Author: Editorial Team

Legendary rock drummer Carmine Appice has doubled down on his long-standing claim that Metallica was the first true heavy metal band, in a new interview with Poland’s MetalSide.

Appice said (transcribed by Blabbermouth): “I consider heavy metal starting with Metallica. Before all that, it was hard rock. The crunchy guitars, the buzztone guitar, and the double bass following the guitar, that’s what started heavy metal. Everything else before that — Mötley Crüe and Van Halen, Blue Murder — everything’s hard rock. Heavy hard rock. But metal comes from the guitar for me.”

Appice first publicly made the claim in a 2020 interview with Pete Pardo of Sea of Tranquility, in the context of how grunge devastated hard rock’s commercial standing in the early ’90s. “Those days, nobody would touch us, because we were all dinosaurs,” he said at the time. “All the NIRVANAs and stuff — grunge was in, [and] nobody wanted to touch us, all the bands. Ted Nugent, DIO… I was playing with Edgar Winter in ’91, ’92, while doing Mother’s Army, and I was playing clubs with Edgar Winter — like 500-seat clubs. Dio was playing the same clubs with my brother [Vinny Appice on drums]. Everybody was [experiencing a drop in popularity]. Black Sabbath wasn’t happening. Ozzy [Osbourne] really wasn’t happening. Nobody was happening except Nirvana and Stone Temple Pilots, Pearl Jam, and all those guys.”

When asked to reconcile Metallica’s resilience through that same era, Appice drew a hard distinction: “Metallica was not like all these other bands. Metallica, I consider the band that really created what you’d call heavy metal. All these other bands — Mötley Crüe, Blue Murder… It’s hard rock — that’s not heavy metal. That Metallica sound, that sounds like scratching guitars, that, to me, is what heavy metal is, which turned into death metal and speed metal, and every other metal. But Ozzy’s first album was hard rock. Mötley Crüe was hard rock. Whitesnake — it’s hard rock. King Kobra was hard rock. It was all hard rock. Blue Murder, they detuned a little bit, and it was heavy, but it wasn’t what I consider heavy metal. Heavy metal was that really scratchy guitar sound.”

Appice is the original drummer of Vanilla Fudge, with whom he still records and performs today, and is a founding member of Cactus and Beck, Bogert & Appice. He has also held stints in the bands of Ozzy Osbourne and Rod Stewart, co-writing the latter’s No. 1 hit “Da Ya Think I’m Sexy?” Rolling Stone ranked him the 28th greatest drummer of all time. His autobiography, “Stick It!: My Life of Sex, Drums, and Rock ‘N’ Roll”, was published in May 2016 by Chicago Review Press.

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On the latest episode of The Osbournes podcast, Sharon and Jack Osbourne addressed the controversy surrounding the recently announced Ozzy Osbourne A.I. avatar, which will enable fans to hold conversations with a digital version of the late Black Sabbath frontman through a partnership between the Osbourne family, digital human technology company Hyperreal, and Proto Hologram. The avatar will enable the digital Ozzy to have conversations with fans and move, speak, and respond as he would.

Addressing critics of the project, Jack said (transcribed by Blabbermouth): “What we’re doing — this isn’t, and I’ve said it, this isn’t ChatGPT with dad’s face on it. It’s a closed A.I., so it’s not connected to the Internet. We built a database, and I cannot emphasize enough that this is the only information that either my dad said or was accurate, or was written accurately about him.”

Sharon pushed back on cash-grab accusations: “Why go on a jet when there’s a propeller? What are you doing? Well, you know what? Technology moves on, and I’m sorry for those people. I’m not asking you to come. I don’t want your f***ing money. I don’t need your f***ing money… And the thing is, for somebody to turn around to me and say I’m doing a cash grab — no, you don’t know my husband, okay? I know my husband, and my husband would say to me over and over, ‘After I go, how long do you think I’ll be remembered? How long do you think?’ And I’d go, ‘I just don’t know, ’cause I’ll probably be going with you, so don’t ask me.’ But the thing was, for 10 years we have been exploring it… And we’re moving with the times… I’m not gonna let anyone bastardize my husband.”

