Author: Editorial Team

British guitarist, singer, and songwriter Billy Morrison says the filming of the video for “Becoming”—his new collaboration with Sully Erna (Godsmack) on lead vocals and Nuno Bettencourt (Extreme) on lead guitar—was nothing less than intense and, well, extreme.

“The ‘Becoming video’ is a pure performance video that utilizes the skill and aesthetic that our director Ivo Raza brings to the table,” begins Morrison. “Sully [Erna] and Nuno [Bettencourt] both travelled to Los Angeles and we filmed in two locations: a rain room—where we shot for hours through a sheet of water!!—and a disused warehouse in South L.A. with a backdrop of a wall of lights. I added Erik Eldenius on drums, who played on the song, and Brett Scallions on bass, a co-writer on the song, and we used ghost lenses and other distortion techniques to represent the transition through the song that Sully’s lyrics talk about.

“The shoot was hot, sweaty and very long, and every person, band and crew alike could not have been more accommodating,” he continues. “The goal was to make a kick-ass rock video and we achieved that and much more!!”

“Becoming” arrived at radio on March 27 as the first single from Morrison’s upcoming album Hollow due out sometime in August via TLG | ZOID/Virgin Music Group. The powerhouse track was written by Morrison, Sully Erna, and Brett Scallions.

According to Morrison, “Becoming” is about “transforming out of the darkness and negativity of certain lifestyle choices and becoming a strong, positive and powerful force. For an in-depth description, you would have to ask Sully about the lyrics that he wrote.”

Two years ago, Billy Morrison released The Morrison Project via TLG | ZOID/Virgin Music Group. It marked his third solo album (and first since 2015) and produced the #1 Active Rock Song (Mediabase) in America: “Crack Cocaine” featuring Ozzy Osbourne and Steve Stevens and co-written by all three artists. A deluxe edition of the album followed in 2025 and bonus track, “Gods Of Rock and Roll (Orchestral)”—another seismic collaboration with Osbourne and Stevens—landed in the Active Rock Top Ten (Mediabase).

The upcoming Hollow will follow the success of 2024’s The Morrison Project format with 12 songs, half sung by Morrison and half sung by a handful of ‘MORRISON’s‘s friends. Guests include Dexter Holland, Marilyn Manson, Chuck D, B Real, Duff McKagan, Steve Stevens, DMC, and the above-mentioned Sully Erna and Nuno Bettencourt, among others. “Forgive Me,” “The Tailor,” “No Suspects,” “Another Day,” “Leave No Trace,” and “Becoming” are among the song titles.

Billy Morrison is a British guitarist, singer, and songwriter, widely known as Billy Idol’s rhythm guitar player for the past 17 years alongside lead guitarist Steve Stevens. He is also a solo recording artist in his right having released three albums. Morrison is also a former member of The Cult and Circus Diablo and currently also performs with the superstar cover band known as The Royal Machines. In addition, Morrison is a contemporary fine artist whose Warhol-inspired work has been shown at top galleries. He also has a regular show, “Influenced,” on SiriusXM’s Ozzy’s Boneyard (ch. 38), where he delves deep into the dynamic relationship between art and music.

The post BILLY MORRISON Shares Video For “Becoming” Featuring SULLY ERNA And NUNO BETTENCOURT appeared first on Sonic Perspectives.

Two years ago, Kurdt Vanderhoof was done. Not on a break, not between albums: done. Metal Church had been shut down, the band told, the door closed. He had other projects, other plans, and apparently no shortage of conviction. “I just let it go to sleep,” he says. “I wasn’t going to announce anything. I shut the band down, told everybody, best of luck, you know — and I wasn’t going to do it.”

Then the calls started coming in.

“All these really good people started expressing interest in being involved, and I couldn’t say no.” That’s how Dead to Rights — Metal Church‘s fourteenth studio album and, depending on who you ask, one of their most vital in decades — came to exist. Not from a grand plan, but from a series of conversations Vanderhoof apparently couldn’t bring himself to turn down.

The result is a lineup that, on paper, reads almost absurdly loaded: drummer Ken Mary, bassist David Ellefson, vocalist Brian Allen, and longtime guitarist Rick Van Zandt, alongside Vanderhoof himself. It is, by his own admission, three-quarters rebuilt. But the bones are still recognizably Metal Church.

A lot of what makes Dead to Rights feel like a genuine return rather than a nostalgia exercise comes down to Allen‘s voice. Vanderhoof is candid about it. “David Wayne was a huge influence on him. Mike Howe as well. But David Wayne was a huge influence on his voice — so it has that sound just by his voice alone.”

