In the suit filed today (May 24) in Los Angeles, the band accused their controversial ex-frontman of “hijacking its name and songs to promote his solo career,” according to a CBS news report. The claim goes on to accuse Weiland of being “chronically late” to shows and for interfering with radio play of an unnamed single via a lawyer. The suit claims that Weiland’s lawyer called the head of programming at KROQ Los Angeles, and explained that if the station played the band’s new single, “Out Of Time,” the station would be infringing on Weiland’s rights.

“The band endured much strife and lost significant opportunities because of Weiland,” states the lawsuit.

The band also claims sole rights to the name Stone Temple Pilots, their music, copyrights and trademarks. The group seeks to stop Weiland from even referring to himself as a former band member.

The shocking lawsuit comes on the heels of Stone Temple Pilots surprising the music world with an unannounced appearance at this year’s KROQ Weenie Roast, featuring Linkin Park frontman Chester Bennington on vocals instead of Weiland. The well-received set was followed by the release of a new Stone Temple Pilots single, “Out of Time,” which is available as a free download exclusively on Radio.com.

Stone Temple Pilots unceremoniously fired the embattled Weiland back in February of this year with a terse, one-line press release.

KROQ and Radio.com are both owned by CBS.

Written as an inspirational song to deal with his diagnosis of Osteosarcoma a rare form of bone cancer, “Clouds” became something of a viral sensation as others afflicted with terminal illnesses adopted the tune as their own anthem of hope.

Generating more than 5 million views and counting, the song generated a star-studded tribute video, which featuring a cavalcade of celebrities including musicians the Lumineers, Jason Derulo,  Sara Bareilles and Jason Mraz all singing “Clouds” (the tribute video has generated more than 2 million hits to date).

According to Billboard, indicators reveal that the song is on pace to make a strong debut on next week’s Hot 100 chart, with the potential of cracking the Top 20. While “Clouds” has only received minimal radio play, sales, downloads and Youtube views are strong enough for the song to make a substantial chart impression.

The track was released on nonprofit record label Rock the Cause, with all proceeds going to the Children’s Cancer Research Fund in Sobiech’s name.

“He has taught me to see beauty and joy in everything, and although today is very sad, it is also very beautiful,” said Samantha Brown, Sobiech’s songwriting partner at his funeral (via US Weekly). “Life gave my friend Zach a lot — but life gave us Zach, and we can always be thankful for that.”

The service ended with those in attendance joining together to sing “Clouds.”

Now comes “Your Side of the Bed.” For this next single, they’ve chosen an unabashedly sad song that’s about just what the title implies–that feeling when partners in a romantic relationship drift apart.

This week the band released a brand-new video for the song, starring LBT bandmates (and real-life married couple) Karen Fairchild and Jimi Westbrook.

“Your Side of the Bed” was written by Little Big Town and Lori McKenna, and the group’s performance of the song was a highlight of the 2013 ACM Awards.

The music video for the song was shot last month by Becky Fluke (Pistol Annies, The Civil Wars), and it takes place at the historic Tennessee Theater and The Oliver Hotel in Knoxville, Tenn.

According to Billboard, the British threesome will take the stage at Horse Guards Parade Ground, St. James’s Park, after the film debuts on screens in London’s Leicester Square.

In the film, fans will hear approximately 14 minutes of Muse’s vocal-less yet stirring song, “Isolated System” from the bands latest album, 2012′s The 2nd Law.

Frontman Matt Bellamy described the track to NME in rather obtuse terms: “Hanging around space would be so peaceful and quiet and suddenly you come to this little blip that’s f***ing chaos! I see it as drifting away from the planet and going into the peacefulness of what actually is gonna happen at the end of it all, which is nothingness.”

“It made the movie feel and sound really cool,” Randy Spendlove, Paramount Pictures’ President of Motion Picture Music told Billboard. “After we layered in the music, we reached out to their management in the U.S. and the U.K. to see how we could reach beyond the movie. We wanted (the relationship) to be bigger than that.”

Hitting theaters June 21, World War Z centers follows United Nations employee Gerry Lane, played by Brad Pitt, who finds himself racing around the world trying to stop a pandemic that threatens to turn the human race into zombies.

