Though lively moments dot Scenario IV: Dead Dreams, Sigh’s fourth LP frequently decelerates to lurching paces. On one hand, this gives songs like “Diabolic Suicide,” “Infernal Cries,” and “Iconoclasm in the 4th Desert” time to breathe. On the other, the accumulation of doomy moments dampens Scenario IV’s momentum, particularly during the album’s back half. Even so, I enjoy listening to this bridge between early Sigh’s blackened roots and the experimental mayhem that came after. I also admire the creative programming employed by Kawashima and its enmeshment within Scenario IV’s other elements, foreshadowing Imaginary Sonicscape’s untamed ingenuity. Also, that guitar solo on “Severed Ways” is magnificent. In all, Scenario IV presents beautiful and bestial moments that often excite but occasionally drag.

#9. Hail Horror Hail (1997) — Hail Horror Hail rips straight outta hell from the start, with the title track slinging classic rock riffs, punky snarls, and a string-and-flute interlude to rousing effect. It’s the album where Sigh properly inaugurates the inclusion of diverse instrumentation and psychedelia that Scenario IV augmented and Imaginary Sonicscape fully realized. The airy flute interplay with distorted guitar on “42 49” and the bizarre synth injections on “12 Souls” enrich the album’s fore with unconventional depth, but Hail’s middle sags a tad before “Curse of Izanagi” fully reignites my interest with unorthodox cinematic drama. Hail Horror Hail would be a top treasure in most discographies, yet such is Sigh’s burden and a testament to the quality of their other albums.

#8. Graveward (2015) — Inspired by classic Italian horror films and their soundtracks, Graveward embodies both a raw, DIY aesthetic and grandiose-to-the-point-of-camp schtick. More than most albums in Sigh’s oeuvre, Graveward splits fan opinions given its relatively scaled-back flamboyance, but I think this is a disservice to what Sigh accomplishes here. I largely attribute this attitude to following In Somniphobia, an impossible charge for a band putting out a new record after their last one met universal acclaim. Rather than outdoing themselves by going bigger, Kawashima et al. shifted to a direction that toes the line between garage rock spunk and their signature blend of orchestral shenanigans. Although the album might seem underwhelming relative to Sigh’s other records, “Kaedit Nos Pestis,” “The Tombfiller,” and “The Casketburner” supply hooks aplenty and catchy refrains that separate Graveward above their early era, while “Graveward” and “The Trial by the Dead” radiate lovable old-school cinematic pomp.

#7. Gallows Gallery (2005) — There’s something about Gallows Gallery’s LoFi aesthetic that brings a smile to my face. The raw production and drastic shift in direction following Imaginary Sonicscape proved divisive, particularly for Sigh’s label at the time, given they refused to distribute the album.1 It’s an altogether different beast than what came before, leaning into blues-tinged and psychedelic rock arrangements that recall a bizarre cross-section of Pink Floyd, The Animals, and a dash of Rob Zombie. The album also flies by, making it a quick romp with singalong bops. With the benefit of hindsight, it’s easier to see the threads that tie Gallows Gallery not just to its predecessor, but to the future journeys Sigh would guide listeners through. Ultimately, Gallows Gallery serves as a transition album, even for a band that constantly reinvents itself, and proves a kooky, succinct platter that hemorrhages fun.

#6. Heir to Despair (2018) — As Kronos detailed in his review of Heir to Despair, Sigh’s eleventh album finds them at their most direct and stripped down. This direction began on Graveward, but Heir to Despair further dials down the weird in favor of a more straightforward, if still offbeat, metal record. While this might seem a disappointment to some fans, hearing Sigh take on a less variegated platter allowed them to shine in a new light. “Homo Homini Lupus” rings with Maidenesque grandeur while “In Memories Delusional” instantly recalls Ozzy classic “Bark at the Moon,” at least before Mirai devolves into feral madman phrasing. Following Heir to Despair’s concept of a descent into madness, the album progresses in a clever thread from direct rocker in the front half to the idiosyncratic plunge into a psychological fracture during “Hands of the String Puller” and the title track. I think that Heir to Despair gets slept on because it’s Sigh’s most subtle work, but it rewards listeners who check expectations at the door and dare to Despair.

#5. Scenes from Hell (2010) — Sigh with horns! And not just the sweet, sweet sax that Dr. Mikannibal lends. Scenes from Hell boasts a bona fide mini orchestra,2 and it immediately sets Sigh’s eighth album apart from what came before. Another distinguishing factor is the sheer flexibility and audacity of their songwriting. One of Sigh’s defining characteristics is their plasticity, selecting what elements they want to use to invigorate an album and writing music around them to ensure the band remains fresh and exciting. Scenes from Hell begins with “Prelude to the Oracle,” where the brass section bounces between the raucous energies of a high school band section, mariachi madness, and cinematic action sequences, the latter of which gets amplified on follow-up “L’Art de Mourir” with the injection of classical strings and galloping drums. The rest of the album plays out in similar fashion, making for an excellently delectable Hellscape.