Jack emphasized the family’s desire for full ownership and control: “The most important thing for me is that when we create this digital imprint of Dad, we create it, we own it, we control it. And it’s something that…” “…we’ll pass on through our family,” Sharon added. “And it’s for our grandkids.”

Jack acknowledged the commercial dimension plainly while clarifying what the technology actually is: “And at the end of the day, if keeping Dad alive and accessible to a fan is a cash grab, then f***ing guilty as charged because at the end of the day, entertainment and the industry that we’re in, none of this is for f***ing charity… But the technology that we are utilizing, it is not Claude or ChatGPT, which you can ask any question about anything. It’s a closed A.I. module that is not connected to the Internet.”

On fears the A.I. could become uncontrollable, Jack was dismissive: “Someone said, ‘Oh, it’s dangerous. You can’t control it.’ And I was, like, ‘What the f*** do you think this is, Terminator? It’s gonna go sentient and next thing you know Ozzy’s gonna launch the nukes?’ But I think, for me, it’s not about pretending he’s still alive. For me, it’s about making sure he’s never forgotten.”

Jack and Sharon also compared the project to widely accepted forms of legacy preservation — from audiobooks to centuries-old books still in print — and pointed to the Michael Jackson biopic, which has earned nearly a billion dollars, as evidence that fans actively seek immersive engagement with deceased icons. “Either we’re gonna do it, or someone else is in 50, 20 years, whatever,” Jack said. “This will become the norm for every well-known person. Just like when people started creating f***ing websites for their bands.” Sharon cited ABBA’s concurrent hologram run in London as further precedent: “And they’re not even f***ing dead.”

Digital Ozzy will appear in Proto Luma units — life-size, patented holoportation devices featuring an 86-inch multi-touch volumetric display, 4K resolution, high-fidelity speakers, and spatial computing/conversational A.I. capabilities — in the U.K. and U.S. beginning late summer 2026.

“Every element of this avatar was built exclusively from authenticated, approved source material: curated, consented, and controlled by the people who love him most,” Hyperreal CEO Remington Scott said in a statement. “This is a living performance, not a rendering.” “It’s an honor to be trusted to bring one of the true gods of rock back to the world to continue to connect with fans,” added David Nussbaum, founder of Proto Hologram. Hyperreal previously created an A.I.-powered avatar of the late Stan Lee for the 2025 Los Angeles Comic Con, where visitors paid $15 to speak with the holographic figure.

Ozzy died July 22, 2025, of a heart attack at age 76; his death certificate also listed coronary artery disease and Parkinson’s disease. His final performance was at the “Back to the Beginning” charity concert in Birmingham, U.K., alongside the original Black Sabbath lineup of guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward.

The post JACK OSBOURNE On OZZY Avatar Critics: “If Keeping Dad Alive & Accessible To A Fan Is Cash Grab, Then F***ing Guilty As Charged” appeared first on Sonic Perspectives.

Violet Breed has returned with their fifth single, “Sing”, a new rock anthem written by Alex Gonzato and Brian Wheat that combines alternative rock influences with classic rock foundations while pushing the band’s sound in a heavier direction.

Released alongside an official lyric video, “Sing” delivers a mix of soaring guitars, powerful rhythms, and layered vocal melodies. The track leans into an energetic and rebellious style while maintaining the melodic approach that has helped the band gain momentum over the past several releases.

Built around a chant-like chorus and an uplifting message, “Sing” encourages listeners to use their voices, stand up for themselves and those around them, and break free from the limitations of everyday routines. At its core, the song promotes resilience and hope through a high-energy rock framework.

Production and engineering duties were handled by bassist and founding member Brian Wheat, whose work behind the console helps bring out the raw emotion of lead vocalist AleX while giving the song a polished but authentic sound.

