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  • U.S. Secretary Of War Clears Kid Rock Helicopter Flyover—No Punishment, Case Closed

    kid-rock-helicopters

    Did The Army Punish The Pilots Involved In The Kid Rock Helicopter Flyover?

    No. The suspension has been lifted, and the investigation has been dropped with no punishment issued.

    TL;DR:

    The U.S. Army has officially cleared the pilots involved in the Kid Rock helicopter flyover, ending the investigation and lifting suspensions—closing the story without consequences despite widespread criticism.

    This Story Took A Turn Nobody Expected

    It didn’t look like this would end quietly.

    Two Apache helicopters fly over a celebrity’s mansion. Video goes viral. Questions start stacking up about military protocol, taxpayer resources, and whether this crossed a line.

    Then the suspension hits.

    At that point, it felt like this was heading somewhere serious.

    Instead, it stopped just as quickly as it escalated.

    How This Escalated So Quickly

    Over the weekend, two AH-64 Apache helicopters conducted a low flyover over Kid Rock’s Nashville property—an estate he’s long referred to as “The Southern White House.”

    The footage spread immediately. Kid Rock was seen poolside, saluting as the helicopters hovered overhead.

    That moment flipped from spectacle to controversy almost instantly.

    Critics pushed back hard, raising concerns about:

    • use of military equipment in a highly visible, non-operational context
    • whether taxpayer-funded resources were involved
    • the optics of the moment given Kid Rock’s political ties

    The response from the Army followed quickly:

    • an investigation was launched
    • the pilots were suspended

    At that point, the expectation was clear—there would likely be consequences.

    kid-rock-middle-finger

    The Comments That Kept Fuel On This

    Kid Rock didn’t exactly cool things down.

    Speaking to WKRN, he brushed off the situation, suggesting the pilots would be fine and referencing his connection to Donald Trump. That comment added another layer to the conversation—because now the story wasn’t just about what happened, but who was connected to it.

    When asked about the situation, Trump acknowledged the pilots “probably shouldn’t have been doing it,” but followed that with a more casual tone, suggesting they may have simply been fans.

    That response didn’t shut anything down. It kept the conversation moving.

    The Decision That Ends It—At Least Officially

    Now the final update is in.

    U.S. Secretary of War Pete Hegseth confirmed the outcome publicly:

    • suspension lifted
    • no punishment
    • investigation closed

    His statement was direct and left little room for interpretation:

    “Carry on, patriots.”

    That line is going to stick to this story long after the headlines move on.

    The Outcome That Changes The Conversation

    The event itself was always going to draw attention.

    What’s going to keep this story alive is how it ended.

    Because now the focus shifts.

    Not on what happened—but on whether the response matches the situation.

    Some will see this as a non-issue that was overblown from the start.

    Others are going to look at the same outcome and question how decisions like this are made, and whether they would land the same way under different circumstances.

    That split reaction is exactly why this story isn’t going to disappear overnight.

    But hey! If you wanna catch Kid Rock live in 2026 you can grab your tickets here.

     

    FAQ

    What happened with the Kid Rock helicopter flyover?
    Two U.S. Army Apache helicopters flew over Kid Rock’s Nashville property, sparking criticism and an official investigation.

    Were the pilots punished?
    No. The Army lifted the suspension and ended the investigation without punishment.

    Why was this controversial?
    The incident raised questions about military protocol, use of taxpayer-funded resources, and political optics.

    What did Pete Hegseth say?
    He confirmed the pilots were cleared and told them to “carry on, patriots.”

    Kid Rock Bio

    Kid Rock is an American musician known for blending rock, hip-hop, and country influences. He rose to prominence with Devil Without A Cause and has remained a highly visible and polarizing figure due to both his music career and outspoken political views.

    The post U.S. Secretary Of War Clears Kid Rock Helicopter Flyover—No Punishment, Case Closed appeared first on Loaded Radio.

  • Tracey Nelson Announces New Album Hercules Produced By MJ Lenderman & Featuring Wednesday

    Singer-songwriter Tracey Nelson is based in New York, but he’s evidently friends with all the countrified indie rockers of Asheville, North Carolina. Last month, Nelson signed to the new K Records imprint Perennial and shared “Dolly’s Coat,” a collaboration with the very busy MJ Lenderman. Today, Nelson announces his album Hercules, and Lenderman produced and…

    The post Tracey Nelson Announces New Album <em>Hercules</em> Produced By MJ Lenderman & Featuring Wednesday appeared first on Stereogum.

