On April 3, 2026, Lewis OfMan releases his third studio album, ‘50KWTTS,’ on Profil de Face. Across 11 tracks, the French producer, musician and vocalist presents a raucous mix of live instrumentation, sampled breakbeats and original electronic production. Self-written, produced and recorded, with samples taken from his vinyl digging trips around the world, ‘50KWTTS’ sees Lewis OfMan at his most raw and free.

The title, ‘50KWTTS’ (50,000 watts of power) is a statement of intention: where electric guitar, drums, keys and synthesizers are all treated with the same, punk rock energy; pushing up against physical limitations while keeping grooves and melodies rolling. The album is led by “Smash,” the first single, which was released in November 2025.

Since his 2017 debut EP, ‘Yo Bene,’ Lewis OfMan has oscillated between styles of pop, alternative rock and electronic music, molding himself into a pop adventurer with an ear for off-kilter melodies. Often guided by his globetrotting — Barcelona and South Korea inspired his “Siesta Freestyle” and “Seoul Mixtape” respectively — in early 2025, he left his native Paris for London, where he wrote and recorded ‘50KWTTS.’ “I love France, but I’ve never truly felt like I worked in the spirit of French music — like French Touch, disco-pop and chanson — so London feels like where I belong,” he says.

As a producer, Lewis OfMan has worked with American indie-pop artist Carly Rae Jepsen, Irish rapper Reijje Snow and French vocalist Vendredi Sur Mer, and keeps himself on his creative toes by working with up-and-coming artists, too, such as Blasé, Gabriela Richardson, Meyy and Brian Nasty.

Lewis OfMan has also written and produced three solo albums: 2022’s ‘Sonic Poems,’ 2024’s ‘Cristal Medium Blue’ and 2025’s ‘50KWTTS.’ Often on the road, Lewis has played North America, Asia and beyond; he played his biggest show to date outside of his home country in 2023, at California’s Coachella Festival.

In 2024, Lewis embarked on a global tour for ‘Cristal Medium Blue.’ For its breezy alternative rock, with psychedelic and electronic flourishes, he collaborated with acts such as Empress Of, Alaska Reid, Gabriela Richardson, Camille Jansen and Sofie Royer, and created a custom live show with a 5-piece band. Lewis led on vocals and electric guitar. While the tour was a success, he felt pressured to perform the album’s “beautiful, but precise” music. “Normally my music is all about blasting it loud, no fucks given, high energy fun,” he says, “but ‘Cristal Medium Blue’ gave a lot of fucks, you know?”

When he got back to his Paris studio, in the hot, sticky summer of 2024, Lewis listened to a vinyl compilation of breakbeats as a palate cleanser. Picking up the electric guitar, he riffed off the breakbeats and sparks flew in his mind. In this instinctual mode, he wrote “Smash,” the lead single of ‘50KWTTS,’ and spent the next two weeks writing and recording much of the album.

During the process, he was inspired by rock groups The Black Keys, The White Stripes and The Dead Weather, with their blend of distorted guitars, brute drums and simple melodic riffs. To create a greater ambience and tap into the rock ‘n’ prestige of his influences, ‘50KWTTS’ was in large part recorded at the Rockfields studio in Wales, where bands like Queen, Oasis and The Stones Roses laid some of modern rock’s greatest hits.

“I see ‘50KWTTS’ as a way to fight back against the shyness and fragility that I felt on ‘Cristal Medium Blue’,” he says. “I was playing electric guitar again, but I was in a destructive mood. The guitar is a culturally heavy instrument to me. I felt the long arm of history of great players and I didn’t measure up to it. But with my synthesizers,” he continues, “these tools made for people who aren’t trained musicians, I feel freedom. I wanted to make my guitar feel as free as the machines.”

The album opens with ‘1WATT,’ a raw slice of drum machine funk smattered with sampled breakbeats, and is followed by ‘DON’T STOP,’ which puts an electronic twist on blues guitar music. The grooves of ‘BIRTHDAY PARTY’ are playfully layered with live instrumentation paired with a gimmick – ‘’we’re going to do a party for everybody’’ – Lewis sampled from an instructional LP record, in the vein of early LCD Soundsystem; there’s a bloghouse flavour to ‘WATCH ME,’ with its catchy riffs and vocal samples from French-Canadian musician Marie Davidson, and that feeling continues on ‘I’M MAD UR NOT,’ stripped to its bones.

The ride slows down for ‘AFFECTION,’ with its melancholic live drums and guitar lines, and then ticks up again for ‘SHOW BUSINESS,’ where a broken snare drum and distorted drum beats, recorded through a vintage camera’s mic, are peppered with the sampled voice from an interview. ‘NO QUESTIONS’ is an in-your-face live jam with a drum machine pulse, and ‘ELECTRONICITY’ taps into that DFA Records energy with its cowbell percussion and sample-led rhythms. ‘SMASH’ leads with abrasive electric guitar riffs and album closer ‘HIGH VOLTAGE’ wraps up the running theme of wry vocal samples, reminiscent of Tom Tom Club and with a French lilt.

In the studio, Lewis OfMan achieved this energetic, abrasive sound with a small selection of gear. A Mini Moog, run through a Metal Monster guitar pedal, distorts the synthesizer’s classic warmth. Tracks are run through a 2001 Pioneer DJ effect tool for further distortion, and a mini midi keyboard by Studio Electronics is a replica of the Mini Moog.

The electric guitar is a small, Hofner guitar that cost Lewis $100. “It’s fun to have the cheapest guitar, with the smallest body, and blast the biggest sound possible out of it,” he says, “but I remember an advice that Jack White once gave: ‘You have to win the fight with the guitar,’ and I like that; you can have limits, but you do what you want with them.”

Lewis OfMan will embark on the 50KWTTS Tour in 2026.