That wasn’t an accident, exactly, but it wasn’t entirely calculated either. Vanderhoof describes the writing process as something that quietly bent toward the past once he knew who was going to be singing. “Knowing when I was writing the songs that his voice would sound like that, it kind of subconsciously allowed me to go in that classic direction. It kind of directed it, sort of.”

The album leans into that instinct. Opening tracks hit hard and fast; “F*ck Around and Find Out,” the lead single, has been closing in on half a million YouTube views since its release. But Dead to Rights isn’t content to bludgeon for nine tracks. Songs like “Heaven Knows (Slip Away)” dial back the aggression in favour of melody, something Vanderhoof sees as essential rather than incidental.

“I don’t like making a one-dimensional record if I can avoid it. I think it’s important to have balance.” He traces this impulse back to the Mike Howe era, when Metal Church began drifting further from their thrash origins toward something more melodic, more song-focused. “By today’s standards, we’re a hard rock band, by what’s considered heavy now. And that’s fine — but that’s just not my deal.”

Album opener “Brainwash Game” takes aim at online culture with the bluntness the title implies. Vanderhoof is measured about it in conversation — he’s not ranting, just observing — but it’s clear the subject gets under his skin in a low-level, persistent way. “You’ve got the professional trolls,” he says. “People who spend their day doing nothing but disliking videos and posting stuff anonymously, just insulting. And a lot of them are bots. It’s a really odd world.”

He brings up Rush unprompted, specifically, the online reaction to their recent reunion tour. As someone who counts them among his favourite bands of all time, he watched the pile-on with visible exasperation. “He’s singing great, but he’s singing differently because he learned how to actually sing, as opposed to when he was a kid, screaming. You have to learn how to sing, especially when you get up in our age.”

The broader point matters more to him than any particular band’s defence. “They’re one of the best bands in history,” he says flatly. “You don’t have to like it, but you don’t have to say stuff. Everybody gets that, no matter how good or how great you are.”

It’s a position he extends to his own work. Politics, opinion, provocation — none of it finds a direct home in Metal Church lyrics, deliberately so. “I definitely have my views politically, but I don’t like to mix that into the music because I like music to be an escape. It’s so divisive — the internet, social media, everybody’s got an opinion.” His preference is to observe rather than instruct. “I like to leave a little bit like, I wonder what he’s really saying. It’s more fun that way. And it’s just a little more artistic about it.”

Vanderhoof‘s decision to step back from touring in the late 1980s, at a point when Metal Church were selling records worldwide, is one of the more fascinating threads in the band’s history, and he addresses it without excessive drama. Part of it was financial disillusionment. “The word ‘recoupable’ became extremely — I really finally figured out what that meant,” he says, with the dry delivery of someone who took their time getting to the punchline. “You’re selling a lot of records and touring all over the world, and suddenly you go, I’m broke.”

But the more lasting motivation was craft. Recording The Dark with a proper producer flipped a switch. “The light bulb went on for me. I wanted to learn how to do this.” He knew that meant getting off the road.

“I love the shows — always did love the shows. But there are 21, 22 hours a day where you’re bored out of your mind. And when you’re 21 and immortal, drugs and alcohol certainly become a big part of it.” He pauses, then borrows a line from Rush: “You’re only immortal for a limited time.”

He’s clear-eyed about the cost. “That probably affected the trajectory of the band.” But equally clear about the tradeoff. “I wouldn’t be here today if I didn’t do that.”

Metal Church head into 2026 with a tour that takes in the US Northeast, Canadian dates, a run of European festivals, and slots alongside Testament, Black Label Society, Iron Maiden, and Alice Cooper. The setlist will lean on the classics — it has to, with fourteen albums and a singer who can credibly handle the old material — but expect two or three cuts from Dead to Rights to make the cut as well.

What’s most striking about Vanderhoof in conversation isn’t the optimism, exactly; it’s the genuine bewilderment. He tried to end this band. More than once. “Every time I think it’s dead, it’s like, haha — fake you out.” He doesn’t say it with frustration. He says it like a man who has long since stopped fighting the fact that Metal Church, despite everything, still has more to say.

“I still get to do this. I still get to play music. And that’s why you do it for the love of music. I think that’s the most important thing for me.”

Fourteen albums in, and apparently, the band agrees. Dead to Rights is out now. Grab it here.

