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Lolo Zouaï Reconnects With Her Roots and Herself on Stunning New Album ‘Reverie’

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Lolo Zouaï has never made a record quite like ‘Reverie’, and that’s saying something for an artist who has always defied easy categorization. The genre-bending third studio album is out now via Because Music, a 14-track journey through wounds, memories, and dreams from an artist born in Paris, raised in San Francisco, and shaped by her Algerian roots, singing equally in French and English with touches of Arabic throughout.

New performance “Desert Rose pt 2” via A COLORS SHOW gives the album’s emotional core its most intimate expression yet. The track is the second part of her breakout 2019 single “Desert Rose,” and it speaks of inherited, invisible wounds alongside the strength to resist and bloom in the desert. It links the personal and the collective, connecting post-colonial memory and identity to something deeply felt and deeply private.

‘Reverie’ finds Zouaï reinventing herself after years of silence, grief, and rebirth. The production moves fluidly through alternative R&B, hip-hop, pop, and Arabic influences, creating dark, sensual, and cinematic textures across the album’s full runtime. “Holding On” processes the loss of her best friend. “3AM in San Francisco,” praised by The FADER and Rolling Stone, fuses airy vocals with punchy trap production while shifting between English and French. French-language collaborations with Dinos on “Les Mots,” Lous and the Yakuza on “Lemon Squeeze,” and Disiz on “Coquelicot” give the album a rich cultural and linguistic dimension that few artists working today could pull off with such fluency.

Zouaï has accumulated over 600 million streams, toured in support of Dua Lipa alongside Caroline Polachek on the 2022 world tour, headlined her own PLAYGIRL World Tour in 2023, and built fashion collaborations with Nike, Coach, Dior, YSL, Chanel, and Reebok. Her songwriting credits include tracks for K-pop stars NewJeans and H.E.R.’s Grammy-winning self-titled album. ‘Reverie’ is the record where all of that experience, all of that cultural navigation, and all of that hard-won self-knowledge converges into something that feels genuinely essential.

‘Reverie’ Tracklist:

  1. Holding On
  2. Angel, Give Them Hell
  3. 100
  4. Les mots (feat. Dinos)
  5. Baggy Jeans
  6. Drive
  7. Hiver, j’espère
  8. Toute seule à la plage
  9. Lemon Squeeze (feat. Lous and the Yakuza)
  10. Coquelicot (feat. Disiz)
  11. 3AM in San Francisco
  12. Tu me manques
  13. Desert Rose pt. 2
  14. Si j’avais des ailes

Social Distortion Return With a Vengeance on Long-Awaited Eighth Album ‘Born To Kill’

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15 years is a long time to wait, and ‘Born To Kill’ was worth every one of them. Social Distortion’s eighth studio album is out now via Epitaph Records, and it’s exactly what anyone who has followed Mike Ness for more than 4 decades has needed: 11 songs of pure, unadulterated rock and roll fury, joy, and catharsis, built on the signature blend of defiance and world-weariness that has made Ness a poet and sage to the dispossessed since the early 1980s. Listen here.

The album is Social Distortion’s first since Ness’ recovery from cancer, and it brims with aggressive optimism that feels genuinely earned. The title track wastes no time declaring its intentions, dropping nods to Lou Reed, Iggy and the Stooges, and David Bowie across its opening salvos. “Partners In Crime” follows with an homage to Bowie’s “Rock ‘n’ Roll Suicide.” “Tonight” and “The Way Things Were” deliver emotionally charged reminiscences that sit comfortably alongside classics like “Story of My Life” and “I Was Wrong.”

Co-produced by Ness and Dave Sardy, ‘Born To Kill’ features guest appearances from Benmont Tench of Tom Petty and the Heartbreakers and Lucinda Williams, adding real depth and texture to a record that already carries decades of earned credibility. The cover art, a collaborative effort between Ness and Shepard Fairey, is as iconic as the music deserves.

The album joins a catalog that includes Mommy’s Little Monster (1983), Prison Bound (1988), the RIAA gold-certified Social Distortion (1990), Somewhere Between Heaven and Hell (1992), White Light, White Heat, White Trash (1996), Sex, Love and Rock ‘n’ Roll (2004), and Hard Times and Nursery Rhymes (2011). ‘Born To Kill’ is the latest and most hard-fought chapter in that remarkable run.

A massive North American fall tour supports the release, running August 25 through October 3 with The Descendents and The Chats along for most dates. 23 shows across 21 cities, from Phoenix to Brooklyn to Los Angeles.