#4. Shiki (2022) — Billed as a more personal album for Mirai, Shiki ponders mortality through the lens of seasons as his autumn wanes into winter. Similar to Heir to Despair, Shiki’s instrumentation forgoes the widespread multifariousness Sigh is known for, or at least reins it in as more emphasis is placed on drums, guitars, and vocals. The latter becomes especially important given the intimacy of the subject matter. I understand academically that listeners may not always appreciate Mirai’s frantic deliveries, yet I find his acidity and bite a perfect match for the chaotic beauty of Sigh’s music. Not too much on Shiki veers from this approach, but the vocals are a touch higher in the mix and occasionally draw out in tortured howls I find particularly effective. Despite being more straightforward than many Sigh offerings, Shiki still incorporates a healthy amount of flute and keys, along with some killer shredding (“Mayonaka no Kaii”) to keep the music lively and exciting. And though I sense that Sigh always makes the music they want to, there’s an earnestness on Shiki that elevates it above the various other contenders vying for the upper echelon of their corpus.

#3. Hangman’s Hymn – Musikalische Exequien (2007)3 — Sigh goes Maiden on Hangman’s Hymn, describing the final moments and conscious thoughts of a man as he’s charged, condemned, and executed. “Hallowed Be Thy Name” is one of my all-time favorite songs, so magnifying that concept into a full-blown album presents a thrilling prospect—and boy does Sigh deliver. Though the album unfolds as a damnation of one flawed man, Hangman’s Hymn acts as a microcosm for humanity’s deserved judgment more broadly, where the solution is “Salvation in Flame.” Though bleak, Sigh furnishes this message with hellishly fun bombast. Fusing Teutonic thrash with German classical arrangements, Mirai forges an unforgettable funereal soundtrack that fumes with hellfire and musical opulence. “Inked in Blood,” “Me-Devil,” and “Salvation in Flame / Confutatis” are some of my favorite songs in Sigh’s discography, exquisitely melding the ‘ugliness’ of 80s German thrash with classical baroque underpinnings. Death never sounded so alive.

#2. Imaginary Soniscape (2001) — The first time I heard Imaginary Sonicscape, something clicked. Sigh’s fifth LP wasn’t my introduction, but it’s what cemented them as a band I would always follow. Not just a fever dream of key-drenched psychedelia,[1, Although it’s definitely that, too.] Imaginary Sonicscape swells with experimentation and an unfathomable, irresistible fearlessness. “Scarlet Dream” borrows from Andrew Lloyd Webber’s “Phantom of the Opera” with its half-step chromatic runs and adds an improbable 90s hip-hop synth, inducing a faint Faith No More undercurrent, while “A Sunset Song” meshes Beach Boys’ good vibes with smooth Michael McDonald butteriness and raw Celtic Frost edge. This thing should be a disaster, but it’s a masterpiece. A complete departure from what came before, Imaginary Sonicscape is weird yet accessible, heavy yet mellow, and an hour that disappears in a marvelous flash. Each song proves essential, and though front-loaded with my favorite tracks, bangers abound throughout and devise a record that would be the feather in the cap of many a discography. And yet…

#1. In Somniphobia (2012) — …In Somniphobia just edges into the top spot with its master-crafted auditory blitzkrieg of eclectic instruments and styles. From the slick lick that opens “Purgatorium” through the sultry sax on “Amnesia” to “Equal”‘s Moron Police-level power pop jauntiness backing the gritty refrain of ‘kill me now,’ every second of In Somniphobia exudes the peak confluence of Sigh’s intrepid creativity and musical execution. The concept of the album emboldens its soundtrack, as it explores the fragility of reality when sleep eludes or assails us. In Somniphobia deftly conjures nightmarish fluidity with constantly shifting, genre-bending while simultaneously wrangling engrossing melodies with megaton hooks. AMG Himself nailed the Iconic rating, and for my money, In Somniphobia is not only the deadliest weapon in Sigh’s arsenal, but one of the best albums this century.

Creeping Ivy

Sigh slashed their way into my life in 2022, when the bizarrely progressive strains of Shiki slaughtered my ears. Immediately, I explored much of their back catalogue, whether through the simple act of streaming (Heir to Despair, Imaginary Sonicscape) or the crapshoot destiny of crate digging (Scorn Defeat, In Somniphobia). Going through the entire Sigh discography for this ranking was a real treat—few metal bands can boast the consistent longevity and persistent creativity of Mirai Kawashima and crew. Here, AMG Faithful stands my humble offering to the inimitable Sigh!