The post METAL CHURCH’s KURDT VANDERHOOF Talks New Album, Burnout & Walking Away From The Band He Built: “Every Time I Think It’s Dead, It Fakes You Out” appeared first on Sonic Perspectives.

New York death metal icons Immolation have unleashed their twelfth studio album, Descent. This monumental release arrives on the eve of the band’s North American takeover.

To commemorate their new release, the band has unleashed their latest single, “Bend Towards The Dark”. The track is a sonic assault, fusing the band’s trademark sound with menacing leads and a barrage of merciless blasts.

Immolation comments: “We are excited to get one more single out as our new album Descent is finally released! “Bend Towards The Dark” is definitely one of the more ambitious tracks of the record. It has just about every element you would expect from Immolation, but takes things a bit further. It’s intense and heavy, yet becomes very epic and almost orchestral at times, really embodying a lot of feeling and emotion throughout. We really look forward to having “Bend Towards The Dark” out there to ignite the release of Descent! We hope everyone enjoys it!”

Descent was captured across two locations: Justin Passamonte tracked guitars, bass, and vocals at Jpass Music, while drums were recorded at Mercinary Studios with Noah Buchanan. The production was a collaborative effort between the band and long-time engineer Zack Ohren, who also handled the mixing and mastering. The result is a muscular, high-fidelity production that captures the band’s most fiery and brooding moments with equal clarity. To call Descent “heavy” or “brutal” is an understatement; this is death metal with a unique, elevated voice that stands entirely alone.

Visually, the band has once again tapped Eliran Kantor to craft a haunting cover masterpiece—a true hallmark of the Immolation aesthetic— complemented by Santiago Jaramillo’s (Triple Seis Design) internal booklet illustrations. With this release, Immolation reinforces their status as one of the most enduring and vital forces in the genre.

Order Descent here.

Immolation are currently trekking across North America for their Spring 2026 run. The tour features the band alongside Behemoth on the massive The Godless IV lineup, joined by Deicide and Rotting Christ, with several additional dates interspersed throughout the journey.

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Grammy-nominated guitarist and singer Samantha Fish will release Paper Doll Live via Rounder Records on Friday June 12th, her first official live album, capturing the electrifying stage presence that has made her one of the most compelling performers in modern blues and roots music.

A leading guitarist of her generation, Fish is known for her bold musicianship, emotional depth, and fearless song writing. A multi-award-winning festival headliner, she has built her reputation on explosive live performances that blend raw guitar power with deeply expressive vocals. Following the critical success of her Grammy-nominated album Paper Doll, the new live record showcases the intensity and chemistry that define her shows night after night.

“Truly, this is for the fans,” Fish says of making her first official live record. “We’ve had numerous requests over the years. Paper Doll felt so great on stage — it felt like the perfect time to showcase the band and our live show.”

Recorded at the historic Bijou Theatre in Knoxville, Tennessee, Paper Doll Live captures a band fully locked in and feeding off a packed crowd. The venue’s natural warmth and acoustics created an ideal setting for the recording, elevated even further by the addition of Nashville gospel legends The McCrary Sisters, whose soaring harmonies bring added depth and emotion to the performance.

“Their voices lifted every song,” Fish says. “I love beautiful backing vocals — they pack an emotional punch. I’ve been a fan of them for years, so that was really special for me.”

Fans travelled from across the country to attend the recording, creating an atmosphere of anticipation and celebration inside the theatre.

“Our fans aren’t afraid to travel,” Fish says. “When we announced the show, people got excited. I think that build-up always helps make a better show.”

The result is a performance that feels both ferocious and communal — a moment where the band, the songs, and the audience meet in real time. While the studio album Paper Doll marked a breakthrough in Fish’s artistic confidence, the live setting strips away polish and leaves only instinct.

“There’s a fire that comes across in live performance that doesn’t always translate in studio albums,” Fish says. “The stage lays all of that bare.”

Songs evolve and expand in the live environment. Outros stretch. Studio fade-outs become powerful climaxes. Tracks like “Lose You” build with relentless momentum, while “Sweet Southern Sounds” allows Fish to lean into her hypnotic North Mississippi-inspired guitar phrasing. The title track “Paper Doll” lands as a defiant anthem night after night, igniting crowds with its refusal to conform.

And when the band launches into a blistering cover of MC5’s “Kick Out the Jams,” the room detonates.

For Fish, the difference between studio and stage is elemental. “The studio is where you build and create your sound,” she says. “The stage is where you execute all of that. Having a crowd takes you out of your head and gives you something to play off.”

