Terry Hall’s untimely passing in December of 2022 signaled the end of THE SPECIALS, yet the English ensemble’s fans can’t let go of their memories, and when Sky Arts aired the “Live From Coventry Cathedral” film in December 2024, the … Continue reading
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On January 29th, 1967, Jack Bruce came reeling out of Jimi Hendrix’s show at the Saville Theatre in Covent Garden, went home and channelled his shell shock into – arguably – the defining riff of the Sixties, and the song that arguably created the template for heavy metal.
“I don’t think Jack had really taken him in before,” Cream bandmate Eric Clapton told Rolling Stone. “After the gig, he came up with the riff. It was strictly a dedication to Jimi.”
“Pete [lyricist Pete Brown] and I had been working all night trying to come up with some songs,” Bruce said. “I just picked up my double bass and looked out the window and the sun was coming up. And I just started playing the riff of Sunshine Of Your Love.
“And Pete looked out the window and said: ‘It’s getting near dawn,’ and he wrote it down, just like in one of those really cheesy biopics. So we played it, and then Eric came up with that really nice turnaround part: ‘I’ve been waiting so long…’”
For a band brought together by their mutual virtuosity – paying respect to the flashiest guitarist on the London scene – it’s curious that Cream’s most famous moment was little more than a mid-tempo seven-note descending bassline. Yet those seven notes worked their magic, while providing a spine on which Bruce’s bandmates hung some of their career-best playing.
Quoting the melody of Blue Moon, Clapton’s deliciously languid solo found the hotshot guitarist reining in the flash, leaving weeping notes to hang, in the best showcase of his smooth, dark, so-called ‘woman’ tone.
Meanwhile, Ginger Baker pulsed on his toms with an almost hypnotic intensity – although the beat was a sticking point. In later years, Baker would claim he had the idea of emphasising the ‘1’ and ‘3’, but in documentaries, engineer Tom Dowd maintained it was his suggestion. “I said, ‘Have you ever seen an American Western where the Indian beat – the downbeat – is the beat? When they started playing that way, all of the parts came together.”
Bruce sensed that Sunshine Of Your Love could fly: the song had already been endorsed by Otis Redding and Booker T. Jones at Atlantic Studios. The suits were a harder sell, steering Clapton into the frontman role and bemused to be presented with woozy, hippy-ish fare rather than straight-up blues. Atlantic boss Ahmet Ertegun, recalled Bruce in the Classic Albums series, didn’t sugarcoat his verdict: “He called it psychedelic hogwash.”
But the bassist’s vindication was emphatic. Released late in 1967, Sunshine Of Your Love would slow-burn to No.5 in the US, putting Cream into the American super-league and inspiring a generation of future rockers.
“Cream were a big influence on Sabbath, Ozzy Osbourne told Classic Rock in 2006. “Listen to NIB [from Sabbath’s debut album] and compare it to Sunshine Of Your Love. The riff to NIB – Da-da-d-dah, dah-dah, da-da-d-dah – oh yeah! – is basically the same. I don’t know if it was a conscious decision at the time, but that’s it.”
“Sunshine of Your Love is a desert island classic,” said Samy Hagar. “I go back to that song again and again and again.
“That riff is probably the very first heavy metal riff ever,” said Zakk Wylde. “That’s my mount riffmore.”
“When Sunshine Of Your Love came out, it brought all that soulfulness together with some wonderful jazz influences in a way that wasn’t self-conscious at all,” mused Rod Argent. You had the wonderful imagery of Jack Bruce, you had Ginger Baker playing a drum part that no other drummer in the world would have played, and you had the wonderful lyricism of Clapton.”
And almost a half-century later, when Sunshine Of Your Love was the inevitable encore at the all-star tribute concert for Bruce – who died of liver disease in 2014 – it was hard to imagine a finer sunset.
Sacramento post-hardcore mainstays Dance Gavin Dance have announced an Australian headline tour for this November, joined by special guests and fellow post-hardcore veterans The Fall of Troy and Australian-led rockers Galleons. Tickets go on sale Friday, 3 July at 11 am local time via Destroy All Lines. The tour arrives in celebration of Dance Gavin […]Hot gun, our promise bleeds
You would never stop looking for me
Have we left it all behind?