  • The Trousers Track By Track Run Down of Their Album ‘Necessary Evil’

    The Trousers Track By Track Run Down of Their Album ‘Necessary Evil’

    Hungarian rockers The Trousers continue their surge with the release of their explosive album, Necessary Evil. We exclusively checked in with band and asked them to give us a track by track breakdown of the album:

    ALL THROUGH THE NIGHT

    I like to talk about the music more than the “message” of the lyrics. Of course the lyrics are always meaningful, just like in this one, which reflects on the conflicts of the intimate life. But let’s see the music! This is a fast punkish song, an ideal opening track. A typical The Trousers song: the riffs hit hard, but the vocal is very melodic. We follow the footprints of Thin Lizzy, 70’s Cheap Trick, Aerosmith or The Hellacopters in here: every song has top be a hit, but every song gotta have hard guitar riffs.

    RESTLESS IN PEACE

    The title is based on some playing with the words: who is gone that will rest in peace (RIP) but I bet I never will! The riff, somebody said, is very Michael Schenker-ish. I love UFO! This was the first song that came into being for this record. Very melodic, the vocals are layered: I tried to learn something from Jerry Cantrell in the previous years. We try to solve it with female vocals, and it gives the songs a bit of a southern rock feeling. This is new for us, just like the more massive sound. The slide guitar solo in the middle is unusual.

    SECOND HAND SUICIDE

    That was the first single of this record. It starts with a slow, threatening intro, like for example “Hells bells” by AC/DC, than it busts out with a heavy riff in drop D. This song is sad but not depressive and full of power, which makes it sound so heroic. A Canadian rock radio called it “an instant rock classic”.

    LAURA PALMER

    This is the favorite song of our drummer Sam. The heavy garage rock riff and the doubled snare might remind you of MC5, who we supported in Budapest back in 2018. The rest of the song is different, especially the solo part with some minor scales included. The title, of course is a reference to the deaf beauty of Twin Peaks, although the lyrics are not directly refer to the story. A bit mysterious.

    CONDEMNED TO BE FREE

    This title is coming from philosopher Jean-Paul Sartre: you are fully responsible for yourself, no excuses! The music is a midtempo monster with acoustic guitar and fuzz-like tones, a bit reminds me of US alter-rock giants Black Rebel Motorcycle Club. We all love them, especially our guitarist Pete. A hypnotic tune but not really for playing live.

    NECESSARY EVIL

    The title track- we put everything together in this song: AC/DC, Judas Priest, Black Sabbath, Deep Purple, Led Zeppelin – the best of the 70’s. But of course its more than the sum of its parts: a real The Trousers composition again with female vocals in the refrain, a southern rock vibe. In a good song there is always a bit demonic – that’s what the title refers to, but also the fact that when you go through hard times it will make you stronger and integrated after a while.

    FACE FROM THE SUN

    A typical The Trousers composition: fast, Motörhead-like tempo and riffing, but the refrain is rather similar to a 60’s beat or psychedelic garage rock piece. It’s fun to surf between the genres, and create something unusual. I also like the solo part – there is only bass and drum underneath the guitarsolo in the fist part – its also so 60’s and early 70’s, when there was only one guitarist in the bands: Cream, Hendrix, Zep, Sabbath, ZZ Top…

    FALL FROM THE PAIN

    This is the tune when the psychedelic blues is coming in: slow tempo, slide guitar and harmonica. There was no song with harmonica in our catalogue before. It’s a complex song for a garage rock band like us, but it also shows that we cannot be forced into one category or sub-genre. It’s rock that comes form the 70’s but breathes in the 2020’s.

    ON THE RIVER AGAIN

    I think that over the past 15 years our style was crystallized: every song has to be a potential single, every song must have a killer riff and every song has a catchy refrain. This song is a prototype of this approach, although it doesn’t have one, but two refrains one after the other. That’s why its so special. One of the greatest tunes of album, one of the greatest songs of The Trousers. And the bridge is almost indie-rock like, for example Interpol. Bring everything together that you love and create something unique.

    DRIVE ME TO THE STARS

    The finale of the album is also special. I had a dream of my late brother who passed four years ago due to ALS. He was a great musician. In my dream I met some homeless people in the US who told me they were keep praying to the Lord to drive them back to the stars and finish their suffering. In the dream I clearly heard the refrain of the song. Two decades ago with our band The Rag Doll we had a song with the same title, and I included a part of that song into this – so I wrote this song together with my brother in the end. The end of the song gets fast and furious – a long guitar solo that releases the pressure. I think it’s an epic finale.

    The Trousers Track By Track Run Down of Their Album ‘Necessary Evil’

    For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

    The post The Trousers Track By Track Run Down of Their Album ‘Necessary Evil’ appeared first on The Razor's Edge.