Despite persistent indications that frontman Josh Homme and his band would perform the new album in its entirety complete with rumored special guests ranging from Dave Grohl to Trent Renzor, QOTSA followed …Like Clockwork opening song, “Keep Your Eyes Peeled,” with “You Think I Ain’t Worth A Dollar, But I Feel Like A Millionaire,” from 2002′s Songs for the Deaf to start what would be a cameo-free show.

With a dazzling video backdrop flashing eye-popping graphics (many from U.K. artist Boneface, who is responsible for the arresting artwork of …Like Clockwork), QOTSA roared through a career-spanning set, touching on most of their studio releases over the course of the two-hour show.

The show’s focus, however, was clearly the new album, with the band playing every song from it other than “Fairweather Friends.” The songs cut like a knife, from the melodic rush of “My God is the Sun” to the ornate and hushed “Kalopsia,” which plays like a early ’70s David Bowie tune. Cranking up Led Zeppelin-like classic rock riffs on “Smooth Sailing” and goth-tinged glam with “If I Had a Tail,” …Like Clockwork is shaping up to be a laser-focused evolution of the QOTSA sound, distilling their myriad influences into explosive and often unexpected corners of the rock spectrum. It’s also a lot to take in, particularly during a packed and star-studded theater show that holds less than 2000 people (celebs including Kat Von D, Michael C. Hall, Jack White and Morrissey were spotted among the throngs), so QOTSA made a point to drop in older fan favorites. “Make It Wit Chu,” from 2007′s Era Vulgaris, made the cut, while Lullabies to Paralyze single “Little Sister” drew the biggest cheers of the night with its cowbell-powered stomp.

Homme and company played the songs with a purposeful efficiency, the frontman taking a handful of songs before finally addressing the audience, thanking the crowd for coming out and taking in so many new songs. Drummer Jon Theodore (formerly of the Mars Volta) elicited much crowd appreciation for his athletic performance behind the kit.

Encoring with Rated R anthem “Feel Good Hit of the Summer” and the crushing “Song for the Dead” from Songs for the Deaf, Queens of the Stone Age wrapped up a performance that proved why, after 15+ years, their devotion to no-nonsense rock and roll (albeit with a brain) has kept them relentlessly contemporary and perpetually essential.

Related: New Music To Know: Charli XCX Turns Pop On Its Head

It’s no secret that the 20-year-old loves the ’80s. In her latest music video, sponsored by Urban Outfitters, Charli leisurely strolls through a famous London night club checking out her friends, dancing to her new tune, “Take My Hand.”

Director and fellow Brit Ryan Andrews opted to let Charli repeat some of her teenage days as a club kid by following her through the London’s infamous Elephant and Castle club and capturing her real reactions, “Kind of like if you were watching the film Kids,” said Andrews to Urban Outfitters.

According to Charli, older videos from The Prodigy served as inspiration. But contrary to first glance, the video is not a repeat of her “What I Like” ultra-sexy slumber party. “It is really stripped back, and quite real as if you were in a normal dirty club with your friends,” explained Andrews.

Charli will continue to march through the U.S. on her quest to dominate the current ’80s synth-pop revival with appearances along the East Coast, followed by a performance at Bonnaroo in mid-June.

True Romance is available now via IAMSOUND.

“I have watched the devastation in my home state of Oklahoma over the past several days with great sadness,” Carrie said in a press statement. “With the help of my fans who attended my concerts over the past year, we can offer the Red Cross a little extra help in comforting those affected by the recent tornadoes.”

The contribution plan was established when the Blown Away Tour launched last year, where one dollar from every ticket would go to Red Cross disaster relief.

And thanks to all who came to a show during this entire tour! I hope you all feel great about the Red Cross contribution that WE made today!

— Carrie Underwood (@carrieunderwood) May 24, 2013

Oklahoma may be Carrie’s home state, but this isn’t a case of playing favorites. Last year, for instance, she donated proceeds from a show in Atlantic City, N.J. to aid victims of Superstorm Sandy. “You have been through so much and still rocked the house!” she wrote at the time.