Is it lust that’s holding the line?
Following a single launch show at Paris Fashion Week last night, Dutch brothers Ruben and Matthijs Pol return today with “Sex Machines,” a new single dressed in black vinyl, cheap danger, and the faint whiff of someone applying eyeliner in a moving taxi. Pol channel New Wave as theatre, high-powered voltage, cheekbone architecture, and emotional bad decisions made under excellent lighting. On Sex Machines, they take romance to the shop floor and ask what happens when desire keeps clocking in after love has already quit for the day.
The track moves on twitching beats, serrated guitars, and clipped vocals that sound as if every syllable has been inspected, stamped, and sent down a conveyor belt to be packaged as brand-name mischief. Sparks sit in the showroom as the gleaming prototype, lending the song its arch theatricality and pop-engineered mischief, while DEVO mans the control panel, tightening everything into jerky, mechanized obedience. Sigue Sigue Sputnik grin from the loading dock with chrome teeth, adding cheap-thrill futurism and tabloid shine, as Adam and the Ants smear pirate mascara across the machinery and push the whole thing toward heroic excess. Pol treats that lineage as a set of live wires rather than museum glass, giving the song enough strut, wit, and absurdity to feel animated rather than a mannequin sporting vintage sunglasses.
At the center of the song is a relationship that has traded conversation for repetition, tenderness for reflex, and emotional clarity for the kind of pleasure that usually comes with consequences and a very awkward morning. The lovers know the deal. They know they are running on appetite, vanity, and the faint hope that physical contact can cover a crater. When the chant of “we are sex machines” lands, it plays first like a joke, then like a diagnosis, then like something two doomed people might shout because silence would make them feel worse.
Pol makes that collapse move. The beat jitters with caffeinated menace, the guitars slash in short, metallic angles, and the vocals stay beautifully cool while everything around them starts looking for a fire exit. There is comedy in the blankness, danger in the polish, and a wonderfully ridiculous confidence in how far the duo are willing to push the pose. Pop music has always loved a good robot, especially one wearing a blouse, and Pol have built one that can dance, sulk, and seduce.
Open the side table drawer and listen to Sex Machines below and order the single here.
Since their self-titled 2023 debut EP, Pol have been building more than a string of releases. The singles Masks and The Chameleon pushed further into theatrical New Romantic territory, while the brothers have designed their own visuals, videos, merch, and fanzine with the zeal of people who clearly do not trust anyone else to choose the font. Their first zine, reflecting on their West European tour, is sold at cult Paris bookshop Librairie 1909, which feels perfectly on brand: stylish, independent, and just pretentious enough to be useful.
Their wider world has already pulled in sound design collaborations with Louis Vuitton, Miu Miu, and others, while early 2026 saw them opening sold-out shows in London, Lille, and Paris for Lebanon Hanover. Sex Machines starts the next chapter with bite, gloss, lust, and a wink sharp enough to require a tetanus shot.
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The Beat Kitchen had several powerful bands with fearless stage presence perform as Babe Haven headlined another unforgettable night of raw, chaotic energy along side Chicago’s Bev Rage & The Drinks and No Men.
The doom-groove No Men sends shivers down your spine with deep vibrato and grinding riffs, transporting you into a trance. Or, as a friend put it, “I think this band just burped me.”
Pursley leads on vocals and occasionally jumps in on a floor tom and snare, adding to the already blistering drumming.
This was a particularly special show for the fun and fab drag-fronted Bev Rage & The Drinks as it marked their 10-year anniversary as a band. Starting with their 2016 debut self-released EP, Don’t Know Shit, Bev Rage & The Drinks have since released several full-length albums, numerous creative music videos and voted Chicago’s Best Punk Band by readers of the Chicago Reader for 2024 and 2025.
The high-energy queer punk band from North Carolina, Babe Haven immediately got the room moving into a sweating frenzy while blasting through aggressively fierce and powerful songs such as “Nuisance”, “Uppercut” and “Gas Pedal”.
Having just finished their appearance at Camp Punksylvania (along with Bev Rage & The Drinks), Babe Haven will be touring the EU/UK this fall with Latter followed by a US West Coast tour.
Check out the full galleries below!