Emerging from Kansas City’s blues lineage and shaped by influences ranging from Prince and Leonard Cohen to the legends of Mississippi Hill Country blues, Fish has long treated performance as her proving ground. From cold-calling bars as a teenager to headlining international festivals, she has developed a live show that balances catharsis and control, boldness and vulnerability.

With Paper Doll Live, she isn’t reinventing herself — she’s documenting the power of what she and her band do every night. “I just wanted to capture what we do every night,” Fish says. “It wasn’t about chasing something new. It was about capturing the thing that has connected so deeply over the years.”

Paper Doll Live can be pre-order here.

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Today, while gearing up for their spring tour supporting Sevendust, Atreyu are excited to unleash their new single, “Children Of Light,” featuring the legendary Max Cavalera. The new track is taken from Atreyu‘s upcoming album, The End is Not the End, set for release on April 24, 2026 via Spinefarm.

On the new single, Atreyu comments: “‘Children of Light’ was created with a primal spirit in mind. A ‘festival’ song. Heavily inspired by classic Sepultura, though it seemed like an untouchable ask, we wanted Max involved. We’re honored to share this song with a legend.”

The End is Not the End is undeniably Atreyu‘s heaviest album ever and their most adventurous. “We realized what made Atreyu great in the beginning was that we didn’t sound like anyone else,” frontman Brandon Saller explains. “We didn’t really make sense anywhere. We weren’t an emo band, a metal band, a punk band — but somehow it all worked. We kind of just carved our own path.”

Guitarists Dan Jacobs and Travis Miguel, bassist Porter McKnight, drummer Kyle Rosa, and Saller created several of The End is Not the End‘s songs on creative trips.

“Tokyo made us feel like kids again,” Saller says. “We’d write for a few hours in the morning, then go out and get lost in all this inspiration. The first song we finished was “Dead”, and we knew we were onto something.”

After the Japanese sessions, the band and their producer decamped to San Juan Island off the coast of Washington, where isolation became a creative accelerant. “It was the polar opposite of Tokyo. We didn’t leave the house for four days and wrote some of the heaviest songs on the record.”

The result is an album that feels simultaneously classic and unfamiliar, aggressive and unselfconscious, deeply emotional and unconcerned with trends. Produced by Matt Pauling, Atreyu‘s tenth album is vibrant, inventive, and beautifully aggressive.

“It’s our heaviest, most metal record we’ve made,” Saller points out. “But it’s also the biggest musical journey we’ve taken in years.”

The album moves seamlessly from soaring melodic heft to muscular metallic weight, with cinematic shades and atmosphere, all tied together by a driving, raw intensity. Tracks like “Dead,” “Ghost in Me,” “Children of Light (featuring Max Cavalera),” and“Afterglow” sound both timely and timeless.

The End is Not the End can be pre-oder here.

Atreyu recently announced a spring tour supporting Sevendust kicking off April 20th in Indianapolis, IN before concluding in Knoxville, TN on May 20th. For the full list of dates, and/or to get tickets, please see here.

Since forming around the turn of the millennium, Atreyu have pushed well beyond their DIY roots—earning multiple RIAA Gold records, Top 20 Billboard 200 debuts, and spots on major film and video-game soundtracks. Their latest album, The Beautiful Dark of Life (2023, Spinefarm), debuted in the Top 10 on Billboard’s Top Hard Rock Albums and has already racked up over 75 million streams, with singles like “Gone” and “Watch Me Burn” lighting up rock radio and flagship playlists like Spotify’s “Volume” and Apple Music’s “The Riff.”

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With just weeks to go until the release of their ferocious new album House Of Cards, Australian heavy icons The Amity Affliction share a fresh teaser of what is to come with the powerful single “Heaven Sent”.

The release of this new track sees The Amity Affliction step further into blistering new territory as songwriters and a creative unit — the single standing as a prime example of the unwavering intensity marking the House Of Cards era.

Following on from singles “Bleed” and “House Of Cards,” the latest from The Amity Affliction take the listener back into a personal memory Joel Birch found himself revisiting during the songwriting process. The impact of trauma experienced as a young person, the way it can shape us in good ways and bad; ultimately, the choices people make in navigating their way through such times in pursuit of peace.

Birch’s songwriting, evidenced right throughout House Of Cards, draws heavily on different moments of struggle and overcoming; “Heaven Sent” focuses on the relationship between himself and his stepfather.