Neal Litvack, chief development officer for the Red Cross, issued a statement thanking Carrie for her donation.

“The impact of the tornadoes in Oklahoma and the Midwest was devastating and the road to recovery will be long for many families,” he said. “Through the generosity of Carrie, the American Red Cross can quickly respond with shelter, food and comfort now, and with lasting help as they move toward recovery.”

Growing up in tornado alley, you always know what could happen…it doesn’t change how devastating it is when something does happen. #pray

— Carrie Underwood (@carrieunderwood) May 21, 2013

Listen closely to the duo — comprised of brothers Ryan and Taylor Lawhon — and you might hear a bit of early ’90s R&B or hip-hop. Pay even closer attention and you’ll detect a little Enya.

“If you took the drums out of any of our music, it could be a New Age song,” Ryan, the oldest Lawhon, told Radio.com.

Thanks to their mom, the Lawhons grew up listening to New Age music. While no one is going to compare Pacific Air — who previously went by the name KO KO — to Enya, the guys say it’s definitely an influence worth mentioning.

“Instead of abrasive rhythmic synths we tend to go for more sprawling, very stereo, soft synths,” Ryan said. “Which is something heavily utilized in New Age music. It’s something that provides such a nice layer and it fills up the sound without overpowering rhythmically.”

The California band’s unique blend of electropop, indie rock and (obviously) New Age has lent itself to a quick, almost unbelievable rise. Within 24 hours of releasing three songs on the music-sharing site Bandcamp, they were contacted by an eager blogger who had been trolling the site for bands with interesting artwork. They would later play this blog’s SXSW party. And less than a week after uploading the songs, they were being wined and dined by eight different labels looking to sign the band.

While in the label meetings the brothers started to realize that A&R reps like to talk, and instead of putting in their two cents, it’s best to just let them do their thing. Ryan even came up with a mantra, “stop talking,” which eventually became the title for Pacific Air’s debut, out June 11.

“It was a very odd, not really a game, but just trying to understand it and not screw anything up,” Ryan said of the meetings. “And the less I say the less chance I have of screwing anything up as well.”

Days after signing with Universal Republic Records, the guys were in a New York studio recording their first album with producer Chris Zane, who’s worked with Passion Pit and The Walkmen. Though they had shared the songs on a whim and had no plans to release an actual record, Ryan had already written 11 songs. All of which, he said, were written during a dark time when he was working a day job at Apple and wasn’t really sure what he wanted to do with his life.

While the music is upbeat, the lyrics tell a much different story. One that is very vague. The singer purposely left out any specific details of his own life.

“I don’t talk about any events at all on the record,” Ryan said. “I talk about the immediate emotions of any event. In doing that, I think it’s more universal.”

He explained that instead of writing major pop songs “about living for tonight,” he wanted to be a tad more introspective. “I was moderately depressed at the time,” Ryan said. “It’s a melancholy album… [but] the music is as happy as possible.”

The band’s first single, “Float,” a breezy pop tune that focuses on the dreaded quarter-life crisis, is a great example of the happy/sad dichotomy, but the brothers are the first to admit that the recording process was a bit of a mess.

They laid down the melody, chords and beat in one day before adding a layer of snaps and whistles, something they were hesitant about at first. “People see whistles as a gimmick,” Ryan said. “We try to stay away from that.” But the whistles later became an integral aspect of Stop Talking with eight out of the 11 songs on the album using it in the same way one would use a keyboard or guitar to just delicately highlight the melody. Or, as Taylor explained, they tried to use the whistles in an “Andrew Bird-style.”

On “Float” the band also combined 10 different organs and synths and added an underlying bubbling synth that is present throughout the whole album like a watermark. Filling up space without making any real impact.

“It’s funny that the parts we spent days working on are barely noticeable,” Taylor said with a laugh.

The Lawhons admit that they spent way too much time in the studio slaving over little intricacies of a song, whether it was those bubbling synths or a 12-string guitar or an inaudible banjo that no one will ever even know is there.