Global alternative metal institution Bad Wolves has officially completed one of the most shocking and audacious transformations in modern rock history. Bouncing back from a catastrophic 2025 organizational collapse that left the future of the project in absolute jeopardy, foundational drummer John Boecklin has permanently solidified the lineup by naming multi-instrumentalist and pop-trap solo artist Sara “Killboy” Skinner as the band’s new full-time frontperson, instantly validating the seismic shift with the premiere of their scorched comeback single, Paint It Red.
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7 Below:To fully comprehend the sheer scale of this lineup reveal, tracking logs require a retrospective look at the behind-the-scenes turmoil that quietly crippled the group last year. In 2025, the internal architecture of Bad Wolves was pushed to the absolute edge of total dissolution following a sudden, quiet exodus of four active members, including veteran lead guitarist Doc Coyle and frontman Daniel “DL” Laskiewicz. Left entirely alone with the intellectual property, founding drummer John Boecklin openly admitted that he was on the direct verge of permanently disbanding Bad Wolves altogether.
At the exact same moment, Skinner was fighting her own personal and professional demons. Despite having previously secured a high-profile major-label contract with Atlantic Records, touring alongside Jxdn, and commanding festival fields of thousands as Killboy, the pressure of closing in on her 30s sparked a severe mental health battle. As her digital streaming metrics began to crater and her relationship with her label dissolved, a deep depression and creative dread set in, leaving her wondering if her musical worth had deteriorated.
Following the advice of her therapist, Skinner completely packed up her life, moving from California to Texas to quietly re-evaluate her relationship with music by singing Adele and Lady Gaga covers at local, low-key open mic nights to crowds of three pizza-eating patrons.
The fateful turning point occurred during a desperate tracking trip to Nashville, Tennessee. Near tears on an evening walk, Skinner pleaded for a sign, only for her phone to immediately ring out of the blue. On the other end was Boecklin—calling to lay his cards bare and offer her the ultimate crown: the lead vocal spot in Bad Wolves.
Boecklin’s immense faith in Skinner stemmed directly from their 2023 collaboration on the melodic duet “It’s You (2 Months),” a highlight track pulled from the Die About It full-length release. Recognizing her as one of the finest pure vocalists in the industry, Boecklin immediately booked her a flight to Los Angeles, placing her inside the legendary EastWest Studios the very next day to track pre-existing instrumental configurations.
The structural integration was immediate, drawing jaw-dropped reactions from studio visitors representing progressive metal elite like Animals As Leaders and Volumes. While Skinner admits to initially experiencing severe imposter syndrome, tracking songs like the upcoming acoustic masterpiece “Drag Me Through Hell” fully unlocked her creative confidence.
By shifting the band’s identity to a female-fronted powerhouse, Bad Wolves has effectively broken away from the shadows of both Laskiewicz and original frontman Tommy Vext, establishing a highly elastic, completely unchartered sonic trajectory.
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The newly deployed introduction single “Paint It Red” acts as a beautifully visceral, meta-narrative for both Skinner and Boecklin. The track functions as a rock-scorched alternative metal anthem defined by massive pop-tinged earworm melodies, heavy technical chugs, and surprisingly abrasive, raw screams that demonstrate Skinner’s incredible vocal scale. Lyrically, the message centers on having the absolute courage to rip your entire life apart, torch the debris of your past, and rebuild a pristine future from the ashes.
The accompanying music video features a brilliantly literal interpretation of this philosophy. Captured during real-life renovations, the visual layout finds the current lineup—rounded out by guitarist AJ Rebollo and bassist Derek Bolman—physically demolishing the interior of Boecklin’s newly purchased home before constructing a brand-new foundation.
With a fifth studio album officially taking shape behind closed doors and Skinner simultaneously firing up her solo career via her digital-pop track “ENCORE <3,” Bad Wolves are marching out of the shadow of death with an absolute vengeance.
Who is the new lead singer of Bad Wolves? Sara “Killboy” Skinner, a highly versatile singer-songwriter, producer, and former Atlantic Records pop-trap solo artist, has been officially unveiled as the new frontperson.
Why did the previous members leave Bad Wolves? In 2025, the band suffered a quiet structural collapse that saw four members depart the lineup, including lead guitarist Doc Coyle and vocalist Daniel “DL” Laskiewicz, nearly forcing the band to dissolve entirely.
