Vancouver progressive melodic death metal band Caerrian is celebrating a major milestone as drummer Aaron Graham, a respected Drumeo instructor and Doctor of Percussion from the University […]
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After debuting at the Tribeca Festival last summer, Billy Idol Should Be Dead opens today in theaters across the US and Canada. Jonas Åkerlund’s documentary about the 2026 Rock & Roll Hall Of Fame nominee also now has an official trailer, premiering exclusively on Stereogum.
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– February 26th, 2026 –
“Darkness Alive” Out Now On Metal Blade Records
Photo by Chris Kissadjekian
Watch / stream W.E.B.’s “Morphine For Saints” HERE
Greek symphonic extreme metal practitioners W.E.B. are pleased to present their live video of “Morphine For Saints” from Darkness Alive, their first ever live album, released last week via Metal Blade Records.
W.E.B.‘s music has earned high praise for its “drama, extremity and bloodthirst in equal parts… energetic and unhinged.” The formidable symphonic extreme metal lineup is best experienced at one of their many crushing live gigs. Darkness Alive truly captures the band at their most commanding.
Offers vocalist/guitarist Sakis Prekas on today’s video, “‘Morphine For Saints’ is that one song that has become a fan favorite since the beginning and for sure it is one of the peak moments of every concert we give since it always begins with a wall of death and a crowd chanting alone in the middle. It is probably the song that establishes the perfect connection between W.E.B. and every audience!“
Watch W.E.B.‘s live performance video of “Morphine For Saints” HERE.
Darkness Alive is available now digitally at: metalblade.com/web
Darkness Alive Track Listing:
01. Crimson Dawn (Live)
02. Pentalpha (Live)
03. Dark Web (Live)
04. Into Hell Fire We Burn (Live)
05. Murder Of Crows (Live)
06. Necrology (Live)
07. Morphine for Saints (Live)
08. Dragona (Live)
09. Eligos (Live)
A band born of the necessity to scream, blast, and create emotions and get on stage to exchange them with an audience, W.E.B. expresses darkness and death through adrenaline and poetry. Darkness Alive follows five previous studio albums. Colosseum, released in 2021, was their first for Metal Blade. Seized at a moment of transition, the upcoming live album documents the band featuring Prekas. Hel Pyre (bass, vocals), and newly joined drummer Vasilis Nanos. Following the recording, the band expanded its sound and solidified its current lineup with the addition of lead guitarist Alex Despotidis and second bassist Babis Kapageridis.
W.E.B. is currently composing material for their next full-length album that will see them hitting the road once again. “It is by far the best material we;ve ever had on a record. I intend to keep the promise to myself regarding W.E.B. that all new material must be better material, otherwise there is no reason to release it,” Prekas concludes. “Stay Dark.“
Photo by Georgina Staikou
W.E.B.:
Sakis Prekas – vocals, guitar
Hel Pyre – vocals, bass, keys
Alex Despotidis – guitar
Babis Kapageridis – bass
Vasilis Nanos – drums
https://webmetalband.com
https://www.facebook.com/webdarkness
https://www.instagram.com/webdarkmetal
https://www.youtube.com/@WEBbandOfficial
https://x.com/webdarkmetal
Rockshots Records is proud to announce the release of “The Human Farm“, the ambitious new sci-fi concept album by progressive metal band Vanderlust, hitting stores worldwide on […]
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Ella Langley’s “Choosin’ Texas” is not only a #1 hit but a historic #1 hit. The song, a gentle country weepie about losing your cowboy paramour to his exes down in you-know-where, made Langley the first woman to reach the top of the Billboard Hot 100, Hot Country Songs, and Country Airplay charts simultaneously. Based on the numbers, she’s just collected a full set of tickets to the monoculture.
The post Ella Langley’s Walled-Off Superstardom appeared first on Stereogum.
UFO will release the expanded and remastered classic 1981 album The Wild, The Willing and The Innocent on 1 May 2026 via Chrysalis Records. Described by Michael Hann in the new liner notes as “the best UFO studio album,” this is one that Phil Mogg is equally enthusiastic about. “It was really refreshing to hear after we did No Place To Run with Paul Chapman,” Phil told MetalTalk in this new interview.
This deluxe edition also includes a brand-new mix by Brian Kehew of the previously unreleased Live at the Hammersmith Odeon, recorded on 29 January 1981.
It has been a while since I last spoke to Phil Mogg back in May 2025 for the reissue of No Place To Run. But here we are again, chatting on a Thursday lunchtime about Phil’s decision to purchase a three-compartment all-in-one frying pan. “Triple stainless steel, which is recommended,” he tells me, and at fifty quid, quite the bargain.
