The Laconic-Amor Fati
The Laconic brings a fine selection of prog rock from the studio to your ears. Here is an artist who has expanded his palette to something he might not be able to identify at this point. All we know, is that it has elements that are constantly evolving and growing to make an epic story that is made of dreams. This is his second full length album, Amor Fati. The bold themes of The Laconic What are the visuals you aim to conjure with an album like Amor Fati? I don't aim to conjure visuals, but emotions. The idea is that if you're constructed like me, a human who has come, over time, to associate certain kinds of melodies, harmonies, and timbres with certain moods or emotions, then by writing music that evokes in me an emotional story, it may have the same effect on you. In a sense, I don't play the music, I play how you feel. But it's only going to work if we share some musical context. The emotions I aim to conjure with Amor Fati are: joy, acceptance and defiance, courage, wonder, and excitement. There's not a lot of anger or sadness; there is some anguish though. Now, if I could conjure visuals with Amor Fati, a few would be: a dancer leaping in the sunshine; Ozymandias, king of kings; a swashbuckler engaged in a swordfight on a tightrope; a bullfighter swirling his cape; a man screaming at the heavens; winter turning to spring. Series of sounds Opening with Fate, the collection of instruments and their desired effects is incredible. Like an Opeth alternate, there is a confluence of guitars, drums, pianos and cocoon ambiances that make it heaven to experience. It is like listening to an experience of nature study, observation of its glory. As a song, this is more than perfect for the kind of opening that an album that is spreading its wings would want. Marvelously strong start. While creating a narrative through rock in a broader spectrum, on what basis do you switch from one kind of rock to another? There is a story that develops in my head as I write music, and as I hear the music, the story develops. Now, I don't use lyrics, so I can't tell you what story I have in my head--not through the music, anyway. But the story has an emotional content to me, and I can write the music in order to evoke that sequence of emotions in myself, and if you hear it, it will (hopefully) evoke the same sequence, to which then you can fit your own narrative. And that's the magic of music. It's always personalized, even if the writer doesn’t know you at all, and that's why we get so passionate about it. So to the original question: I switch when doing so supports the emotional narrative. This was an important part of writing Amor Fati. Understanding the narrative Nona explains itself as a brilliantly written interlude. With polyrhythmic beats and synth sheets claiming the silence, it creates a bed of sound that is surreal to imbibe yourself into. Saber is introduced next. As far as instrumental prog rock goes, it even dips its toes into the kind of melodies Genesis liked to study. The metaphor for the blade it carries is felt in how it is forged, reached the fertile grounds of war and discord. Decima boards itself to be some of the best rhythm plays heard till now on the album. The play constant dynamic change between the instruments, flooded in instances by deeper, sustained notes. While writing these melodies, how is it that you maintain a cohesive oneness to the compositions? Something has to carry over from one section to the next, and preferably later sections will reference earlier ones in some way. Often it's a phrase that's altered, or appears in a different context, so that it might sound quite different but it is recognizable as the same thing if you pay attention. But it might be an instrument with a distinctive timbre that glues different sections together. Or, obviously, the key or the tempo, if unchanged, will give you some cohesion. As Dust comes on, it explodes into notes and leads that point somewhere. I was reminded of scenes from Peaky Blinders, especially the arpeggios. It is one of the fullest, unique tracks that I have heard textures being combined and spliced into each other for. The country essence is retained, with the chords and notes as well. The chugging of the Westerns is established by the percussion, the power swerving within the composition. Distance between projects How far do you think you've traversed since Integrals? Many leagues. I love Integrals still. I'm always surprised when I listen to it, because I expect it to sound immature or naïve to me, and it just doesn't. But the compositions on Amor Fati are a level up; generally longer and more complex, with more parts. For example, "Refuge" is nearly 20 minutes long, with around a hundred tracks. Another feature that sets it apart from Integrals is the extensive use of guest musicians, all of whom made astonishing contributions. Integrals had all programmed drums, while Amor Fati has nearly all real drums, and that's just the tip of the iceberg. Juan Dahmen's drumming, Gary Husband's keyboards, Aralee Dorough's flute, Tim Gardner's and Erik Emil Eskildsen's touch guitars, Christina Ruf's cellos, Colin Gatwood's English horn, and my brother Scott's guitar, all combine to produce something well beyond what I could have done alone, or even imagined. The Laconic then proceeds to create an illusion of time through music. One of the most popular ones has been Pink Floyd’s depiction, which is most commonly used. Here, creating the hourglass