#12. Graveward (2015) — Sigh have no bad albums, so Graveward occupying my bottom spot should not be interpreted as any sort of slight. It’s more impressive, off-the-wall stuff for sure, but it hews a bit too close to musical theater for my taste. Graveward does, like many Sigh records, grow more interesting as it goes; I especially dig the burst of orchestral blackened punk that is “Out of the Grave.” Having to follow a certain album, however, was always going to be a challenge—at this point in their storied career, Graveward feels like Sigh Sighing to me.

#11. Infidel Art (1995) — Superficially, Infidel Art seems like a marked step up from Sigh’s debut. “Izuna” and “The Zombie Terror” kick things off with kick-ass fluctuations between blackened plods, propulsive power chords, and ear-worm riffs that make the orchestral elements more central than Scorn Defeat. Gravitating towards sustained doom from “Desolation” onwards, the album ends up petering out for me in its back half. Having said that, Infidel Art portends great things to come, with “Suicidogenic” offering a late-album glimpse into Sigh’s potential for marrying macabre cinematics with metallic mobility.

#10. Heir to Despair (2018) — Shiki is the first Sigh album that, I would say, sounds like ‘modern’ metal; to my ears, Heir to Despair initiated this development. Its status as a sort of transition album makes it interesting within the band’s trajectory, but it’s also a bit tepid by Sigh standards. Going for a more patient variety of avant-garde metal, Heir possesses some killer highlights: opener “Aletheia” boasts one of the band’s most infectious riffs, “In Memories Delusional” shreds on guitar/vocal fronts, and “Homo Homini Lupus” has some sweet Phil black metal vocals. “Heresy” I–III, however, doesn’t quite cut it for me—without this (totally weird and cool) experiment in its midst, Heir to Despair might have ranked a bit higher.

#9. Scenario IV: Dread Dreams (1999) — Situated between two Sigh albums I love, Scenario IV is an album I’m intrigued by more than I love. I do enjoy it, muchly; “Infernal Cries” has some of my favorite riffing from the band, and who amongst us can resist peering “In the Mind of a Lunatic”? Getting real, though, I’ll say that Scenario IV was the first time I felt the length of a Sigh album when listening to their discography in order. Hinging between two of my top Sigh albums, Scenario IV is an album I listen to as a precursory lull of sorts (and one I can see making great leaps up my ranking upon re-listens).

#8. Hangman’s Hymn (2007) — Switching to the middle of my ranking, I’ll say this: sometimes, a first impression is a lasting impression. I Saw the World’s End before I heard Hangman’s Hymn, and what I heard was the kind of breakneck, kooky, blackened extreme metal I’d come to know and love from Sigh. Going back to the rawer original for this ranking left me equally floored; from “Introitus/Kyrie” to “Hangman’s Hymn/In Paradisum/Das Ende,” Sigh never pumps the brakes. Hangman’s Hymn didn’t necessarily need to be re-recorded, I would say, but the fact that Sigh chose to re-record it unavoidably inflects my perception of the original: great, but maybe not singular.

#7. Gallows Gallery (2005) — Seven and eight on my ranking are somewhat interchangeable, but Gallows Gallery gets the nod as, to me, the more unique mid-aughts Sigh album. If Gallows Gallery is, indeed, Sigh doing power metal, then it’s almost assuredly my favorite power metal album of all time. Guitar heroics will always put a smile on my face—”Pale Monument” and “Silver Universe” deliver the melodies, harmonies, and shred I can never get enough of. Having only clean vocals limits my enjoyment of this as a Sigh album, but when I adjust, I always have a damn good time with this record.

#6. Scorn Defeat (1993) — Scorn Defeat might be the obvious candidate as Sigh’s weakest album, as it’s the most imitative and least experimental of the bunch. Indeed, the band’s debut sounds like Venom worship with hints of the insanity to come. Growing stronger as it goes, Scorn Defeat nevertheless reveals Sigh’s potential via the harpsichord intro to “The Knell,” the incredible ivory twinkling of “Gundali,” and the choral midsection in “Taste Defeat.” Hearing Scorn Defeat early in my discovery of the Sigh discography frames my relationship with it: a harbinger of things to come that simultaneously scratches the itch for first-wave fun.