North America Fall 2026 Tour Dates:

August 25 – Phoenix, AZ, Arizona Financial Theatre

August 28 – Austin, TX, Moody Amphitheater

August 29 – Dallas, TX, The Bomb Factory

August 31 – Nashville, TN, The Pinnacle

September 1 – Atlanta, GA, Coca-Cola Roxy

September 3 – Raleigh, NC, The Ritz

September 4 – Washington, DC, The Anthem

September 5 – Asbury Park, NJ, The Stone Pony Summer Stage

September 8 – Philadelphia, PA, The Met Philadelphia

September 9 – Boston, MA, Roadrunner

September 11 – Brooklyn, NY, Brooklyn Paramount

September 12 – Brooklyn, NY, Brooklyn Paramount

September 14 – Toronto, ON, HISTORY

September 17 – Detroit, MI, The Fillmore Detroit

September 20 – Minneapolis, MN, The Armory

September 22 – Denver, CO, The Mission Ballroom

September 23 – Salt Lake City, UT, The Union Event Center

September 25 – Las Vegas, NV, The Chelsea at the Cosmopolitan

September 26 – Reno, NV, Grand Sierra Resort, Grand Theatre

September 28 – San Francisco, CA, The Masonic

October 1 – Los Angeles, CA, Hollywood Palladium

October 2 – Los Angeles, CA, Hollywood Palladium

October 3 – San Diego, CA, Gallagher Square at Petco Park

Most dates with The Descendents and The Chats. Hollywood Palladium dates with The Descendents only.

LA Chamber-Pop Songwriter Beatrix Haunts Her Own Past on Stunning Sophomore Album ‘We Swallowed The Sky’

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Arielle Kasnetz has found her voice, and ‘We Swallowed The Sky’ is the fullest expression of it yet. The sophomore album from her LA-based orchestral indie rock and chamber-pop project Beatrix is out now via Nice Life, a striking, off-kilter collection that moves from hushed piano numbers to loud full-band blasts with the confidence of a songwriter who has stopped telling anyone else’s story.

New single “Class Reunion” arrives alongside an official video that feels like Twin Peaks meets The Office, set in a sterile community center. The track showcases Kasnetz at her storytelling best, painting a precise, novelistic picture of 2 exes running into each other after 10 years. He sips a gin and tonic in the corner, working up the nerve to say hello. The conversation is brief and awkward. He fumbles, feels his chance slipping, starts to have a panic attack. Everyone laughing in slow motion. Then he wakes up, and she’s gone. It was a nightmare. But one thing is true: no one loves him like she did.

That kind of narrative specificity runs through the entire album. ‘We Swallowed The Sky’ follows a ghost, the ghost of a long-gone relationship allowed to haunt its former love, embodied musically by a pedal steel that weaves between past, present, and future across the record. Where Kasnetz has often felt misunderstood, this is the most fully herself she has ever sounded on record.

The musicians assembled around her are extraordinary. Co-produced by Philip Etherington and Ehren Ebbage, the album features Harrison Whitford of Phoebe Bridgers’ band and Ryan Lerman, known for his work with John Legend and Vulfpeck, on guitars; Sean Hurley, who has played with John Mayer, on bass; Rob Humphries of Kacey Musgraves’ band on drums; Zac Rae, known for Death Cab For Cutie and Fiona Apple, on piano; Greg Leisz, the celebrated pedal steel player whose credits include Bob Dylan and Joni Mitchell; CJ Camerieri, known for Paul Simon and Bon Iver, on horns; Jesse Chandler of Midlake on woodwinds; and Rob Moose, who has arranged strings for Sufjan Stevens, Taylor Swift, and Jay-Z.

It’s a production team that matches the ambition of the songs completely, and ‘We Swallowed The Sky’ is the result: moving, raw, perfectly crafted, and unmistakably Beatrix.

Nashville Outlaw Country Siren India Ramey Claims Her Territory on Bold New Album ‘Villain Era’

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India Ramey has stopped shrinking herself to please everyone else, and ‘Villain Era’ is the album that says so at full volume. Out now via Copaco/Blue Élan Records, the Nashville outlaw country siren’s new LP is a cinematic, spaghetti western-meets-honky-tonk collection written entirely by Ramey and recorded with 2-time Grammy-nominated producer Eric Corne in Los Angeles. It doesn’t ask for permission. It claims its ground. Listen here.