With “Sing”, Violet Breed continue to establish themselves within the modern alternative rock landscape. The track highlights a band willing to expand its creative range while staying committed to strong melodies and emotionally driven songwriting.

The new release follows a series of successful singles that have helped build the band’s profile. “Awake” reached No. 14 on the SMR Charts and No. 28 on the Mediabase Activator chart. “10 Years Sober” climbed to No. 24 on SMR and No. 36 on Mediabase Activator. “Endless Days” reached No. 18 on the SMR Charts and No. 37 on Mediabase Activator, while “Stay Away” hit No. 14 on the SMR Charts and No. 38 on Mediabase Activator, generating a total audience of 180,000 listeners.

Both “Awake” and “Endless Days” also received exposure through Joe Elliott‘s radio shows on SiriusXM and Planet Rock. Collectively, the band’s first four music videos have accumulated more than 960,000 views.

Violet Breed brings together the experience of Brian Wheat and the fresh perspective of AleX. Over the last five years, the duo has worked on a debut album inspired by personal experiences, aiming to create material that connects with listeners across different generations.

The upcoming record showcases the musical chemistry between the pair, combining rock and pop influences with honest songwriting and emotional performances. Fans familiar with Tesla and AleX‘s previous work will likely find plenty to appreciate in the new material.

Drawing from different generations of musical influences, Brian Wheat and AleX have incorporated elements inspired by artists such as The Beatles, Paul McCartney, Queen, and My Chemical Romance. Those influences help shape the band’s sound while allowing them to develop an identity of their own.

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Canadian rock veterans Theory Of A Deadman have announced the release of their new EP, Part 1: Funeral Songs, which is scheduled to arrive on September 4, 2026 through ONErpm.

The EP follows the momentum of the band’s recent single “Barricade” and signals the beginning of a new phase for the group. Featuring Tyler Connolly, Dave Brenner, Dean Back, and Joe Dandeneau, the release continues the band’s blend of hard-hitting riffs, memorable hooks, and straightforward songwriting while introducing a fresh sense of focus.

Alongside the announcement, Theory Of A Deadman has released a new track, “Winnebago (Lay Low)”, accompanied by an official music video.

Discussing the song, frontman Tyler Connolly said: “‘Winnebago (Lay Low)’ is the epitome of the anti bar song. The F around and find out sing-along. As I get older I realize that it really is better to just stay home. This song is among other anthems we recorded for our upcoming EP ‘Funeral Songs’ which is a Prt 1 of 2, and after all these years we’ve finally been able to focus on less songs and release more often like small batches of fine Kentucky Bourbon.”

Over the years, Theory Of A Deadman have established themselves as one of modern rock’s most consistent acts, combining sharp-edged lyrics with radio-ready choruses and a catalog of successful releases. The band has amassed multiple platinum and gold certifications while maintaining a strong presence on rock radio and the live circuit.

Among their best-known tracks are “Santa Monica”, the gold-certified “All Or Nothing”, platinum-selling singles “Hate My Life” and “Bitch Came Back”, and the double-platinum hit “Not Meant To Be”. Their success on the Billboard Mainstream Rock chart includes twelve Top 10 entries and four chart-toppers: “Bad Girlfriend”, “Lowlife”, “History Of Violence”, and “Rx (Medicate)”. The latter became the band’s biggest commercial success and earned a nomination for Rock Song of the Year at the iHeartRadio Music Awards.

The band will also spend much of the second half of 2026 on the road. Theory Of A Deadman recently announced “The Dead / Seven Tour” with fellow hard rock and metal veterans Sevendust. The tour launches on August 7 in Duluth, Minnesota, and wraps up on September 29 in Bozeman, Montana. Scheduled stops include Fargo, North Dakota, Detroit, Michigan, Atlanta, Georgia, Corpus Christi, Texas, and Riverside, California, among other cities across North America.