#5. Scenes from Hell (2010) — Scenes from Hell tops the middle of my ranking by wrapping bonkers mid-period Sigh in the crustier production of the early albums. Initiating the now-central fixture of Dr. Mikannibal into the fold, Scenes holds a special place in the Sigh discography, and it’s one that, for me, flirts with novelty in the best possible way. Grandiose yet gritty, the two funerals at the heart of Scenes showcase Sigh masterfully wielding orchestral elements as both central fixtures and subtle touches, never losing touch with the album’s punky black core. Hell’s soundtrack supersedes Heaven’s; this I always knew; what I didn’t know was how lively and fun this soundtrack actually is.

#4. Shiki (2022) — Shiki introduced me to the wonderfully weird world of Sigh, and it’s an album I still hold in very high regard. I tend to love progressive music that embraces enabling constraints, and Shiki sees Sigh continuing the shift they made towards relative restraint on Heir to Despair (2018) with this meditation on mortality. Getting older sucks, but it sucks a lot less with a soundtrack of killer doom riffs (“Kuroi Kage”), bitchin’ bongo solos (“Skikabane”), and jazzy noir interludes (“Mayonaka No Kaii”). Having Frédéric Leclerq and Mike Heller on board as guest musicians helps reinvigorate the band (as adding Dr. Mikannibal did on Scenes from Hell)—Shiki ascends to the top of metal modernity by enlisting top-tier veterans.

#3. Hail Horror Hail (1997) — Sigh truly became Sighcotic on their third album, the one I reach for when I want slow-burning nightmare fuel at an aesthetic distance. It took a few spins for Hail Horror Hail to fully sink its murderous hooks into me; once it did, it easily clawed its way towards the top of my ranking. Going for a more black n’ roll sound off the bat with the anthemic title track, “12 Souls” starts to give me the scaries, but “The Dead Sing” has me roving between fear and joy in a manner that can be called sublime. Hardest one to get into, most rewarding one to get into—this is my experience with Hail Horror Hail.

#2. In Somniphobia (2012) — Sorting out the Sigh discography ended up being a two-horse race, with In Somniphobia slightly falling behind my winner. I found Sigh’s ninth in my local vinyl shop (and valiantly haggled the owner down $15), and it immediately floored me with its near-perfect balance of metallic speed, grandiose classicism, jazzy swagger, and a bunch of other things. Getting the Lucid Nightmare Suite alone would’ve made this Sigh’s second best; “L’excommunication a Minuit” gets my blood boiling with its Mortal Kombat riff, while “Amongst the Phantoms of Abandoned Tumbrils” brings me down with its haunting accordion compressions. Hearing In Somniphobia on double vinyl, however, made me realize that Sides A/D are an enveloping EP of sorts—best twofer ever!

#1. Imaginary Sonicscape (2001) — Sonicscapes don’t get any more imaginary than this. In a discography where no two albums sound all that much alike, Imaginary Sonicscape truly sounds like no other Sigh record, which is precisely why it’s my favorite. Gushing about this album must be done in a concise manner, so I’ll leave it at this: “A Sunset Song” was the track that sold me on the album, full stop, and it’s still one of my favorite Sigh songs. Hearing this chaotic dreamsphere of crying corpses, Nietzschean conspiracies, and ecstatic transformations always feels like hearing it for the first time, and I love introducing people to it (metalheads, but anyone with a taste for the avant-garde).

Angry Metal Guy Staff Ranking

Combining the aforementioned analyses with the wisdom of more tenured staff, please enjoy the aggregated ranking below:

1. Infidel Art (1995)
2. Scenario IV: Dread Dreams (1999)
3. Scorn Defeat (1993)
4. Graveward (2015)
5. Hail Horror Hail (1997)
6. Heir to Despair (2018)
7. Gallows Gallery (2005)
8. Hangman’s Hymn (2007)
9. Shiki (2022)
10. Scenes from Hell (2010)
11. Imaginary Sonicscape (2001)
12. In Somniphobia (2012)

For any uncultured readers who need a quick study on one of the best bands in the biz, check out the below.

#2026 #AMGGoesRanking #AMGRankings #AvantGardeBlackMetal #AvantGardeMetal #BeachBoys #BlackMetal #CelticFrost #FaithNoMore #IronMaiden #JapaneseMetal #MichaelMcDonald #MoronPolice #OzzyOsbourne #PeacevilleRecords #PinkFloyd #RobZombie #Sep26 #Sigh #TheAnimals #Venom

#amggoesranking #amgrankings #avantgardeblackmetal #avantgardemetal #beachboys #blackmetal