  • CULTHE FEST 2026 — EASTER TURNS DARK AND HEAVY

    For several years No Clean Singing has been a proud sponsor of Culthe Fest in Münster, Germany, and we’re helping to spread the word about it again this year. The 2026 edition of the fest is imminent — it will take place over two days on April 4th and 5th. The fest will include performances […]

    The post CULTHE FEST 2026 — EASTER TURNS DARK AND HEAVY appeared first on NO CLEAN SINGING.

  • CONCERT REVIEW: EMPEROR & BLOOD INCANTATION Turned Toronto Into Extreme Metal’s Darkest Coronation

    Blood Incantation and Emperor recently embarked on the “Imperial Wrath” tour, with very limited dates in North America. Their show at the Concert Hall in Toronto marked the beginning of the 12-day trek, and things got off to a darkly immersive start.

    For those of you who are not familiar, The Concert Hall is an iconic venue in Toronto. Having served as a Masonic temple from its opening in 1918 until the mid 60’s, it slowly transitioned to other functions, and operated under several different names, such as Rockpile and Club 888. At one point in the mid 2000’s, it was the home of MTV Canada, and the place received its current name in 2017. Through the decades, this location has hosted some pretty remarkable shows, including a legendary performance by Led Zeppelin in 1969, in which Geddy Lee and Alex Lifeson of Rush were in attendance.

    If you’re a follower of Sonic Perspectives, you might remember we covered a show at The Concert Hall almost exactly two years ago (Find the story here). Some things never really change, and just like in 2024, this was a very cold evening in the city, and the issues of getting into this venue on time are still present. As a consequence of the issues at check-in, the merch line was still quite long when Blood Incantation came to the stage, at 8 PM sharp.

    Having released what was arguably the best metal album of 2024, Absolute Elsewhere, Blood Incantation continues its trajectory toward becoming a stable live act, attracting larger crowds with each new tour. The last time they played here, at the tail end of that same year, it was a sold-out show. And just like the last time, their set tonight included “Absolute Elsewhere” in full. Their show is a continuous experience, where one song flows into the next with no break. With influences ranging from Death and Morbid Angel to Pink Floyd and Tangerine Dream, some of their songs go from a mellotron solo to a blast beat in a split second. Guitarists Paul Riedl and Morris Kolontyrsky alternate the leads, with Paul managing the vocals. And by vocals, I mean growls that would make Opeth’s Mikael Akerfeldt run for cover. Jeff Barret (fretless bass) and Isaac Faulk (drums) admirably hold the fort in the rhythm section, while keyboardist John Gamiño added the ambient layers that gave the band a cosmic feel.

    In a full circle moment, Blood Incantation ended their set with “Vitrification of Blood (Pt. 1)”, the first song of their first album, 2016’s “Starspawn”. As more and more prog elements are added to their sound, they are clearly on an upward trajectory, and one can’t help but feel that their best album is yet to come.

    Emperor came to the stage at 9:30 PM, and they had some catching up to do. The band hadn’t played in Toronto since 2018, and fans were eager to get their satanic fix for the night. As was expected, all the classics were present in their repertoire, including some deep cuts. They kicked it off with “Into the Infinity of Thoughts”, and the crowd erupted into utter chaos. In case you’re wondering, obviously classics such as “Thus Spake the Nightspirit”, “Curse You all Men!”, and ‘I Am the Black Wizards” were played. These days, my mind says pit, but my knees and shoulders say balcony, so after the first three or four songs, I had to make my way to the back of the venue.

    The Norwegian stalwarts are a rare case of a band sounding tighter live than in the studio, and tonight was no different. The core of the band – Ihsahn (vocals, guitar), Samoth (guitar), Trym Torson (drums) – has the help of Secthdamon (bass) and Jørgen Munkeby (keyboards). Visually, there’s no corpse paint or spike-laden clothes. Just five regular guys playing face-melting, bone-crushing, legion-summoning metal. Fully conscious of the impact that their seminal albums had on the scene, Emperor has no desire to continue to release new music. Instead, their shows are a celebration of their legacy, and their followers embrace this philosophy in full. At this stage in their career, if the fans want to experience something new, their best bet is Ihsahn’s prolific solo output.

    Their show reached a climax with “Inno a Satana”, and concluded with a definitive version of “Ye Entrancemperium”. As the final notes echoed into the cold Toronto night, it was hard not to feel like this was a passing-of-the-torch moment—whether intentional or not. Blood Incantation is clearly shaping the future of extreme music with its fearless experimentation, while Emperor continues to embody its spirit in its purest, most authoritative form. Different paths, same darkness—and for one night at The Concert Hall, they converged in spectacular fashion.