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FIFA and The Rolling Stones have unveiled a new partnership tied to the upcoming FIFA World Cup 2026, bringing together two globally recognized names from the worlds of sport and music.

As part of the collaboration, three limited-edition FIFA World Cup 2026 vinyl covers will be created for The Rolling Stones‘ upcoming album Foreign Tongues, which arrives through Capitol Records on July 10. The partnership also includes a special remix of the band’s new track, “In The Stars”, which will appear on the official FIFA World Cup 2026 album. A collection of themed clothing and headwear is also scheduled for release.

“The FIFA World Cup is the biggest show on earth, uniting billions of people through football, culture and shared celebration,” said FIFA chief business officer Romy Gai. “We are delighted to welcome The Rolling Stones into this unique global moment, adding the energy, emotion and unmistakable identity of one of music’s most iconic bands to the tournament experience. This collaboration celebrates the powerful connection between football and music, and the unforgettable experiences they create for fans around the world.”

The exclusive vinyl editions combine classic The Rolling Stones imagery with FIFA World Cup 2026 design elements. Produced in limited numbers, the releases are intended as collectible items marking the band’s involvement in the tournament.

The project is part of FIFA‘s wider partnership with Universal Music Group, aimed at strengthening the relationship between football and music through the FIFA Sound initiative.

Foreign Tongues follows the success of Hackney Diamonds, the Grammy-winning album that topped charts worldwide and achieved multi-platinum status following its release less than three years ago.

The record features performances from Jagger, Richards, and Wood, alongside longtime collaborators Darryl Jones, Matt Clifford, and Steve Jordan. It also includes a special appearance by late drummer Charlie Watts, drawn from one of his final recording sessions before his passing in 2021.

Additional guest musicians appearing on the album include Steve Winwood, Paul McCartney of The Beatles, Robert Smith of The Cure, and Chad Smith of Red Hot Chili Peppers.

Upon release, Foreign Tongues will be available across numerous formats, including CD, deluxe CD editions, cassette, multiple vinyl variants, retailer-exclusive editions, box sets, and standalone CD and vinyl editions of “In The Stars”.

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Deep Purple have today (June 5) released their new single “Diablo,” the latest taste from Splat!—their new studio album, out July 3 on earMUSIC. The new track features a very special guest: global superstar and Grammy-winning guitarist, singer, and songwriter Keith Urban on second guitar.

“Diablo” follows “Arrogant Boy” (the album’s first single) and opens the door to one of Deep Purple’s surreal new story worlds: the most dangerous place on earth, where a heroine crosses a river, jumps into a fighting pit, celebrates with a bucket of wine, falls into the glitter pool and somehow makes it back home with a tale to tell. “Diablo” is a classic Deep Purple rocker—
the kind of hard rock track that lives from the riff, the groove, and the band chemistry captured in the studio.

The official music video for “Diablo” is a live performance piece that will premiere via earMUSIC’s YouTube channel on Sunday, June 7 at 2:00 PM ET, 11:00 AM PT. Fans joining the premiere will also be able to chat with Deep Purple’s Roger Glover.

“It is all about taking chances,” Deep Purple frontman Ian Gillan says of “Diablo.” “Just for once in your life, do something exciting, step out of the mold, take that curious bend in the road instead of sticking to the highway and do something that will, for the rest of your life, either guide or warn you.”

Splat! has already received enthusiastic first fan and media reactions, with early press praising the album’s Deep Purple spirit. Uncut calls Splat! “distilled, high-octane Purple at its finest,” while Classic Rock praises the album for delivering “everything that makes Deep Purple one of the greatest acts in hard rock.”

Deep Purple are gearing up for a major run of European summer dates, starting next week in Finland, followed by shows in Norway, France, Germany, Spain, Switzerland, and Italy before the Splat! World Tour heads to North America. The upcoming touring schedule includes 86 shows across 28 countries. Tickets are available via Deep Purple’s official website.