When does the next Bad Wolves album release? While the band debuted their brand-new introductory single “Paint It Red” on June 29, 2026, the official title and release date for the full fifth studio album remain under wraps.
The new era has officially arrived, the tracking sheets are verified, and Bad Wolves have secured a fiercely unique vocal force to guide them through the 2026 landscape.
What is your honest assessment of Sara “Killboy” Skinner stepping up to front Bad Wolves? Do you think her pop-trap background and soaring vocal range will inject a vital, brilliant new energy into the modern alternative metal framework, or are you skeptical of the band shifting away from their classic masculine vocal roots? Sound off with your tracking thoughts, music video reviews, and comments below!
The post Bad Wolves Unmask Pop-Trap Pioneer Sara Killboy Skinner As Brilliant New Lead Vocalist As Exploding Single Paint It Red Debuts appeared first on Loaded Radio.
New Order have announced that Stephen Morris and Gillian Gilbert will not be touring with the band “for the foreseeable future” due to personal health reasons.
The band shared the update while confirming its November appearance in Chile, which will mark New Order’s first performance there in seven years. Morris and Gilbert will not appear at that show. The current performing lineup for the date is Bernard Sumner, Phil Cunningham and Tom Chapman.
The announcement comes ahead of Joy Division/New Order’s induction into the Rock & Roll Hall of Fame. The group is part of the Hall’s 2026 Performer category, alongside Phil Collins, Billy Idol, Iron Maiden, Oasis, Sade, Luther Vandross and Wu-Tang Clan. The induction ceremony is scheduled for November 14 at the Peacock Theater in Los Angeles, with a broadcast on ABC and Disney+ in December.
It is not currently clear whether Morris or Gilbert will attend the Rock Hall ceremony. New Order’s latest statement addressed touring and the Chile performance, but did not specify plans for the induction.
Former Joy Division and New Order bassist Peter Hook has separately addressed the Rock Hall event. In an April interview with Rolling Stone, Hook said he does not plan to stand with his former New Order bandmates at the ceremony and said the likelihood of a joint performance “doesn’t look good.” He also said he is looking forward to the induction, but “not one other member of the band is a reason.” Hook added that he had heard “rumors” about whether the other members would attend, but said it was not his place to confirm.
Hook remains active with Peter Hook & The Light. The band’s current 2026 schedule includes New Zealand and Australia dates in July, UK dates in August, and a North American run from August 22 in Cincinnati through September 27 in Vancouver. Most of the North American shows are billed as performances of New Order’s Get Ready in full, plus Joy Division and New Order songs.
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Featuring veterans of the Adelaide heavy scene with members from Japam and Colibrium, Control The Sun kicked off the year with their first-ever gig, opening Froth And Fury in Adelaide and dropping their epic debut single, Say It’s Over. Several months have passed, and they are back, shifting things up a gear with their second […]
The volatile blood feud between hard rock juggernauts Mötley Crüe and Godsmack has officially reignited on the global media grid. Breaking the camp’s recent silence, Crüe bassist Nikki Sixx has launched a blistering counter-offensive against Godsmack drummer Shannon Larkin, following a controversial June 2026 livestream where Larkin openly accused Sixx of relying on pre-recorded vocal tapes to execute Mötley Crüe’s legendary stadium anthems.
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7 Below:| Operational Flashpoint Era | Primary Conflict Components | Core Technical Assertions | Public Retaliation Status |
| Crüe Fest 2 Tour (2009) | Sully Erna clashing with Crüe security layout. | Godsmack alleged “rock-star garbage” and mistreatment of guests. | Inspires the Godsmack hit single “Cryin’ Like A Bitch”. |
| Mick Mars Lawsuit (2023) | Founding guitarist alleges 100% fake bass tracking. | Claims Sixx didn’t play a single live note on the 2022 stadium tour. | Manager Allen Kovac blasts claims as a leverage smear campaign. |
| John 5 Interview (May 2026) | Active guitarist addresses live technical mixing. | Confirms backing vocals, intros, and sirens are pumped from tape. | Strongly defends that Sixx, Neil, and Lee play every live note. |
| Larkin Livestream (June 2026) | Drummer attacks Crüe while defending Mike Mangini. | Claims Sixx looks away from the mic while his vocals play. | Sixx fires back on X, labeling Larkin a “hater” from a “B-level band”. |
The latest structural breakdown in relations began during a June 19, 2026, live broadcast on Shannon Larkin’s official YouTube channel. While defending Godsmack’s recent high-profile decision to recruit former Dream Theater drumming phenomenon Mike Mangini for their current North American tour tracking run—following a temporary stint with Wade Murff—Larkin used the opportunity to champion Godsmack’s raw, organic approach to live music.