We always seem to catch up at lunch. When we discussed the Obsession reissue, he was just finishing his soup, although last time he was just recovering from norovirus.
No such health problems this time, although it’s evident that age is catching up with us both. “Getting old does suck,” Phil says. Whoever said that was right.
“You suddenly find bits dropping off,” he smiles. “It’s like a car you don’t want. First, there was just a bit of rust. And then maybe an indicator had fallen off. And then WD40 doesn’t work too well.”
Today, we are recalling the ninth album by UFO, The Wild, The Willing And The Innocent. Widely and rightly acknowledged as one of the band’s finest records, it was released on 16 January 1981 and was the first to feature Neil Carter, who, of course, was part of Moggs Motel, more of which later.
Phil is enthusiastic about the album. “Oh, I like it. It’s great,” he tells me. “It was really refreshing to hear after we did No Place To Run with Paul (Chapman). That was our first album with him, and then we were let loose in the studio.” It was the first album the band produced themselves, after jettisoning George Harrison after No Place to Run.
“I also like the fact that there are only eight numbers on it,” Phil says, as we launch into a discussion about quality over quantity. “I’d sooner have eight decent numbers than fill it as they can do, with ten or 12 tracks they do today just because it’s there. It’s not right.
“I think back to when we did that album. It was a lot more liberal in terms of record companies and everything at that point because we had the independence with Virgin and Chrysalis. Yeah, it was a lot more of a healthy period anyway, but I’m rambling. I prefer eight tracks.”
Phil laughs when I say that this was a self-produced album. “Well, we didn’t have a producer, but we got a couple of good engineers and for things like strings on the album, that was not a problem. We had good support from Chrysalis. They just backed it up.
“We also had some really good studios to work in, in London, which helped. And there was a great pub on the corner, where you could gaze at all the people going home from work. It was a great studio.”
There are conflicting reports about how much Neil Carter played on the album, having come in to replace Paul Raymond, who had left to join MSG. Neil plays some lovely saxophone on Lonely Heart, for sure. As far as Phil can recall, Neil played a fair bit on the album.
“I remember Paul trying to wheedle his mate to do some [rumour has it Chapman tried to get John Sloman from Lone Star to participate], but I don’t recall him doing anything.” Phil is, as ever, completely honest, though. “It’s a bit vague, but as far as I know, Neil came in and replaced Paul, and that was it. That’s all I can remember.”
Phil is equally honest about the length of time it took to record the album. Criticised for taking longer than before to complete The Wild, The Willing and The Innocent, the album was still released in the annual cycle, almost a year to the day after No Place to Run. Phil wasn’t aware of any great delay in the album, but admits that he doesn’t know if there was.
However, UFO making the album on their own was a release he remembers, especially after working with George Harrison in Montserrat for the previous record. “We were on our own. We didn’t have anyone checking in, telling us where we should be or what we should do. So it was a bit like, hey, get on with it, and then you did. You did it yourself. It was a very happy period.”
Searching through the pages of Setlist.FM, I was struck by the number of dates UFO did over those heady years, with over 110 shows in support of this album. “It’s called killing the band,” says Phil.
“If you haven’t got a decent setup, it was like that. There was no one saying you should take a break. That never happened. Back then, bands were on that treadmill. Album. Promote the album, etc. It doesn’t happen these days. But back then, there was a kind of feeling that you did an album, then you went out and toured and promoted it, and without the album, the tour didn’t work together.”
With Michael Schenker having left before No Place to Run, the next line-up change came when Neil arrived. “He was a breath of fresh air,” says Phil, “and you know, we’re still friends too. At least I think we are, last time I looked [laughs]. No, we’re still friends now. He was absolutely perfect for us.”
This prompts Phil to remember something about the touring schedule they had then. “Neil sent me a tour itinerary recently, which he had found. And it was a three-month tour of America with four fucking days off!
“I was looking at it, going, how could you possibly do that? The gigs were like one after the other. I must have been in great shape then,” he laughs. “I could have beaten you around the block! But back to Neil, it was fantastic. It’s still great playing with him today in the Motel.”
The reissue comes with a glorious 13-track live set recorded at Hammersmith Odeon on 29th January 1981 with a setlist full of classics as well as three songs from The Wild, The Willing and The Innocent [Long Gone, Chains Chains and Lonely Heart].
The band are in fine form, with Paul’s guitar work proving to be just as fluid as his predecessor, and whilst there are a few croaky notes, Phil is still majestic.