The Hollywood Reporter @[email protected] · 2026-08-27 · 20:10 UTC

Curry Barker and Universal Bring ‘Obsession’ to Halloween Horror Nights — With a Twist for Fans
#MovieNews #Movies #Backrooms #CurryBarker #GetOut #HalloweenHorrorNights #Obsession #OzzyOsbourne #Sinners

https://www.hollywoodreporter.com/movies/movie-news/obsession-halloween-horror-nights-nikki-curry-barker-1236683551/

#movienews #movies #backrooms #currybarker #getout #halloweenhorrornights

Deadline @[email protected] · 2026-08-27 · 02:20 UTC

Jack Osbourne Says Ozzy Movie Won’t Be “Artsy, Esoteric Biopic”: “Not What The Fans Want”
#News #Biopic #BlackSabbath #JackOsbourne #OzzyOsbourne

https://deadline.com/2026/08/jack-osbourne-ozzy-movie-wont-be-artsy-esoteric-biopic-1237052224/

#news #biopic #blacksabbath #jackosbourne #ozzyosbourne

M F Lurry @[email protected] · 2026-06-22 · 02:21 UTC

No More Tears

https://www.youtube.com/watch?v=5foQanhdArA

#NoMoreTears #OzzyOsbourne #Music

#nomoretears #ozzyosbourne #music

John Griogair Bell @[email protected] · 2025-11-01 · 16:52 UTC

Top ten posts in October 2025

https://library.hrmtc.com/2025/11/01/top-ten-posts-in-october-2025/

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#account #achieve #adamhassan #adamhulse #adeptusexemptus #adeptusmajor

The Mirror: The Heart of Britain [Unofficial] @[email protected] · 2025-10-04 · 06:00 UTC

Must-watch TV this week: Frauds, Celebrity Traitors and Countryfile's Ramble

https://web.brid.gy/r/https://www.mirror.co.uk/tv/tv-news/must-watch-frauds-traitors-countryfile-35997426

#tvnews #amandaredman #simonekessell #noelfielding #surannejones #celiaimrie

The Mirror: The Heart of Britain [Unofficial] @[email protected] · 2025-10-04 · 06:00 UTC

Must-watch TV this week: Frauds, Celebrity Traitors and Countryfile's Ramble

https://web.brid.gy/r/https://www.mirror.co.uk/tv/tv-news/must-watch-frauds-traitors-countryfile-35997426

#tvnews #amandaredman #simonekessell #noelfielding #surannejones #celiaimrie

The Mirror: The Heart of Britain [Unofficial] @[email protected] · 2025-10-04 · 06:00 UTC

Must-watch TV this week: Frauds, Celebrity Traitors and Countryfile's Ramble

https://web.brid.gy/r/https://www.mirror.co.uk/tv/tv-news/must-watch-frauds-traitors-countryfile-35997426

#tvnews #amandaredman #simonekessell #noelfielding #surannejones #celiaimrie

The Mirror: The Heart of Britain [Unofficial] @[email protected] · 2025-10-04 · 06:00 UTC

Must-watch TV this week: Frauds, Celebrity Traitors and Countryfile's Ramble

https://web.brid.gy/r/https://www.mirror.co.uk/tv/tv-news/must-watch-frauds-traitors-countryfile-35997426

#celebritytraitors #bbc #itv #supermarkets #parkinsonsdisease #fitness

Angry Metal Guy @[email protected] · 2025-09-29 · 11:35 UTC

Warcoe – Upon Tall Thrones Review

By Spicie Forrest

Certain decades and locations have a unique and instantly recognizable sound, like 90s hip hop, Florida death metal, 70s rock, etc. But such subgenres—at least for metal—are no longer regionally or temporally exclusive. There are American bands that play Swedeath and 2010s bands that play 80s thrash. In this postmodern era, iconic sounds of time and place are constantly worshipped, reimagined, and repurposed by new bands for a contemporary global audience. Warcoe is one such band. When I first heard the vintage doomsters, I thought them from the 70s or 80s, but they formed in Pesaro, Italy in 2021. Impressed with their retro style, I laid claim to their third full-length, Upon Tall Thrones, and spent some time reveling in the sounds of yesteryear.

From the first notes of opener “Octagon,” it’s clear Warcoe grew up on Black Sabbath and their progeny. Carlo’s bass is warm and velvety, while Stefano’s devious guitar tone compliments his Ozzy-esque vocals well. More than mere worshippers, Warcoe augments their classic sound with stoner rock and metal. “The Wanderer” and “Brown Witch” summon Monolord with mammothian riffage, while leaner, more energetic tracks like “I’ve Sat upon Tall Thrones (but I’ll Never Learn)” and “Spheres” strike a balance between Windhand, The Sword or Kadaver. Beyond doom and stoner metal, Warcoe also incorporates more classic styles. Stefano’s lead guitar never fails to impress, his hooks and solos recalling your dad’s favorite cuts from CCR or ZZ Top. As a whole, Upon Tall Thrones presents a nostalgic, vintage sound dressed in modern clothes.