In doing so, he drew a sharp contrast against modern electronic homogenization by aiming his sights squarely at Mötley Crüe’s founding bassist.
“Godsmack uses no click tracks, no backing tracks,” Larkin asserted during the stream. “And backups, you see Nikki Sixx up there [with Mötley Crüe]. He’s not really singing, he looks away, but you still hear his voice. Well, it’s a track playing. But in order for those things to happen, the band has to be on a click track… So it’s a homogenization of what used to be the dangerous feeling of a rock show.”
Larkin’s direct critique quickly caught fire across internet aggregators, moving from initial reporting on Blabbermouth.net directly into the path of Sixx himself.
Nikki Sixx did not mince words when responding to the percussive veteran’s claims. Taking to his official account on X (formerly Twitter), the iconic songwriter unleashed a cascade of posts designed to entirely diminish Larkin’s stature and question his career strategy.
“Who’s this Shannon Larkin hater?” Sixx wrote aggressively. “It’s funny how so many B- and C-level bands seem to spend more time talking about us than writing songs people actually remember. Maybe it’s jealousy, maybe it’s insecurity, maybe ticket sales are a little slow. Either way, borrowing someone else’s spotlight has never been much of a long-term career strategy.”
Sixx further doubled down on his disdain for media commentary from competing artists, adding:
“I genuinely feel for musicians who never figured out that the best publicity is writing great songs — over and over again, decade after decade for fans not critics. It reminds me of the endless bimbo podcast crowd that builds an audience by talking about everyone else instead of creating something worth talking about. Anyway, maybe he needs to take a nap before he does more press.”
The debate surrounding Mötley Crüe’s structural use of digital enhancements on stage is far from new. In fact, it remains one of the most polarizing tracking topics in hard rock journalism, highly fueled by a explosive 2023 lawsuit filed in Los Angeles County’s Superior Court by retired founding guitarist Mick Mars. Mars’s attorneys alleged that Sixx failed to play a single live bass note during the group’s 2022 stadium tour, which Crüe manager Allen Kovac aggressively countered by calling it false slander and elder abuse directed at a musician battling Ankylosing Spondylitis.
Just last month, in May 2026, active Crüe guitarist John 5 attempted to clarify the live production configuration during an appearance on the Thinking About Guitar podcast. While John 5 openly conceded that supplementary audio components are utilized on the road, he firmly defended the instrumental honesty of the core tracking performance.
“Listen, there’s backups [backing vocals] that are on track,” John 5 openly revealed. “Of course, there’s backups pumped in, there’s sirens pumped in, there is intros pumped in, but all the music that we’re playing is being performed by us. Nikki plays every single note on that stage. He messes up. You can hear mistakes. Everybody plays everything.”
This latest 2026 tracking flare-up also taps straight into a legendary, localized history of bad blood between the two bands that has quietly simmered since the 2009 Crüe Fest 2 package tour. Following severe backstage ego clashes regarding security limits and guest backstage access, Godsmack frontman Sully Erna famously penned the smash hit single “Cryin’ Like A Bitch” as a direct, unvarnished attack on Sixx’s rock-star persona.
While Larkin previously noted in archival sessions that he originally got along wonderfully with Sixx and was even asked to record with his side-project Sixx:A.M., it is completely clear that any old-school branch of peace has been completely pulverized as this new war of words dominates the media circuit.
What did Shannon Larkin say about Mötley Crüe’s live show? Larkin alleged that Mötley Crüe heavily relies on pre-recorded backing vocal tracks on tour, claiming he has witnessed Nikki Sixx’s backing vocals blasting through the sound mix even when Sixx is looking completely away from his microphone.