As he explains: “This is one of the darker songs on the album, the first line references one of a handful of memories I have from when I was really young and my stepfather still smoked. He put his cigarette out on my arm at a party and then played it off as an accident. My mother was busy getting drunk and brushed it off and told me to keep it moving, basically. The rest of the song is a snapshot of my home life in some ways and the way the abuse was cyclical in nature and always prefaced by or followed by ‘I love you,’ which obviously creates some strange and unhealthy ways for a young person to understand their relationship to a parent.”

2026 has already proved to be a busy and fruitful one for The Amity Affliction; the preparation of this new album coinciding with an extensive tour of regional Australia, and the development of an international touring schedule that will see the band return to stages across North America, Europe and the UK.

Pre-order House Of Cards here.

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Denver’s colossal heavy metal band, Khemmis, is back with their massively anticipated fifth album, due out June 12th via Nuclear Blast Records. The self-titled record — the follow-up to 2021’s heralded Deceiver — represents Khemmis in their truest form: disciples of the riff. Adorned with artwork from Christopher Remmers and featuring eight tracks of unadulterated, monolithic metal, Khemmis is a celebration of heavy music, bound by the camaraderie and shared passion that was reignited during its recording.

Commenting on the impending album, guitarist/vocalist Ben Hutcherson states: “We decided early in the songwriting process that we wanted to write a tight, high-energy album that retained the essential ‘Khemmis sound’ while also embodying the joy of creating, experiencing, and loving heavy metal. Ours have always been deeply personal songs born from tragedy and sorrow; while the songs on Khemmis are still undeniably dark—I don’t think we’re capable of writing ‘happy’ music nor can we disentangle our music from our own personal experiences—they are not mined from our suffering. Instead, this record is a celebration of the music world that has sustained us, both individually and collectively, and has also gifted us with community and a sense of meaning. In many ways, we have reconnected with the energy and excitement from our earliest days as a band, an unabashed desire to play loud, heavy music. That exuberance is infused with a profound sense of gratitude to be able to create art with each other and to share it with the world.”

To celebrate the album, Khemmis has revealed the album’s lead track and first single, “Invocation of the Dreamer,” which is accompanied by a music video directed by Frank Guerra.

Adding about the new song, Hutcherson says: “We knew that this song had to be the first single in much the same way we knew it had to be the album opener—it is an undeniable ripper. “Invocation of the Dreamer” kicks the front door in, flips over your coffee table, and sets your living room on fire. It has everything you’d expect from a Khemmis song—big riffs, harmonized guitars, infectious vocal melodies—along with a slew of surprises, including blastbeats and a scorching bass break.”

Khemmis is available for pre-order now, including a ‘Deluxe Edition’ of the record offered by the band, which features exclusive extras—a behind-the-scenes photobook, an autographed promo photo, and more—directly from their website.

Khemmis will perform a special one-off show with Acid Bath in May before embarking on a headlining tour in early summer with support from Necrofier and Wretched, followed by an excursion with Monolord soon after. Tickets are available here.

After eleven years of albums and global touring, Colorado’s Khemmis have cemented themselves as pillars of modern heavy metal. Yet as they approach their fifth full-length, the band found something newly vital: the simple joy of creating heavy music together. Formed with no expectations, the group’s longevity has become its foundation, with guitarist/vocalist Ben Hutcherson describing the band as a rare source of stability and camaraderie. Since their 2015 debut Absolution, followed by the acclaimed Hunted, Desolation, Doomed Heavy Metal MLP, and Deceiver, Khemmis have built a legacy of towering, spiritual doom that continues to resonate with fans worldwide.

Despite changes—including members relocating and bassist David Small joining in 2022—the band emerged more focused than ever. Recording again at Flatline Audio in Colorado, the lineup of Hutcherson, Phil Pendergast, Zach Coleman, and Small leaned into renewed trust and chemistry, with distance paradoxically strengthening their bond. The addition of Small invigorated the rhythm section and encouraged experimentation, while the band rediscovered the excitement that defined their early days. That renewed energy fueled a collaborative atmosphere rooted in confidence, inspiration, and the shared thrill of simply playing heavy metal.

The post KHEMMIS Announces New Self-Titled Album And Shares First Single/Video For “Invocation Of The Dreamer” appeared first on Sonic Perspectives.

The melodic hard rock band Hardline have released the video for the title track “Shout” from their new album out April 17.

Singer Johnny Gioeli says: “‘Shout” as the title of this album is EXACTLY what it is…. The idea that created the title comes from the millions of ideas in my head that simply don’t stop. At times, I want to release them all in one massive scream. Here comes…. ‘SHOUT!’”