While Upon Tall Thrones initially sounded great in the background, its faults appeared when I began paying closer attention. I love the timbre of Stefano’s voice, and it fits Warcoe’s style, but his delivery is fairly monotone. Stefano’s minimal range holds several good moments back from greatness (“I’ve Sat…,” “Dark into Light”). This may be a stylistic choice, but it grows tiresome around the midpoint. The production on Upon Tall Thrones is a much bigger issue. I’m not sure what happened between drummer Francesco sitting down to record and me downloading the files, but the drums skip and stutter quite a bit. It’s mostly confined to the cymbals, and it’s more noticeable on the back half, but I heard at least one instance on every track except drumless acoustic interlude “Gather in the Woods.” That track has its own problems, though, as static popping accompanies every. single. note. It’s maddening, I can’t unhear it, and it ruins an otherwise great acoustic break.

Faults aside, I still hear ambition and potential on Upon Tall Thrones. But for the tail end of “Deepest Grave,” there’s no bloat here. Warcoe is dynamic. Rarely does a riff overstay its welcome or a song miss its best endpoint. Even with two instrumental tracks smack dab in the middle of the album (“Gather in the Woods” and “Flame in Your Hand”), the energy doesn’t falter, and my attention doesn’t wander. Warcoe even manages a little successful experimentation. Blackened tremolos hover above the proceedings on “Dark into Light,” and the 16-bit, Wraith Knighted solo of “Flame in Your Hand” sends me hurtling down memory lane to play Final Fantasy IV. It’s Warcoe’s willingness to explore beyond their influences that makes me think they’re chasing something special here.

I try not to quote promo material, but in the case of Warcoe’s Upon Tall Thrones, “groovy doom from the abyss” and “vintage darkness with sharp and heavy riffs” work pretty well. Unfortunately, what excels in a casual environment falls short under closer scrutiny. My criticisms of Upon Tall Thrones aren’t apocalyptic, but they are consistent and pervasive, bringing the entire album down. This resulted in a lower score than I wanted, but I have hope for the future. Warcoe shows promise. If Stefano can expand his range and the band can both secure cleaner production and hone their unique sound, whatever succeeds Upon Tall Thrones has the potential for excellence.

Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Ripple Music | Morbid And Miserable Records
Websites: Bandcamp | Facebook | Instagram
Releases Worldwide: September 26th, 2025

#25 #2025 #BlackSabbath #CreedenceClearwaterRevival #DoomMetal #ItalianMetal #Kadaver #Monolord #MorbidAndMiserableRecords #OzzyOsbourne #Review #Reviews #RippleMusic #Sep25 #TheSword #UponTallThrones #Warcoe #Windhand #WraithKnight #ZZTop

#blacksabbath #creedenceclearwaterrevival #doommetal #italianmetal #kadaver #monolord

Angry Metal Guy @[email protected] · 2025-07-23 · 12:59 UTC

After Forever: Sending Ozzy Osbourne Off on His Next Adventure

By Steel Druhm

What can you say when an icon like Ozzy Osbourne passes? All the achievements, all the landmark moments in a career, all the pieces of a lasting legacy are there for all to cherish. What we lost is the man himself. The man who rose from working-class beginnings in Birmingham, England, to create an entirely new form of music and then shape its sound over the next 50-plus years.

Ozzy Osbourne wasn’t a metal luminary. He WAS Heavy Metal. If not for Black Sabbath and Ozzy’s canonical performances on those early albums, heavy metal would not exist. Through his legendary run with Sabbath and on into his wildly successful solo career, Ozzy broke through musical barriers to reach an audience that spanned not just genres, but entire generations. One look at my Facebook feed yesterday showed just how universally loved the man was. Teens through to olde geezers like myself were commiserating, sharing the same sense of loss and the feelings that an era had just come to an end. Ozzy meant something to nearly everyone, and he meant a great deal to so many.

There will never be anyone like him again, and I’m very thankful I got to enjoy his music and gonzo personality for as long as I did. One of my friends pointed out yesterday that he practically raised us as we grew up in the 80s, and he’s not wrong. He was always there, rocking and living a life beyond the limits of what anyone else could survive; an insane character who represented everything heavy metal symbolized to us as young pups.

It stung to see him looking so old and frail during his Back to the Beginning performance a few weeks ago, and it was clear he was nearing the end of his amazing journey. I just didn’t think the final act was coming this soon. Now that it’s here, it’s harder to process than expected. I know Ozzy will be missed dearly, but I’m comforted by the knowledge he will never be forgotten and he’ll always be celebrated and loved for all the things he gave us. The Prince of Darkness watches over us all now, and I can’t imagine a better Guardian Devil. Thanks for everything. See you on the other side.