    The post CONCERT REVIEW: EMPEROR & BLOOD INCANTATION Turned Toronto Into Extreme Metal’s Darkest Coronation appeared first on Sonic Perspectives.

  • Deftones Are Blowing Up Again Right Now—And It’s Not Just Nostalgia

    deftones-2026-outline

    Why Are Deftones Blowing Up Again Right Now?

    Because their music hits an emotional nerve that newer listeners are actively searching for—while longtime fans never stopped feeding the ecosystem.

    TL;DR:

    Deftones are surging due to TikTok exposure, rising “song meaning” searches, algorithm-driven discovery, and a catalog that connects harder today than it did when it first dropped.

    I’ve Lived With This Band Long Enough To Know When Something Changes

    There’s a difference between a band trending and a band pulling people in.

    I am a hardcore Deftones fan. I’ll say that right out of the gate and I’ve watched this band move through phases for over two decades—radio peaks, quieter years, critical comebacks—but this current surge feels more like a shift in gravity than a temporary spike.

    You don’t see this many new listeners asking deeper questions unless the music is landing in a very specific way.

    And right now, it is.

    People Aren’t Just Listening—They’re Sitting With It

    There’s a difference between throwing a song on and actually staying in it.

    What’s happening right now with Deftones isn’t surface-level listening. You can see it in how people talk about the songs—how they describe moments, lyrics, moods. It’s not “this riff is heavy.” It’s “this song makes me feel something I can’t quite explain.”

    That’s always been the pull.

    Tracks like “Cherry Waves” or “Mascara” don’t hand you a clean takeaway. They hang there. They leave space. And that space is exactly where listeners start attaching their own experiences.

    That’s why people don’t just hear Deftones—they keep coming back to them.

    Check This Out – 13 Bands Deftones Fans Will Become Obsessed With

    TikTok Opened The Door—But The Music Kept Them There

    Short-form video platforms pushed songs like “Cherry Waves” and “Sextape” into circulation again. That part is real, and it’s been covered in live reviews and industry write-ups, including reporting from The Guardian noting increased cross-generational attention at recent shows.

    But that’s only the entry point.

    If the music didn’t hold up, people would move on in seconds. Instead, they’re going deeper into the catalog.

    That’s the difference between exposure and impact.

    Check This Out – Deftones Albums Ranked Worst To Best (2026 Definitive Ranking)

    The Songs Gaining Traction Weren’t Built For The Algorithm

    Look at some of the tracks that are currently trending:

    “Cherry Waves” – An album cut from Saturday Night Wrist that is just an absolute sonic sound bath.
    “Mascara” – Another rather deep album cut from Around The Fur that lulls you in before random explosions of late 90’s angst and sorrow.
    “Passenger” – A standout track from White Pony about a sexual experience in a car. Tool’s Maynard James Keenan lends guest vocals.
    “Sextape” – The third single from the band’s 2010 album Diamond Eyes which is the perfect pairing of simplicity and beauty.

    None of these are structured for quick payoff. They’re slow burns. They build tension. They leave space.

    And that’s exactly why they’re working right now.

    Modern listeners aren’t just chasing hooks—they’re chasing atmosphere. Something immersive. Something that feels personal without spelling everything out.

    Deftones have been doing that for decades.

    Their Catalog Didn’t Age—It Settled In

    A lot of bands from that era sound locked to their time.

    Deftones don’t.

    White Pony still sounds ahead of the curve. Saturday Night Wrist feels like something that could drop into today’s landscape without needing to be reintroduced. Diamond Eyes carries weight without feeling dated.

    That kind of longevity isn’t accidental.

    It’s what happens when a band builds around mood and emotion instead of trends.

    Loaded Radio Recommends – Deftones White Pony: The Volatile True Story Behind the Masterpiece That Killed Nu-Metal

    deftones-white-pony-25-anniversary

    Discovery Doesn’t Happen The Same Way Anymore

    Streaming changed everything.

    Once one Deftones track starts moving, it feeds into:

    • algorithmic playlists
    • mood-based recommendations
    • late-night listening loops

    From there, it compounds.

    Listeners don’t “decide” to explore Deftones. They just keep getting pulled further in.

    That passive discovery turns into active interest fast—especially when the music gives them something to hold onto.

    The Crowd Has Changed—And You Can See It Live

    Recent shows aren’t just packed—they’re mixed.

    You’ve got longtime fans standing next to people who found the band through a 15-second clip.

    That crossover matters.

    Because it signals that this isn’t a throwback moment. It’s a shared experience happening in real time.