Splat! will be released on July 3 on earMUSIC and is available for pre-order in multiple formats including CD, vinyl, and limited editions. Further exclusive fan items are only available on the official Splat! shop.

Splat! will be available July 3 in multiple formats:

• Limited Box Set, containing: 2LP Gatefold (180g). 12-page vinyl-sized booklet. CD Digisleeve. 3 exclusive 10-inch vinyl records featuring live recordings from the DEEP PURPLE Tour 2024. Exclusive 7-inch single featuring the bonus track “GUINNESIS” (not included on the studio album and available exclusively in the box set!)
• CD (Digisleeve)
• 2LP Gatefold (black, 180g) + 12-page vinyl-sized booklet
• Limited Purple 2LP Gatefold (180g) + 12-page vinyl-sized booklet
• Limited Transparent Yellow 2LP (180g) + 12-page vinyl-sized booklet

All LP editions include a rich 12-page LP-sized booklet with illustrations and all song lyrics – available exclusively with the first pressing.

Further exclusive items are available via the official artist store, including:

• Limited 2LP Picture Disc + 12-page vinyl-sized booklet
• Limited Cassette
• A strictly limited canvas signed by all band members and limited to just 199 copies worldwide
• Additional apparel and merchandise items

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North Sea Echoes, the band comprised of vocalist Ray Alder and guitarist Jim Matheos, will release their sophomore album, How to Cast a Shadow, on July 24th via Metal Blade Records.

North Sea Echoes’ identity is further explored and expanded in this album. Matheos explains, “This record is a bit heavier, with several more songs featuring real drums, played by Dennis Leeflang. It wasn’t necessarily intentional or planned, just the way things shaped up and how they emerged this time.”

Alder concurs. “’ I’ll Leave a Light On’ is much heavier than anything on Really Good Terrible Things, the first NSE album. It has a darker, melancholic feel that fits well on this album. I loosely based the lyrics on a character from my favorite sci-fi series. I won’t say which, but they do use the quote ‘out there in the black.’”

From the radio-ready rock of “All That Comes After” to intimate, escalating “A Time of Innocence and Purpose” to the powerful, timeless ballad “Villains or Saints,” How to Cast a Shadow cohesively crosses genres and challenges aural preconceptions.

The music that became the title track inspired lyricist Alder. “When Ray sent his ideas for this one, it immediately stood out for me as a title track,” Matheos says. “A combination of title/lyrics/ imagery, and the song itself being a bit longer and having a lot of the elements of what NSE sounds like made it a natural choice for me.”

North Sea Echoes have been praised for Matheos and Adler “maintaining their distinctive identity throughout, neither relying on proven past endeavors nor abandoning them completely.” Indeed, the band and How to Cast a Shadow use the duo’s shared and separate histories to forge a fresh creative opus. Their credits are the stuff of metal legend: Alder has been the vocalist and main co-writer for prog metal heroes Fates Warning for 37 years, recording 10 albums between 1988 (No Exit) and 2020 (Long Day Good Night). Rounding out his discography are seven albums with Redemption, two solo records, and the band A-Z, which debuted in 2022.

Revered guitar/producer Matheos is a co-founder of Fates Warning, the lineup debuting with 1984’s Night on Bröcken on Metal Blade. In addition to 13 albums with Fates, Matheos launched several solo albums, four LPs alongside former Dream Theater keyboardist Kevin Moore under the name OSI, and Kings of Mercia, which launched in 2022.

In the last couple of years, the ever-prolific Matheos wrote a bunch of material—about 25 songs—that could perhaps wind up in any one of his musical endeavors. The guitarist and singer were ready to work on what would become the second North Sea Echoes album, and “I started sending Ray batches of this material, and he picked ones he wanted to work on,” Matheos says.