AMG Himself

At the tender age of 11, I got Ozzy Osbourne’s final recording, Live & Loud. It being 1993, I got the tape version that came in a long box that looked like an amp. Having, a year earlier, fallen in love No More Tears—with “Mr. Tinkertrain,” “Mama, I’m Coming Home,” and “Road to Nowhere”—this “last time out” for Ozzy was him writing his epitaph on his career. But for me, Live & Loud opened the door to a career that spanned back to the Devil’s Triad and the 1970s. I sported round sunglasses like The Prince of Darkness himself, and parted my hair in the middle, similar to the cover of that iconic live record. Truly, I loved his music and listened to those records in a rotation with Iron Maiden and Metallica, cutting my teeth on classic metal before branching out. I knew every “Let me see your fucking hands!” by heart, like they were part of the original songs. I knew each solo note for note.

This may be the root of one of my most controversial metal opinions—one that differentiates me from the vast majority of metal fans, as exemplified by Steel Druhm above—I don’t think Ozzy’s most important work was with Sabbath. Rather, Ozzy helped birth modern heavy metal in 1980, with Blizzard of Ozz. While this may seem ahistorical, I think it was Ozzy’s embrace of Randy Rhoads and the neo-classical turn in heavy metal that helped to advance the burgeoning genre beyond the strictures of blues rock and into the fields of what would become the roots of all but the most retrospective of metals. I don’t say this to start a debate, but rather to emphasize the immensity of Ozzy as a vocalist and personality in metal, that he was present for both the first and second founding of heavy metal.

And finding Ozzy, seemingly unwittingly at times, at the forefront or cutting edge of popular metal helps to show the immense influence he had. Even as his career slowed to a crawl, Ozzfest continued to be a yearly celebration of heavy music headlined by The Prince of Darkness himself. He was at the cutting edge of reality TV (for better or worse). And I was happy to see Black Sabbath getting their due and even putting out a very good album in 2013, which is the only time I’ve had the honor of reviewing an Ozzy album.

My relationship to Ozzy and his music has never stayed as true as my love of Maiden, for example. His legacy has not been perfect, but the influence he had on me is a species of the same influence he had on so many. I received a ton of messages yesterday about how important Black Sabbath was. I saw a lot of people saying they were hit remarkably hard by this news. And I was left pretty much speechless for several hours. But I’ve had some time to reflect, revisit Live & Loud and Blizzard of Ozz, Paranoid, and the self-titled majesty that got it all kicked off. And I can say that I am so grateful for the legacy that he left us. Without Ozzy Osbourne—a working-class kid with Attention Deficit Disorder who said of himself that he knows how he’ll be remembered: “the guy who bit a head off a bat“—this website, this community, and the things that we all love would look very different, if they existed at all.

We’re sending off a giant of heavy metal. He’ll always live on in our hearts and through his incredible legacy. Now let him see your fucking hands!

#2025 #AfterForeverSendingOzzyOsbourneOffOnHisNextAdventure #BlackSabbath #BlizzardOfOzz #BlogPost #LiveLoud #NoMoreTears #ozzfest #OzzyOsbourne

#afterforeversendingozzyosbourneoffonhisnextadventure #blacksabbath #blizzardofozz #blogpost #liveloud #nomoretears

Xurxo Adrián Entenza @[email protected] · 2025-07-23 · 09:04 UTC

CW: #pouetRadio Ozzy Osbourne

Cette version du célèbre "Iron Man" par The Bad Plus reste, à mes oreilles, l'une des reprises jazz les plus jouissives de ces dernières années: l'intro sur les deux pianos désaccordés, les breaks de batterie, le passage en majeur, le final tout doux avec les notes du Dies Irae... ❤️

https://www.youtube.com/watch?v=nZOAvTp_1WU

#OzzyOsbourne #TheBadPlus #pouetRadio #BlackSabbath

#ozzyosbourne #thebadplus #pouetradio #blacksabbath

Johannes Kastl @[email protected] · 2025-03-03 · 07:08 UTC

What I did in the last couple of weeks (part 667):

As Black Sabbath was hard for me to get into, I started binging Ozzy Osbourne's solo records.

After some weeks of on/off listening to Ozzy solo and Black Sabbath, I must say that the first two of his solo albums are really something special compared to the rest of his discography.

Oh, there are hits and bangers in later records. But the first two really stand out.

Randy Rhoads was a genius. That guitar playing is off the charts.