“It’s definitely not a utilized instrument on the record, just adds a little bit of twang when needed,” Ryan said. “We pair it with a whistle and a guitar so it’s more of a vocal. We could have used any instrument, but we wanted a banjo.”

Finally, to highlight the many intricate layers of each song, they panned right and left in the final mix. This means if someone is listening to Pacific Air’s album on headphones each ear will be able to hear slightly different things, almost as if the right and left ear are sometimes not even listening to the same song.

While Pacific Air warn that a car stereo isn’t the best way to discover all the secret sounds, they believe the best way to listen to Stop Talking is loud and, if at all possible, in the desert.

“It’s a blank canvas for anything,” Ryan explained. “Music really lends an interesting perspective, especially at dusk.”

Of course, just to be safe we’re going to bring our headphones along too.

The concert film is blended with a surreal narrative story, which features actor Dane DeHaan as a Metallica roadie who gets caught up in a life-changing mission while attempting to deliver a mysterious item to the band for the show.

Metallica’s concert footage was shot over three separate concerts last year in Vancouver, Canada. Through the Never is scheduled for release on every North American IMAX screen on September 27, expanding to additional theaters the following week on October 4.

While the band is currently preparing for their second annual Orion Music + More Festival, set this year for Detroit’s Belle Isle on June 8-9, Metallica members recently revealed that the band has already amassed enough new material for a studio album.

“I want it done yesterday,” singer James Hetfield told Billboard about what will be the band’s first studio album since 2008′s Death Magnetic (they released the collaborative effort Lulu with Lou Reed in 2011). “[Orion] and this movie is keeping us pretty busy at this point and it’s taking a lot of our time and effort. We’ve been touring some obscure places; I guess basically what we’re trying to do is pay for this movie, so the touring is keeping us from getting in there and finishing the record. Right now the focus is on the movie.”

“I can tell you this; the grooves and the riffs that are already on the radar are really, really awesome,” added bassist Robert Trujillo. “We’ve still got more riffs to go through and jam out and throw into the process, but we’re getting there, and we’ll have something great, hopefully, in the next year.”

The latter won an Oscar for her turn in the 2005 film Walk the Line. On Monday night, folk-pop songwriter Jewel steps into the role when the June Carter biopic Ring of Fire debuts on Lifetime.

Ring of Fire is based on the book Anchored in Love: An Intimate Portrait of June Carter Cash, written by John Carter Cash, the son of June and her late husband Johnny Cash. The film also stars Matt Ross (American Horror Story, Big Love) as Johnny, Frances Conroy (Six Feet Under) as June’s mother Maybelle Carter, and John Doe of punk band X as A.P. Carter, June’s uncle. The film was directed by Allison Anders.

Matt Ross and Jewel in “Ring of Fire” (photo courtesy Lifetime)

Maybelle and A.P. (along with Sara Carter) were the three founding members of pioneering country group the Carter Family, who first recorded in 1927. June and her sisters Helen and Anita recorded with the Carter Family as kids, and later toured with Maybelle as Mother Maybelle and the Carter Sisters.

Ring of Fire follows June from her Carter Family days on up to her marriage to Johnny Cash, including her battle to get him back on the straight and narrow.

During a screening of Ring of Fire in L.A. this week, Jewel said she was aware of the challenges in the role, since she would be ultimately compared to Reese’s award-winning turn as June eight years earlier. She also said that being a musician herself didn’t help matters. In fact, she admitted, “It was hardest for me to stay in character when I was singing. I even had a hard time clapping in time.”

Jewel elaborated on how she developed her character during an interview with the Hollywood Reporter.

“[June's] singing style was quite different from mine,” Jewel explained. “I did a lot of studying of her voice and her body and her mannerisms, her posture. I studied her at every age, and I read everything I could find on her. It was really important for me to transform into June because I am a famous singer in my own right, and I wanted to make sure to avoid people turning on the TV and asking, ‘Why is Jewel wearing a brown wig?’ I needed to be able to disappear into June, and make people forget about me as a singer and get tucked away into the story of her.”

Ring of Fire premieres Monday, May 27 at 9 p.m. ET/PT on Lifetime.