At the time, Hammersmith was a bit of a second home to the band in the UK. “It was magic,” says Phil, “and I was sleeping down the road so I could walk to the show. Who could ask for more? Yeah, it was good, it was enjoyable at a time when rock was still doing okay, and Hammersmith was a great place to play.”
Listening to the album again, and I’ve played it regularly for 40 + years, the thing I find about it is the consistency in the songwriting. Phil still enjoys listening to it. “I like it from the beginning to the end.”
“There’s nothing I don’t really like on it. Some lyrics make my toes curl a bit, but I thought, well, that’s okay. They aren’t that bad! I like the whole album. I’m not too keen on the cover, mind.”
Hipgnosis had been responsible for several UFO covers, but this is one that still confuses me when I look at it. “What do you say?” smiles Phil. “I was looking at it now. I never really looked at it. I think they [Hypgnosis] were on a bit of a downward spiral then with their covers. It wasn’t quite up to where they were. It looked a bit too violent to me. I hope he’s not going to weld like that.”
Phil tells me about a great Delta King’s Blues track he found on DAD Radio. “It’s going back to basic blues stuff, and it’s called You Gotta Be Tough To Grow Old. It’s like a real blues thing, but the lyrics, they are great lyrics, they say it all,” as we return to ageing.
This leads me to push the memory banks once again and ask Phil about the one time that UFO played the Howlin’ Wolf track Smokestack Lightnin’ live. Although Phil can barely remember it, he laughs. “I don’t know what we were thinking. Now, you think you can pull these things after you listen to him. Then you go, what are you thinking?”
Phil also tells me that, contrary to my understanding, they had played Profession Of Violence once live. He’s not convinced when I tell him that Setlist.FM suggests UFO played Nellie The Elephant in Boston, England, in 1984.
“Hah, well, that’s just been nuts. You’ve got the wrong list.”
As is customary now, we finish with a catch-up about Moggs Motel. Although it has been desperately quiet in the camp, the good news is that Phil tells me that the band are arranging a rehearsal in March, although Neil can’t join them, so they are working as a four-piece.
“We’ll just see how many shapes are in the bag, you know. Shakey movements on the stage will show what’s going on. A bit of a run out.”
So, with the hope of new Moggs Motel music under development, we can, for the time being, spend time revisiting The Wild, The Willing And The Innocent and the tour de Force live set from Hammersmith Odeon.
Reissued on stunning 3LP tri-fold sleeve 180gm vinyl and 2CD Digipak formats, The Wild, The Willing And The Innocent now sounds more dynamic and detailed than ever, thanks to new remastering from the original tape transfers.
Original 7″ edits of the two singles Couldn’t Get It Right and Lonely Heart released with this album are included, as well as an alternative mix of album standout It’s Killing Me. Also included are new liner notes from Michael Hann and brand new interviews with Phil Mogg and Andy Parker.
UFO The Wild, The Willing And The Innocent (2026 Remaster – Deluxe Edition) is released on double CD and 3LP on 1 May 2026 on Chrysalis Records. Order link: https://ufo.lnk.to/TWTWATI.
CD1 – The Wild, The Willing & The Innocent – 2026 Remaster
Chains Chains
Long Gone
The Wild, The Willing And The Innocent
It’s Killing Me
Makin’ Moves
Lonely Heart
Couldn’t Get It Right
Profession Of Violence
Couldn’t Get it Right (7” Edit)
Lonely Heart (7” Edit)
It’s Killing Me (Alt. Mix) *
CD2 – Live at Hammersmith Odeon, London, 29th January 1981 – Newly Mixed *
Long Gone
Chains Chains
Lonely Heart
Cherry
Mystery Train
Only You Can Rock Me
Too Hot To Handle
Lights Out
Rock Bottom
Doctor Doctor
Shoot Shoot
*Previously Unreleased
LP1 – The Wild, The Willing & The Innocent – 2026 Remaster
Chains Chains
Long Gone
The Wild, The Willing And The Innocent
It’s Killing Me
Makin’ Moves
Lonely Heart
Couldn’t Get It Right
Profession Of Violence
LP2 / LP3 – Live at Hammersmith Odeon, London, 29th January 1981 – Newly Mixed *
Long Gone
Chains Chains
Lonely Heart
Cherry
Mystery Train
Only You Can Rock Me
Too Hot To Handle
Lights Out
Rock Bottom
Doctor Doctor
Shoot Shoot
*Previously Unreleased
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Are you up on Shoes? They were a power-pop band who got started in mid-’70s Ohio. They had a few excellent minor hits in the late ’70s, and they were early music video adapters, which meant that a bunch of their clips were in rotation on the day that MTV launched in 1981. Shoes never…
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