Other standout tracks include “Enjoy the View.” “The guitars and drums have this great drive that builds throughout the song,” Alder says. “The combination of quiet verses and heavy choruses made me think (lyrically) of a darker side to some people. Those who would choose numbness over pain.”

“Villains or Saints” is another band favorite, and NSE also feels fortunate that they found the perfect artwork to complement How to Cast a Shadow. Lauded British painter-turned-photographer Chris Friel contributed the cover art. Matheos has worked with Friel in the past (Arch/Matheos, Tuesday the Sky), and while these particular images were initially intended for a previous Tuesday the Sky record, “when we decided the title for this one, we realized those images fit perfectly on How to Cast a Shadow,” Matheos explains.

Reflecting on North Sea Echoes’ sophomore album, the duo says, “I guess you could say that there are elements of everything we do or have done on this album, yet Fates and our various other projects are totally different types of music.” If Really Good Terrible Things kick-started NSE’s career with “hovering subtleties, introspective, thoughtful reflections” and lyrics with “wisdom and authenticity,” How to Cast a Shadow ups the promise of its predecessor. Provocative words of hope, sorrow, and consciousness are paired with Matheos’ equally emotive, varied, and deeply moving guitar work.

As Alder sings on “All Fall Away,” “Days blurring into days while bridges turn to rust, nothing flows beneath just stone and dust / And those times we feel more lost than found, more let go than held are the moments we become ourselves. Let it all fall away, let it all turn to gray / Give back that borrowed time and take off that mask / Then turn to face the path ahead.”

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Swedish metal innovators Avatar have unveiled a new standalone single, “Crying Fire”, accompanied by an official video. The track arrives after an extensive touring cycle that followed the release of last year’s Don’t Go In The Forest, which was released on Halloween.

Comprised of vocalist Johannes Eckerström, guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin, and drummer John Alfredsson, Avatar spent the past year taking their latest material across the globe. The band’s touring schedule included a major North American headline run, highlighted by their largest-ever headline show in Mexico City.

Following those dates, Avatar returned to Europe before heading back to North America for another stretch of performances. The U.S. run included appearances at Welcome To Rockville and Sonic Temple, earning praise from music outlets including Ultimate Guitar and Rock Feed. The band is currently back in Europe, where they are opening for Metallica at select stadium shows.

While “Crying Fire” arrives after the release of Don’t Go In The Forest, the song was actually created during the album sessions. According to Johannes Eckerström, the band made a deliberate decision to hold onto the track rather than include it on the record.

“‘Crying Fire’ is very special to all of us. It was written and recorded as part of the Don’t Go In The Forest sessions. When making the final selection for album tracks, this one was a given. But then we started asking ourselves something: What if we saved the best for later? What if we kept this gem away from the world for a while?,” Eckerström explains.

Discussing the song further, the frontman added: “It certainly stands tall on its own. I hear a relentless firestorm of emotions. It hits me in a deeply hidden place, and I hope it does the same for you. I could say a lot about what the song is about, but I’ve learned that sometimes it’s better to get out of the way and simply let it be heard for what it is. The best I can say today is that it’s about enduring pain and loving passionately.”

Rather than serving as an outtake or leftover recording, “Crying Fire” stands as a fully realized piece of music that the band intentionally saved for the right moment. The song carries the dramatic intensity, emotional weight and theatrical edge that have become hallmarks of Avatar‘s sound, making it a natural continuation of the creative path established on Don’t Go In The Forest.

For longtime followers of Avatar, “Crying Fire” offers another example of a band continuing to evolve while remaining unmistakably itself.

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Fans of Savatage and Trans-Siberian Orchestra guitarist Chris Caffery will soon have the chance to revisit two key releases from his solo catalog. Metalville has announced reissues of the long out-of-print albums Pins And Needles and Faces, arriving on June 26 and July 30, respectively.

Originally released in 2007, Pins And Needles represented a significant step forward in Chris Caffery‘s solo career. The album highlighted the veteran guitarist’s abilities beyond his work with Savatage and Trans-Siberian Orchestra, establishing him as a songwriter and artist with a distinct creative direction and musical identity.