The album arrives with 2 singles that establish its full emotional range. “Scattered and Smothered” is a laid-back, tongue-in-cheek Waffle House confessional about a woman feeling stifled by a good man and needing to break free, carried by an easy train beat, classic country pedal steel, and twangy bright guitars. “Welcome to My Villain Era” swings in the opposite direction, a lively honky-tonk burner with hints of Loretta Lynn’s fire and Wanda Jackson’s swagger, a sassy fiddle, and a clear declaration from a woman done suffering fools. “If my boundaries offend you,” Ramey says, “I’ll happily play the villain in that story.”

Ramey told Corne she wanted the record to sound like Johnny Cash and Loretta Lynn rose from the grave to score a Quentin Tarantino film. The production team assembled to bring that vision to life is serious: Eugene Edwards of Dwight Yoakam’s band on guitar, Chris Masterson of The Wallflowers on guitar, and Eleanor Whitmore of Steve Earle’s band on fiddle. The result is exactly as bold and cathartic as that premise demands.

Following 2024’s ‘Baptized By The Blaze’, which chronicled a hard-won journey through trauma, healing, and survival, ‘Villain Era’ finds Ramey rooted in reckoning and self-possession. Fans have dubbed her “The Woman in Black” and “the Wednesday Addams of country music,” and she’s leaned fully into both descriptions. ‘Villain Era’ balances grit, gallows humor, and joy as resistance, from a woman who has earned every word of it.

LA Pop-Metal Outfit S8NT ELEKTRIC Arrive Loud and Fearless on Debut Album ‘OFF THE EDGE’

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S8NT ELEKTRIC don’t fit anywhere neatly, and that’s entirely the point. The LA-based pop-metal outfit’s debut album ‘OFF THE EDGE’ is out now via Long Branch Records, a 10-track statement from a band built on an ethos of adventure, growth, and the deliberate rejection of rock and roll self-destruction. Listen here.

New single “HOW 2 FEEL” arrives alongside the album announcement and marks a genuine milestone for the band. Combining the upbeat, catchy melodies of pop with brutal riffs, emotional guitar solos, and screaming incorporated for the first time, the track captures S8NT ELEKTRIC at the intersection of everything they’ve been building toward.

The band frames the song’s meaning directly. “‘HOW 2 FEEL’ is the first song that has really shown exactly what pop-metal is. The song is about who we are when things are not going our way. Who are we when life is giving us its worst? We all feel like this is where our sound was headed and we just made the mark.”

Founded by frontwoman Bri Carbajal and guitarist, songwriter, and producer Niko Tsangaris, S8NT ELEKTRIC have built their reputation through sheer commitment to the experience they create, on record and on stage. Known for pulling off stunts including truck surfing, skydiving, being circled by drift cars, and fire-spitting, their live show backs up the album’s go-all-in philosophy completely.

The band has toured Europe every summer, opening for Wolfmother, Mammoth WVH, MC5, Dirty Honey, and WARGASM, and played major festivals including Bottlerock, Rockville, Prague Rocks, and Azkena Rocks. ‘OFF THE EDGE’ is the debut that puts all of that stage time on record for the first time, with Carbajal, Tsangaris, Trey Baker on drums, Sinner on guitar, and Harrison Forsythe on bass delivering a fully realized introduction to a band that sounds like nobody else working in this space.

‘OFF THE EDGE’ Tracklist:

OFF THE EDGE

CATACOMBS

HOW 2 FEEL

PEACE OF MYSELF

UNDER THAT SMILE

MIRROR_IMAGE

XTC

SEASONS OF YESTERDAY

THE RIVER

N.E.T.N.

Finnish Metal Rising Stars Rioghan Deliver a Stunning New Chapter With “Chapter IV: 520” and the ‘Frozen EP’

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Rioghan have been building toward this moment one chapter at a time, and the ‘Frozen EP’ is their most fully realized statement yet. Out now, the 5-track release is conceived as one continuous composition, blending modern metal, dark pop, and progressive hooks into a cohesive emotional arc inspired by poetry written by vocalist Rioghan Darcy.

New single “Chapter IV: 520” arrives alongside a stunning music video, and it’s one of the EP’s most infectious highlights. The title draws from internet slang, where 520 means “I love you,” and within the EP’s storyline the track plays a pivotal narrative role, arriving at the moment a frozen heart cautiously opens the door and invites love back in.

