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Italian modern metallers New Disorder are back with their brand new single “Static”, released on 1st May. Hailing from Rome and formed in 2009, the band has carved out a solid reputation across the European alternative scene for their explosive live energy and a sound that refuses to be pinned down to a single sub-genre. … Continue reading New Disorder return with hard-hitting new single “Static” – video streaming now

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Seeing Calva Louise at The Garage Attic in Glasgow felt less like a standard gig and more like stepping into their own strange, cinematic universe…and I cannot tell you how packed it was! I’ve been to a few sold out shows in the Attic but this one was so damn busy even for the support … Continue reading Gig Review: Calva Louise / Knife Bride – Garage Attic, Glasgow (1st May 2026)

(written by Islander) As you can see, I have selected the music of six bands today, all of them coincidentally brandishing one-word names. I’m leading off with a group of singles from forthcoming records and concluding with a recently released EP that I think qualifies as “saving the best for last”. In the case of […]

The post SHADES OF BLACK: FAUSTIAN, VERZAUBER, ISHIMURA, VERTEBRAE, NECROBEAST, SVRM appeared first on NO CLEAN SINGING.

Highlander director Russell Mulcahy on swords, Sean Connery and Freddie Mercury‘s breakfast-making skills

The New York Yankees have made a Ben Rice decision during the Orioles game.

The post Yankees Make Ben Rice Decision Amid Orioles Game appeared first on Audio Ink Radio.

With the relative success of 1980’s No Place To Run, UFO followed up with 1981’s The Wild, The Willing And The Innocent. This time, however, instead of bringing in super producer George Martin to guide the way, as he did on No Place To Run, the band decided to produce the next record themselves. Having found their stride with guitarist Paul Chapman and the addition of keyboardist and guitarist Neil Carter (who is credited but didn’t play on the record), UFO molded the eight songs comprising The Wild, The Willing And The Innocent, with its Springsteen-inspired title, to align with the more melodic, mainstream hard rock sound of the early 80s, an transitional period later known as the New Wave of British Heavy Metal (NWOBHM) with frontrunners like Def Leppard and Iron Maiden leading the way.

The Wild, The Willing And The Innocent, remastered and reissued as a deluxe triple LP and double CD set, offers listeners a tight collection without the extended crash-and-burn guitar histrionics of the 70s. That doesn’t stop the heavy and catchy riff that drives “Chains Chains.” The difference is the economy of the arrangement with a simple solo to stretch out the chorus with little time to supplement to the allotted three minutes. The formula seems to apply to most of the record.

“Long Gone” takes it a little further with its tight turnarounds starting and stopping for over five minutes becoming the longest song on the album. The added strings add a bit more sophistication than most UFO fans are used to. Maybe it’s thrown in to prepare listeners for the title track that follows. Filled with all the makings of powerful epic rocker “The Wild, The Willing And The Innocent” turns on the axis of Chapman’s opening lead before its blossoms into a fine fabric on which singer Phil Moog can dispel his melodic magic with biting consequences.

The record continues to go deeper with headier themes. “It’s Killing Me” leans inward with a steady, mid-tempo stance, while “Makin’ Moves” pulls off the shades with a reliable hook and little to hide. “Lonely Heart” could almost cut the rug with classics like “Love To Love,” even though the competent sax work (Carter’s lone, last-minute contribution) might twist some of the more heavier disciple’s panties into a knot.

“Couldn’t Get It Right” is a nifty riff that fits into your pocket without asking for change, while “Profession Of Violence” finishes off the record in grand style that reeks of pretentious ambitions. Drowning in orchestration at the outset, it morphs into a showcase for Chapman to stretch out and show the naysayers there is life in UFO after Michael Schenker. By the song’s end, there’s little reason to disagree. That’s more based on the album as a whole than its individual parts.

Original 7” edits of “Couldn’t Get It Right” and “Lonely Heart,” plus an alternative mix of “It’s Killing Me” are included on the reissue, along with a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on January 29th, 1981. It’s a rare treat to hear UFO’s live takes of “Long Gone,” “Chains Chains” “Lonely Heart,” and “Mystery Train,” largely misplaced years later in favor of songs from the Schenker era, which fill out rest of the set here. That’s where it might get tricky for those brought up on Strangers In The Night, UFO’s highest charting record that’s often cited as one of the greatest live albums of the 70s.

With drummer Andy Parker and bassist Pete Way setting up the foundations, there’s little deviation from what always worked for UFO on the concert stage. Chapman has no problem angling Schenker’s parts on songs like “Rock Bottom,” albeit with a little less of a salt-and-vinegar snarl and more of a blues slinging approach. And that seems to work when it comes tom the mechanics. Moog struggles vocally here and there, and that, along with a rather sundry delivery of “Doctor Doctor” may be what’s most off the mark. “Shoot Shoot,” the third song on this collection with a one-word-twice title, certainly helps in cleaning up the damage. Really, any live material from UFO from this period in their wayward journey manages to conjure up the best of memories. Perhaps the same could be said, without saying much more, for everything about The Wild, The Willing And The Innocent.  

~ Shawn Perry

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The Wild, The Willing And The Innocent 

Watch “No One There” HERE! https://youtu.be/g_AlO2pmAjE

Vicky Psarakis (SICKSENSE) returns to the battlefield lending her compelling melodic cleans and fierce harsh performances to “No One There“. Composed by Kevin Sherwood, “No One There” features in Call Of Duty: Black Ops 7.