What was Nikki Sixx’s official response to the backing track claims? Sixx took to X to bash Larkin, labeling him a “hater” from a “B- or C-level band” who is utilizing Mötley Crüe’s legendary spotlight to compensate for slow ticket sales and insecurity.
Did Mötley Crüe admit to using live backing tracks? Yes. In a May 2026 podcast layout, guitarist John 5 and manager Allen Kovac confirmed that multi-tracked backing vocals, sirens, and intros are pumped into the live stadium mix, but firmly maintained that the primary instrumentation is performed 100% live.
Who’s this Shannon Larkin hater?
—
It’s funny how so many B- and C-level bands seem to spend more time talking about us than writing songs people actually remember. Maybe it’s jealousy, maybe it’s insecurity, maybe ticket sales are a little slow. Either way, borrowing someone…(@NikkiSixx) June 28, 2026
The internet lines are officially drawn, the rock-star rhetoric is hitting peak volume, and the underlying debate over live tracking authenticity is showing absolutely zero signs of slowing down in the 2026 calendar cycle.
What is your honest assessment of Nikki Sixx’s aggressive counter-strike against Godsmack’s camp? Do you agree with his statement that lower-tier bands spend far too much time talking about legacy acts to steal headlines, or do you feel Larkin’s criticisms regarding the tracking homogenization of modern dangerous rock shows are completely valid? Sound off with your tracking thoughts, concert experiences, and comments below!
The post Nikki Sixx Unloads On Godsmack Following Severe Backing Track Accusations As 2009 Tour Feud Explodes Open appeared first on Loaded Radio.
does a vision
lend its wisdom
in the light held
by the prism
Bunadox returns from a quiet stretch with The Prism, a track that treats ambition as a condition of doubt and private desire. The Seattle project, led by sound designer and multi-instrumentalist Hans Twite, has always seemed drawn to the place where programmed precision meets the loose intelligence of players. Here, that tension feels newly sharpened. Baritone guitar moves through the arrangement with a low, searching authority; Will Andrews’s drums supply a restless architecture, syncopated enough to unsettle the floor under the song without turning the piece into an exercise. The vocals begin close to the chest, understated and watchful, then lift into a controlled glide, gathering power without breaking the song’s inward spell.
The track’s stated terrain is interior conflict, though the music keeps the drama physical. Its new-wave synth beat has mass and contour rather than a simple atmosphere, carrying traces of Ultravox’s sleek elegance and the haunted machiney of early Gary Numan, while the Dolby Atmos presentation gives the production a sense of depth. Bunadox draws from postpunk, dark wave, and industrial music, but The Prism gains its charge from restraint here: every part seems placed in relation to an unseen stress, a force bending light before it reaches the eye.
“There are many versions of ourselves, all living inside of us,” he says. “Each version has a conflicting level of certainty in who it is, and who it is supposed to be. A vision can be a force that drives us forward, but the light that pushes us, is also bent in our will. The choice of what we see, and who we listen to, is ours alone. Our intentions operate on many wavelengths, some in high frequencies, and others operate very low. But what can we see if we open up to it all?”
That explanation could read as metaphysics, but Twite’s background keeps the idea grounded. He has spent years in experimental groups, including The Ether Room and Jungle Maps, and has since built a career in audio design for games, film, science channels, and NPR production. His method for Bunadox is collaborative: he begins with unusual timbres, then invites local musicians, engineers, and producers to follow their instincts as much as their plans. On The Prism, that process yields a track concerned with selfhood without becoming airless. The song circles the inner vision of a possible self: the version we chase, obey, resist, or finally learn to question.
“There has been many times that I have felt pulled by a vision of what I was supposed to be doing, or who I was supposed to be in certain situations,’ he admits. “I’ve realized many times that idea can be a trap, and that there are more possibilities for yourself if you open up your mind and unravel your idea of how things should be.”
Listen to The Prism below and order the single here.
As a reintroduction after 2023’s Fell Into Night, The Prism is purposeful without grandstanding. It points toward a new series of releases and future multimedia performances with improvisation at the center. It gives Bunadox a persuasive form for its central preoccupation: the self as prism, bending intention into revelation, error, and motion.
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