Darcy explains the EP’s emotional journey with clarity. “The EP is about very brief but meaningful moments. At first, a frozen heart reaches a point where it dares to open up and slowly begins to warm. The ice starts to melt, and after shedding its first tears, the heart cautiously opens the door and invites love back in. Ultimately, it represents letting go of the themes explored on the ‘Kept’ album. It marks the end of one era and the beginning of another.”

Recorded and mixed by guitarist Teemu Liekkala and mastered by Grammy-nominated engineer Robin Schmidt, the EP is available digitally and in an extraordinarily limited physical edition of just 25 vinyl copies, divided into 5 separate 5-copy editions each with different cover artwork. Each exclusive package includes a necklace, signed poster, and a hand-written sheet of lyrics.

The June 6 appearance at the inaugural Ankea Festival in Tampere remains on the calendar, where Rioghan will share the stage with Katatonia, Leprous, Textures, and Green Carnation. Guitarist Liekkala puts the band’s excitement plainly. “We’d probably be there together even if we weren’t performing!”

‘Frozen EP’ Tracklist:

  1. Frozen
  2. Moment
  3. Teardrop
  4. 520
  5. Sky

Upcoming Show:

June 6 – Ankea Festival, Tampere

Puerto Rican Doom Metal Force MOTHS Crown a New Chapter With Wrestling-Inspired Single “Crown Jewel”

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MOTHS have never been a band that thinks small, and “Crown Jewel” is their most theatrically ambitious single yet. The Puerto Rican doom and progressive metal outfit created the track in direct collaboration with Puerto Rican indie wrestler Gema, a former AEW performer, as her official entrance theme, and the result is dark, commanding, and unapologetically grand.

The single was mastered by Alan Douches, known for his work with Mastodon and Baroness, and it channels spectacle and fire without sacrificing the depth and heaviness that define MOTHS’ sound. Built around themes of dominance and self-mythology, the track portrays its narrator as an untouchable force, part ruler, part deity, embracing ambition, ego, and self-destruction under the spotlight.

The band describes the creative challenge with genuine enthusiasm. “As Gema reached out to us to write her entrance song, we were excited about the challenge of making sure that it was a good fit for a wrestler entrance without trying to sound or be different, and I think we nailed it. This is definitely MOTHS’ take on this kind of musical approach.”

Vocalist Mariel Viruet’s lyrical contribution drives the single’s character. “This is also Mariel’s lyrical contribution to the band, and it really applied what the overall ‘Gema’ character is: a spoiled ‘queen,’ the one that deserves everything, without scaling back her intensity and showing that she clearly deserves to be considered the best.”

“Crown Jewel” arrives in the wake of MOTHS’ critically acclaimed 2025 album ‘Septem’, a visceral journey through the 7 Deadly Sins that landed on multiple Album of the Year lists and drew coverage from Metal Hammer, MetalSucks, Metal Injection, and Decibel. Earlier this year the band supported Avenged Sevenfold at the Coliseum of Puerto Rico, performing in front of one of the largest audiences of their career.

Formed in 2018, MOTHS have built their reputation by blending progressive, stoner, doom, jazz, and extreme metal into a sound that is both cerebral and crushing. They’ve shared stages with The Ocean Collective and Circus Maximus, performed at festivals across the Americas, and toured the US and Mexico, becoming a defining force in Puerto Rico’s heavy music scene in the process.

Metal Legends Sepultura Release Farewell EP ‘The Cloud of Unknowing’ and Head to Europe for Final Shows

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Sepultura are saying goodbye, and they’re doing it on their own terms. The Cloud of Unknowing EP is out now via Nuclear Blast Records, a 4-track farewell release that captures the full spectrum of the band’s creativity across more than 4 decades, and it’s one of the most emotionally resonant things they’ve ever committed to tape. Listen here.

The EP arrives as the band continues their ‘Celebrating Life Through Death’ farewell tour, currently heading into a massive European summer run. With over 40 years of history, 14 gold records, and performances across more than 80 countries, Sepultura stand as one of the most important and influential metal bands ever to take a stage, and ‘The Cloud of Unknowing’ serves as their bittersweet final creative statement.

New track “The Place” is out now alongside an official video, with vocalist Derrick Green explaining the song’s driving idea. “This song deals with immigrants who have come to a place seeking refuge and start a new life. Once assimilated into a false sense of security and relentless propaganda they began to act out against what they hate about themselves. The transition begins to escape from the self hatred and the lashing out against people who believed in the same ideas. I feel the lyrics truly follow the transitions of the song. Starting with disappointment and arriving at anger.”