The reissue offers fans another opportunity to experience a record that showcased Caffery‘s vision while blending his signature guitar work with a range of melodic and heavy metal influences.

Also returning to print is Faces, first released in 2004. The album revealed a more personal side of Chris Caffery, balancing heavy metal intensity with introspective and emotional material. Throughout the record, Caffery explored themes of identity and inner struggle, creating a deeply personal collection of songs.

More than two decades after its original release, Faces continues to be regarded as one of the strongest entries in Chris Caffery‘s solo discography, thanks to its honesty, depth and willingness to expose the artist’s more vulnerable side alongside his heavier musical instincts.

With both albums becoming increasingly difficult to find over the years, the upcoming Metalville reissues provide longtime fans and newer listeners alike the opportunity to revisit two important chapters in Chris Caffery‘s solo career.

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Swedish progressive metal veterans Evergrey have released “The Burning Flame”, the final single from their upcoming fifteenth studio album, Architects Of A New Weave, which arrives on June 5 through Napalm Records.

The new track features a guest appearance from Dark Tranquillity, The Halo Effect, Grand Cadaver, and Cemetery Skyline vocalist Mikael Stanne, whose voice blends seamlessly with that of Evergrey frontman Tom S. Englund. Accompanied by an official music video, “The Burning Flame” showcases the band’s signature mix of melody, atmosphere and progressive heaviness while introducing a fresh dynamic through the pairing of two of Gothenburg’s most recognizable metal voices.

The release comes just ahead of a major opportunity for Evergrey, who will join Iron Maiden as special guests for two dates on the legendary band’s Run For Your Lives World Tour.

Discussing the new song, Tom S. Englund said: “We’re truly excited to release our new single, ‘A Burning Flame,’ featuring our friend and respected colleague Mikael Stanne. It’s an absolute honor to have him lend his voice to an Evergrey song. For us, this is the heart and soul of being a musician—building meaningful connections that reach new hearts through music. Every guest we’ve welcomed over the years has expanded our universe in the most beautiful ways, opening the door to new listeners and deepening the journey we all share. It’s a privilege we never take lightly.

“A Burning Flame” is a powerful, catchy duet shaped by genuine mutual inspiration. Mikael and I let each other’s melodies guide the next lines, allowing the song to grow into a seamless, ever-flowing river of emotion. To me, it feels like a dark yet profoundly beautiful conversation—raw, honest, and full of life.”

The band’s new album, Architects Of A New Weave, presented a unique challenge when it came to selecting singles, according to Englund.

“We’ve literally never had this much trouble picking singles. And honestly? That’s the best problem we could possibly have. Every song on this record is fighting to be the one you hear first—because we poured everything into making an album we’re flat-out obsessed with. Like always there are no fillers, no compromises, just twelve tracks we’re stupidly proud of and will be for the rest of our lives. Pre-order the album now and join the weave!”

The album features key tracks including “The World is on Fire”, “Leaving The Emptiness”, “Heaven”, “The Prophecy”, and the title track “Architects Of The New Weave”. Later in the record, Mikael Stanne joins Tom S. Englund on “A Burning Flame”, adding another dimension to the album’s emotional and musical depth.

Architects Of A New Weave was produced by Tom S. Englund and Vikram Shankar, while mixing duties were handled by Adam “Nolly” Getgood. Pre-order Architects Of A New Weave here.

Several expanded editions of the album will also be available. Bonus material includes the tracks “Heights” and “One Heart”, an album version of the 2025 standalone single “OXYGEN!”, a demo recording of “Longing”, instrumental versions of “Leaving The Emptiness” and the two new bonus tracks, plus a live rendition of “Falling From The Sun” from Theories Of Emptiness. The package also includes a continuation of “Ominous” from A Heartless Portrait (The Orphean Testament).

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