Not sure if it is Randy's influence and songwriting that makes those two so much more noticeable than the rest. Or Ozzy's alcohol problems. Or him and his songwriters running out of ideas. But the albums after those two are mostly mediocre, the melodies are standard, the guitars are standard.

(Yes, I know, Zakk Wylde is a great guitarist, but at the moment all Ozzy records with him are sounding very much alike)

I'll give them some more time to see what happens...

#Ozzy #OzzyOsbourne #metal #music #hellyeah #musicnerd

#ozzy #ozzyosbourne #metal #music #hellyeah #musicnerd

Johannes Kastl @[email protected] · 2025-03-03 · 07:02 UTC

What I did in the last couple of weeks (part 666):

In a previous post I mentioned that I listened to TaylorSwift a lot. After finishing that, of course I had to start digging into #BlackSabbath and #OzzyOsbourne.

I am having a hard time with #BlackSabbath, at least the first couple of albums with Ozzy Osbourne.

I cannot put my finger on it, but these records do hit a nerve. I have listened to them multiple times, this far not too many songs stand out (except the obvious ones like Paranoid, Iron Man, etc.). I can understand why people were fascinated, but on the other hand many songs and melodies are pretty basic and mediocre. But still I cannot stop listening. Weird.

I'll let you know how it is in a week or so, let's see where it goes...

#music #BlackSabbath #Ozzy #OzzyOsbourne #metal #hellyeah #musicnerd

#blacksabbath #ozzyosbourne #music #ozzy #metal #hellyeah

CM Thiede @[email protected] · 2024-11-29 · 22:43 UTC

#NoMoreTears

https://youtu.be/CprfjfN5PRs

Just a #signOfTheTimes see your #Future going #Forward in #Reverse #OzzyOsbourne #Ozzy #MuzakLessons

#nomoretears #signofthetimes #future #forward #reverse #ozzyosbourne

🤘 The Metal Dog 🤘 @[email protected] · 2024-08-23 · 02:05 UTC

#TheMetalDogArticleList
#BraveWords
OZZY OSBOURNE & BILLY MORRISON Take A Deep Dive Into The Dark And Twisted World Of Notorious Serial Killers; Video

https://bravewords.com/news/ozzy-osbourne-billy-morrison-take-a-deep-dive-into-the-dark-and-twisted-world-of-notorious-serial-killers-video

#OzzyOsbourne #BillyMorrison #SerialKillers #TrueCrime #JeffreyDahmer #BTKKiller

#themetaldogarticlelist #bravewords #ozzyosbourne #billymorrison #serialkillers #truecrime

🤘 The Metal Dog 🤘 @[email protected] · 2024-07-04 · 13:53 UTC

#TheMetalDogArticleList
#BraveWords
OZZY OSBOURNE's Encounter With Aliens: Real-Life UFO Story

https://bravewords.com/news/ozzy-osbourne-s-encounter-with-aliens-real-life-ufo-story-sneak-peek-video-posted

#OzzyOsbourne #BillyMorrison #SteveStevens

#themetaldogarticlelist #bravewords #ozzyosbourne #billymorrison #stevestevens

🤘 The Metal Dog 🤘 @[email protected] · 2024-04-19 · 13:54 UTC

#TheMetalDogArticleList
#BraveWords
STEVE VAI Weiǵhs In On New BILLY MORRISON Solo Album - "A Seasoned Pro That Maintains Authentic Rock And Roll Integrity, And His New Record Slams Hard!"

https://bravewords.com/news/steve-vai-weighs-in-on-new-billy-morrison-solo-album-a-seasoned-pro-that-maintains-authentic-rock-and-roll-integrity-and-his-new-record-slams-hard

#SteveVai #BillyMorrison #OzzyOsbourne #BillyIdol #DMC #AlJourgensen #SteveStevens #John5

#themetaldogarticlelist #bravewords #stevevai #billymorrison #ozzyosbourne #billyidol

🤘 The Metal Dog 🤘 @[email protected] · 2024-04-06 · 17:21 UTC

#TheMetalDogArticleList
#BraveWords
OZZY OSBOURNE Returns To Billboard's "Hot Hard Rock Songs" Chart
Ozzy Osbourne is in an odd place in his career, reports Forbes. He remains incredibly popular, but he’s limited regarding what he can do in music. He’s not well enough to tour, but his creative juices are flowing, and he’s spoken openly about wanting to make more music.

https://bravewords.com/news/ozzy-osbourne-returns-to-billboard-s-hot-hard-rock-songs-chart

#OzzyOsbourne #CrackCocaine #BillyMorrison #SteveStevens #HotHardRockSongs #BillboardChart