That lyrical depth and moral clarity have defined Sepultura’s best work throughout their career, and “The Place” demonstrates those instincts remain sharp and uncompromised right to the end.

The EP is available in multiple vinyl formats including Oxblood, Transparent Petrol, Crystal Clear, and Transparent Red variants, each accompanied by a CD of the EP in a card wallet. The European farewell run covers festival appearances at Hellfest, Graspop, Rock in Rio Lisboa, Wacken Open Air, Bloodstock Festival, Copenhell, Tons of Rock, and more, running through August 9 in Dublin.

‘The Cloud of Unknowing’ EP Tracklist:

  1. All Souls Rising
  2. Beyond the Dream
  3. Sacred Books
  4. The Place

Remaining ‘Celebrating Life Through Death’ Tour Dates:

June 6 – South Of Heaven, NL

June 7 – Metalfest, CZ

June 8 – Zagreb, Croatia @ Tvornica Kulture

June 9 – Milan, Italy @ Circolo Magnolia

June 10 – Rome, Italy @ Eur Social Park

June 12 – Greenfield Festival, CH

June 13 – Novarock, AT

June 14 – Würzburg, Germany @ Pothalle

June 17 – Saarbruecken, Germany @ Garage

June 19 – Hellfest, FR

June 20 – Graspop, BE

June 21 – Rock in Rio Lisboa, PT

June 23 – Oberhausen, Germany @ Turbinenhalle

June 24 – Potsdam, Germany @ Waschhaus Potsdam

June 25 – Copenhell, DK

June 26 – Huskvarna, Sweden @ Folkets Park

June 27 – Tons of Rock, NO

June 30 – Release Festival, GR

July 31 – Wacken Open Air, DE

August 1 – Helsinki, Finland @ Tavastia (SOLD OUT)

August 2 – Tallinn Rock Festival, EE

August 5 – Leyendas Del Rock, ES

August 7 – Bloodstock Festival, UK

August 9 – Dublin, Ireland @ 3Arena

How AI Is Changing the Earliest Stages of Music and Entertainment Branding

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By Mitch Rice

Imagination has always been the engine of the music business. Long before a song hits streaming or a tour hits the road, artists and their creative teams are clocking endless hours discussing ideas, moods and visual identities.

The problem is that these conversations often start with abstractions, not visualisations. “cinematic,” “retro-futuristic,” or “emotionally raw” are subjective terms that mean different things to different people, and it’s hard to have a shared creative vision from the start.

Technology is transforming the creative industries, and in this context, Artificial intelligence is starting to play an unexpected role in solving this problem. While much of the conversation around AI is focused on music generation, automation, or copyright issues, one of the most practical applications of it may be to help artists, managers, designers, and marketers visualise ideas before production has even begun.

The Problem of Showing Feelings in Pictures

Music has never just been sound. All successful artists create a world around their music, be it an album artwork, stage design, promotional photography, music videos or content on social media. These visual elements allow audiences to know who an artist is before they hear a note.

That visual identity is seldom an easy thing to create. References from past album campaigns, films, photography collections and fashion editorials are often used by creative teams. References are useful but not without their limitations. They make people look back rather than forward and can unintentionally push a project toward imitation rather than originality.

The biggest hurdle is that words often fail to convey a visual feeling. What is modern for one person may be cold for another. One team member’s nostalgia might be an entirely different time period for someone else.

This means creative talks can turn into long exercises in interpretation instead of creation.

Why Visualisation Matters Early

One of the best things about modern creative development is the ability to visualise concepts early on. Teams can try rough visual directions almost immediately instead of weeks of discussion about what might be possible.

This is not about replacing designers, photographers or art directors. Instead, it’s a starting point for discussion. Initial visual ideas enable everyone involved in a project to respond to something tangible rather than just the imagination.

Discussions become more productive when artists and creative teams can see an idea represented, even if it isn’t perfect. They can concentrate on things like mood and atmosphere and storytelling instead of abstract ideas. The dialogue moves from trying to account for a vision to actively fashioning one.

The Perfect Fit for the Entertainment Industry

The entertainment world has always been open to tools that help bring creative ideas to life. Recording technology changed the game of music production. Digital editing changed film. Social media changed the way artists communicate with audiences. AI visualisation tools are yet another step in that continuing evolution.