On her second collaboration with Call Of Duty, Vicky Psarakis shares: 

“Surprise… I’m back Zombies! I’m so excited to be giving my voice once more to the one and only Call Of Duty franchise! You’ll find ‘No One There’ as the featured EE track on the latest BO7 map: Totenreich.

2 years ago, Kevin Sherwood invited me to feature on BO6 with the song ‘Slave’, which ended up becoming a fan favorite. We loved the track so much, we decided to add it to our setlist with my band SICKSENSE and saw many COD fans come out to hear it live. Fast forward to today, here I am again with a new song! I can’t thank Kevin enough for putting his trust and fully allowing me to bring my own stamp to his music.

I had an absolute blast working on this song! This one goes hard, I promise you. It truly showcases many different facets of my voice, a huge range of dynamics accompanied by incredible musicianship from the dream team who put this together! Who knows, maybe one day we’ll get to play ‘No One There’ for you live?”

Emerging into a discordant soundscape, “No One There” strikes into life with rhythms that leave nothing but devastation in their wake. Balancing dark emotions and untamable power, the instrumentation and vocal performance by Psarakis traverse treacherous plains culminating in an epic sonic impact. “No One There” concludes with a truly monstrous vocal display of Psarakis’ soloed screams. 

Composed by Kevin Sherwood, “No One There” was produced and mixed by Joey Doherty, with both Doherty and Sherwood performing guitars on the track. Bass was provided by Jacob Umansky and Nathan Bulla performed drums for the track. “No One There” was mastered by Tyler Smyth.

Connect With Vicky Psarakis: 

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Source: C Squared Music

TL;DR

Deftones have officially entered their “pastry era” during their 2026 Australian tour. Partnering with Hector’s Deli, the band has launched a limited-edition “Milk Of The Madonna” tres leches donut to celebrate their latest album, Private Music. While fans are busy stuffing their faces, the band also found time to debut the haunting track “Departing The Body” live for the first time in Sydney.

SYDNEY, AUS — It turns out that Chino Moreno and company aren’t just masters of atmospheric metal; they also have a surprisingly refined palate for deep-fried dough. To coincide with their first major Australian arena tour in nearly a decade, Deftones have teamed up with the culinary wizards at Hector’s Deli & Kiosk to unleash the “Milk Of The Madonna” donut. Inspired by the second single from their latest masterpiece Private Music, this officially approved tres leches creation is designed to be as layered and addictive as a Stephen Carpenter riff.

A Donut Worth Screaming For

The “Milk Of The Madonna” donut isn’t just a snack; it’s a timed exclusive that has Melbourne and Sydney foodies acting as feral as the mosh pit during “7 Words.” This tres leches masterpiece is only available for a strictly limited window from May 4 to May 10, 2026.

While the “Milk Of The Madonna” single was originally interpreted by fans as a metaphor for divine nourishment or a spiritual wake-up call, Hector’s Deli has taken that literally by soaking dough in three types of milk. It is the perfect companion for fans who want to feel “Wide Awake” while “Burning out the foxes from the vines,” as the song’s lyrics suggest.

We Also Recommend – Deftones Albums Ranked Worst To Best (2026 Definitive Ranking)

Live Debuts Amidst the Sugar Rush

While the pastry news stole the headlines, the band’s tour kickoff at Qudos Bank Arena on May 2 provided some serious musical sustenance. Deftones surprised the sold-out crowd by giving a live debut to “Departing The Body,” the somber, shoegaze-heavy closer of Private Music.

The setlist, which featured special guests Interpol and Ecca Vandal, has been described as an “immersive experience” utilizing heavy strobe lighting and laser effects. The band is currently moving through a string of sold-out dates across Australia before heading to New Zealand.

Then There’s This – ‘PRIVATE MUSIC’ & THE CORE: 13 Essential Deftones Tracks to Transform Your 2026 Playlist

Remaining 2026 AU/NZ Tour Dates:

• 05/06 Brisbane, AUS – Brisbane Entertainment Centre
• 05/07 Brisbane, AUS – Brisbane Entertainment Centre
• 05/09 Melbourne, AUS – Rod Laver Arena
• 05/10 Melbourne, AUS – Rod Laver Arena
• 05/13 Auckland, NZ – Spark Arena

Get your tickets at this location.

The Pastry Verdict

Let’s be honest: most band-branded food is a gimmick, but a tres leches donut inspired by the ethereal gloom of Deftones actually makes a weird kind of sense. It’s heavy, it’s sweet, and it’s probably going to leave you feeling a little “White Pony” lightheaded if you eat more than one. By the time the band hits Melbourne’s Rod Laver Arena this week, the city will likely be knee-deep in donut boxes and fan-filmed footage of their new live staples. Whether you’re there for the deep-cut live debuts or the limited-edition sugar high, the 2026 Australian tour is proving that Deftones still know how to feed their fans—in every sense of the word.

Check This Out – Best Deftones Deep Cuts Ranked: 13 Hidden Songs Fans Swear By

STAY LOUD: Catch the full breakdown of the Deftones Australian tour on the Loaded Radio Daily Podcast, or crank the 2026 industrial hits 24/7 on our digital stream at LoadedRadio.com.

The post DONUT BE AFRAID: Deftones Invade Australian Bakeries With “Milk Of The Madonna” Cream Filled Treat appeared first on Loaded Radio.

Nashville’s blues-infused Southern rockers Parker Barrow have returned with a double-hit of news, announcing their highly anticipated sophomore album Hold the Mash alongside the release of their latest single, “Blinded”. The track, which dropped on 29th April, serves as a gritty introduction to the band’s 2026 output and is available now on all major streaming … Continue reading Parker Barrow announce new album and UK tour dates – new video streaming now