Shout will be released on April 17 through Steamhammer worldwide in the following configurations:

• CD DigiPak
• LP, 140 g, black vinyl, padded inner sleeve, coloured insert
• Exclusive CD/LP Bundles with a shirt only at the Steamhammer shop
• Download / Streaming

Shout ca be pre-order here.

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Yes, who is Steve Howe, Geoff Downes, Jon Davison, Billy Sherwood and Jay Schellen, are proud to announce their 24th studio album Aurora which will be released on the 12th June 2026 via InsideOutMusic/Sony Music.

As Howe explains: “Making this record was joyful, a chance to play, explore and give everything to the music. It’s always been about collaboration, somebody can write a song, but until everybody puts their contribution in it isn’t really a Yes song. We’re not trying to echo the past; we’re carrying the spirit of Yes forward and turning it into something new”.

The band is also launching the first single from the album, and a beautiful animated video for the title track, created by Matt Hutchings (Greg Lake, Oasis, Iron Maiden).

Aurora will be available as a Limited Deluxe 180g Light Green 2LP+2CD+Blu-ray Artbook & Poster, as well as a Ltd Deluxe 2CD+Blu-ray Artbook, both featuring the stunning artwork of Roger Dean and Freya Dean, as well as a bonus disc of instrumentals, and a blu-ray featuring Dolby Atmos, 5.1 Surround Sound & 24bit stereo mixes (by Curtis Schwartz). The album is also available as a Gatefold 180g 2LP + LP-booklet, Special Edition CD Digipak & as Digital Album. It can be pre-order now here.

When Yes first began sketching out ideas for what would become Aurora, the process was loose and exploratory. There was no preconceived concept at the start, just a collection of musical fragments that gradually began to find one another and take form. Among these early sketches was a piece titled “Aurora,” and it quickly became clear that the name carried certain gravity. It suggested light, emergence, and a sense of vastness, qualities that resonated deeply with the band. Jon Davison remembers how “the title immediately resonated with Steve Howe and sparked visual inspiration for artist Roger Dean, setting a conceptual tone that would guide the project.”

Work on Aurora began almost as soon as the Classic Tales of Yes tour ended in 2024. The idea of a new album surfaced quickly and with the label’s encouragement, the band had the time to develop material organically. Rather than gathering in a single studio for months, they embraced a modern workflow; ideas were born in home studios, shaped independently, and then woven together through constant collaboration. Downes and Howe often acted as the central creative axis, with Howe, as producer, serving as the point through which all ideas eventually flowed.

Across Aurora, each track carries its own character. Some echo the classic Yes approach, others push into new territory, but together they form a cohesive whole that honors the band’s heritage while embracing forward motion. With their 24th studio album, Yes demonstrate not just longevity, but a sustained curiosity, a desire to keep exploring, keep refining and keep discovering their capacity to create.

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Einar Solberg of Leprous is set to release his upcoming second solo album Vox Occulta, on 24th April, 2026. A bold, heavy and symphonic statement, the album was recorded in collaboration with the much-sought-after Norwegian Radio Orchestra.

Today, Einar is pleased to present a new track titled “Vita Fragilis”, a song created alongside the aforementioned orchestra. The video gives a glimpse behind the scenes at the orchestra recording the parts.

Einar comments: “‘Vita Fragilis’ was done together with the Norwegian Radio Orchestra. A cinematic and progressive track with no normal verse/chorus structure, and the longest stretch of harsh vocals I’ve done in a while. Curious how odd time signatures sound with a full symphonic orchestra?”

As well as the beautiful orchestration, Einar is joined by drummer Keli Guðjónsson (Agent Fresco), violinist Chris Baum (Bent Knee), guitarist Pierre Danel (Novelists), bassist Jed Lingat, as well as guitarists Ben Levin (ex-Bent Knee), and John Browne (Monuments). The album was mixed by Adam Noble (Nothing But Thieves, Biffy Clyro) and co-produced with David Castillo.

The album sees Solberg taking a deeply personal approach, having been an avid fan of classical music and soundtracks for more than 20 years. The lyrics are personal as well, and they make Vox Occulta something of a thematic follow-up to 16. Where Solberg’s solo debut revisited the death of his father and his past struggles with anxiety, this set is a warts’n’all portrait of himself and how he views the world in 2026.

Vox Occulta will be released as a Limited CD Digipak, Gatefold white/black 2LP & a very limited Gatefold transparent red 2LP, as well as digitally. It can now be pre-order now here.

Official merchandise and special collector’s boxes are available here.

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