Visual branding has never been more important for musicians. In an age where streaming services and social platforms reign supreme, audiences are often introduced to visuals before they are introduced to music. Album covers, promotional images, video thumbnails and tour announcements all play into an artist’s first impression. This is where an AI Image Maker can become a valuable creative tool, helping artists and their teams quickly develop visual concepts, experiment with branding ideas and create compelling imagery that aligns with their musical identity.

Consequently, visual development has become an integral component of the creative process. Anything that helps artists and teams communicate ideas more clearly has the potential to improve the final result.

Improved Teamwork & Faster Conversations

And among the more interesting effects of early visual exploration is how it changes the nature of collaboration. Creative meetings often become more focused when participants are able to react to imagery rather than talk about concepts in the abstract.

Artists and creative directors don’t have to spend hours trying to define a mood with words. By using GPT Image 2 to quickly generate visual concepts, they can see potential creative directions almost instantly and know right away what works and what doesn’t. This leads to fewer misunderstandings and a much stronger sense of alignment for everyone on the project.

The result is not necessarily faster creativity but more efficient creativity. Teams spend less time fixing up confusions and more time building on ideas that have a common foundation.

This can be particularly handy for music marketing campaigns, album rollouts and tour promotions where many stakeholders need to agree on a visual direction before production can start.

Protecting Creativity Instead of Replacing It

Whenever new technology comes into the creative space, you can bet questions around authenticity are sure to follow – naturally. Some artists worry that AI might take the place of human creativity or diminish the importance of designers and visual artists.

In reality the reverse may be true if these tools are used responsibly. Early visualisation tools are most effective when they are used as a conversation starter, not an end product. They help teams explore possibilities, but they don’t replace the expertise needed to turn ideas into professional creative work.

Still, the human touch is necessary. The vision still comes from the artists. Designers still mould the identity. Photographers, filmmakers and creative directors continue to bring depth, emotion and originality to the final product.

Technology may speed up the journey but the destination is still dictated by creativity.

The Future of Creative Development

In the coming years, the relationship between music and visual storytelling will only grow in importance. As audiences interact with content across multiple platforms, artists will require more cohesive, stronger visual identities than ever before.

The tools used to develop those identities will continue to evolve as recording equipment and production software have over the previous decades. The important thing isn’t the technology, it’s how well it helps creative people share ideas.

AI-assisted visualisation at its best does something so simple. It bridges the gap between imagination and understanding. It helps artists, managers, marketers and designers to see the same vision earlier in the creative process.”

And in an industry built on translating emotion into experiences, that shared vision can make all the difference.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Swedish Power Metal Force Metalite Sign to Perception and Launch a New Era With “Our Time Has Come”

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Metalite have a new label home and a new single, and both announcements land with the kind of momentum that suggests the Swedish modern power metal outfit are about to reach a significantly larger audience. The band has signed a worldwide contract with Perception, a division of Reigning Phoenix Music, and unleashed “Our Time Has Come,” a high-energy anthem that kicks off their upcoming concept album ‘Discovery’. Listen here.

The single delivers everything Metalite does best: soaring vocal lines, a pounding rhythm section, cinematic synth layers, and an arena-ready chorus built for maximum impact. Guitarist, producer, and founder Edwin Premberg frames the track’s role in the larger story the band is building. “This song kicks off a powerful new chapter for METALITE and marks the beginning of our upcoming concept album ‘Discovery’ where the story continues on a new planet and humanity begins a new life. It’s a classic METALITE track, full of high energy, soaring melodies, and that unmistakable METALITE sound.”

‘Discovery’ continues the narrative thread established on 2024’s ambitious concept album ‘Expedition One’, set in the year 2055 and following a renegade team searching for a new world across themes of human evolution, technology, and survival. The band has been building this sci-fi universe since their 2017 debut ‘Heroes in Time’, and each release has pushed the vision further.

Formed by Premberg and vocalist Emma Bensing in 2015, the band entered a new era in 2019 with ‘Biomechanicals’ and the debut of vocalist Erica Ohlsson, embracing electronic elements and pulsating rhythms that elevated their futuristic sound. Drummer Erik Junttila joined in 2024, bringing fresh energy to a lineup that has since toured alongside Pain, Leaves’ Eyes, and the Night Flight Orchestra and appeared at Sweden Rock and Masters of Rock.

With millions of streams and a growing global fanbase, Metalite are one of melodic metal’s most consistently inventive acts, and “Our Time Has Come” signals that the best may still be ahead.