    Fans looking to catch Deftones live in 2026 can get tickets here.

    deftones-2024-lollapalooza

    Something Bigger Than A Trend Is Taking Shape

    Most bands get remembered.

    Deftones are being reabsorbed into the present.

    That only happens when the music still answers a need people have now—not just one they had years ago.

    And right now, people are looking for music that feels something instead of just sounding good.

    Deftones have always lived in that space.

    They just finally have an audience wide enough to match it.

    Check This Out – The Sonic Alchemy of Deftones: 13 Essential Tracks to Transform Your Playlist

    FAQ

    Are Deftones popular again?
    Yes. Streaming, search trends, and social platforms all show a clear surge in interest, especially among younger listeners.

    Why are Deftones trending right now?
    A mix of TikTok exposure, emotional song discovery, and algorithm-driven streaming has introduced the band to a new audience.

    Which Deftones songs are trending?
    “Cherry Waves,” “Mascara,” “Passenger,” and “Sextape” are seeing increased attention and search interest.

    Is this just nostalgia?
    No. A large portion of the current surge is coming from first-time listeners discovering the band now.

    Deftones Bio

    Deftones are an alternative metal band formed in Sacramento, California in 1988. Fronted by Chino Moreno, the band became known for blending heavy guitar work with atmospheric textures and emotionally driven songwriting. Breakthrough releases like Around the Fur and White Pony helped define their sound, while later albums continued to expand their influence across multiple genres.

    The post Deftones Are Blowing Up Again Right Now—And It’s Not Just Nostalgia appeared first on Loaded Radio.

  • Better Than Ezra Ask Fans To Write Their Next Single With AI

    Wah-hawww, this isn’t good. ’90s alt-rock hitmakers Better Than Ezra, who were the subject of our Alternative Number Ones column last year, are holding a contest for fans to use a new AI platform to “write” a song for them. Better Than Eza frontman Kevin Griffin has been extolling the possibilities of AI music for at least a few years, and now he’s the co-founder of an AI music platform called Soundbreak. Yesterday, Griffin announced his contest in a social-media video, telling fans that the winning entry will be Better Than Ezra’s next single. Here’s what he has to say for himself:

    The post Better Than Ezra Ask Fans To Write Their Next Single With AI appeared first on Stereogum.

  • “I lost it. I was just screaming and swinging at people. I’m not proud of it.” How Red Hot Chili Peppers made By The Way, in their own words

    “It’s not some champagne and caviar rock star party for us”

  • “I lost it. I was just screaming and swinging at people. I’m not proud of it.” How Red Hot Chili Peppers made By The Way, in their own words

    “It’s not some champagne and caviar rock star party for us”

  • Ecca Vandal Announces New Album ‘LOOKING FOR PEOPLE TO UNFOLLOW’

    Ecca Vandal has revealed all of the details of their upcoming new album, their first for Loma Vista Recordings.


    Titled ‘LOOKING FOR PEOPLE TO UNFOLLOW’, it will be released on May 22.

    Ecca had this to say about what the record represents for them, stating, “The systems. The trends. The illusions of connection. I find empowerment in being loud and noisey especially as a woman in this global moment who grew up in a culture that told me I could not be those things.”

    The artwork looks like this:

    Whilst the full tracklisting looks like this:

    1. AIRPLANE MODE
    2. EYES SHUT
    3. SORRY! CRASH!
    4. VERTICAL WORLDS
    5. BLEED BUT NEVER DIE
    6. CRUISING TO SELF SOOTHE
    7. MOLLY
    8. OKAY NOT TO BE OKAY
    9. LEVITATE PART 1 & 2
    10. LOOKING FOR PEOPLE TO UNFOLLOW
    11. THEN THERE’S ONE
    12. BLEACH
    13. DID A LITTLE MORE TO FORGET
    14. DO IT ANYWAY
    15. DANCE IN DEBT
    16. GHOSTS
    17. CAME HERE FOR THE LOOT

    The announcement has come with a new track dropping, too, in the form of ‘SORRY! CRASH!’, which follows on from the previous release of ‘BLEACH’ and ‘MOLLY’.

    A frantic, kinetic blend of melody and mayhem, effortlessly blurring the lines between sounds and scenes, it is a brilliantly bonkers and sensational listen. A fork in the road for everything that Ecca Vandal stands for and wants to disrupt, delivered with intensity and intricacy.


    Ecca will be making her Coachella debut later this month in the US, and in the UK will be at Outbreak Fest in Manchester in June and at Outbreak Fest x All Points East in August, alongside Deftones.

    The post Ecca Vandal Announces New Album ‘LOOKING FOR PEOPLE TO UNFOLLOW’ appeared first on Rock Sound.