and ticking hour effect draws something unique and preserved, in its own light. It lays the foundation to what will become Mirror. The result is a digital paradise, the dynamic dissonance almost discombobulating. It unfolds with incredible creativity, having an industrial touch to it. You would almost imagine Trent Reznor having a touch of his composition in this. Remnant memory and what it does What vision do you have for The Laconic's future music? What aspect do you think people instantly connect to? I think people instantly connect to the melodies. If you're anything like me--and I know a decent-sized sample of people who are anything like me--the melodies will take up residence in your brain. It's not unpleasant. As for future music, I started a third album while the second was being mixed. I'm planning fewer but longer pieces, something not unlike Tales from Topographic Oceans or Incantations. Four songs, each around 15-20 minutes. More cinematic, and more orchestral. I wrote Amor Fati at a breakneck pace -- nearly everything was written and recorded in about nine months, and I am not a full-time musician, but a data scientist, so it was like having two careers. I'll take more time with the next one, maybe twice as much, and take more responsibility for every note. However, none get you the experience that The Laconic brings with Refuge. An 18+ minute epic, it is a story that has its many twists, turns and straights. All expressed through the miracle that is the instrumental approach. The kind of solos that express themselves as protagonists will blow your mind to bits. It would have been enough to end the album with that. Equinox comes in to do that service. A soothing, beautiful melody is what cuts the silence. The delectable choice of notes will make you wonder, what kind of energy might a composition like this take out of you? Protagonist and plight-The Laconic If his 2022 album Integrals was level 3, we jump to a 9, progressively. The quality and expounding effect the music has on you is miraculous. Many of these songs would be great in the BBC documentary, HyperNormalisation (2016). I would prefer if a movie of this prog rock album could be made, as nothing could be more accurate in terms of scene transition. Follow The Laconic and listen to these incredible tracks here: https://thelaconic.bandcamp.com/album/amor-fati
You Bred Raptors?-Lysine
You Bred Raptors? Want rock to be seen through a new set of cameras. We aren’t in the 90s any more, and old rockers whining about new music is white noise. Here is a band that is crafting something with clay that is sourced from another planet. Their album is a collection of songs that challenge you to tick the box where this fits. This is Lysine. Just the opening track is enough to show what they are capable of. It is like an amalgamation of newspapers from different times. It’s news alright, it just takes a moment to see it all put together. Conclave marries strings, rock guitars and drums with live instrument ecstasy. The result is a delicious concoction that acts on you slowly. Before you know it, you’re knee-deep in their music wormhole. After the opening epic comes Barnstorm. It sounds like Nicholas Britell went prog rock on a shows ropes, and the result is extremely fun to experience. The orchestral experience is offset from the guitars, bass and drums. It is like watching an orchestral pit with a rock band merged within, wearing tuxes and full suits. If you felt the groove was classical in Barnstorm, the funk comes in with Perimeter. It defines what will be the band’s airtight compositions and performances. Though it is heard everything is performed live, you can feel the chemistry in the songs. You Bred Raptors? is everything you’d expect from a band that made music like this, and named themselves that. It’s equal parts shock and awe, still waiting for the debilitating bedlam that will ensue. To the rock loving palaeontologist, you just whispered in their ear. “Another species of dinosaur exists”. Why ask genre? Tango is the true testament to this band stretching their fabric. Consider them to be equivalent of your relatives travelling abroad. Everywhere they go, there’s a souvenir that reminds them of the visit. You Bred Raptors? create a similar notion with their dip in genres. Only that, with this conundrum of instruments, it all sounds interesting and climax orienting. You just don’t know which movie you’re watching. The drum grooves on this one are spectacular. Mollycoddle brings them to reign as the tone lords and riff raconteurs they are. The rhythms are unique and incite a flavour of jazz. Like finding cinnamon flavours in your French toast. Some people know how to do it right. Whipsaw shows you uncharted territory through mist. At first, you don’t know what you’re looking at, but it's a world like Avatar. Shipshape shows you the notorious aura that these guys can carry. It’s like being in a detective drama, unlike Cameroon, which is the protagonist’s entrance song. The bassline is delicious, and the theme creates something of a prize piece for this band. A dictionary through music You might ask where Dogpile or Waltz take you, and I can give you a weird answer. You’re in the midst of tall, black pillars. Smooth, jagged in some corners. You feel lost, but you aren't afraid, for you can see the light. It takes you only a while to realise you’re lost in the music sheet of this incredible band, and the demarcated way out is through. I would not be able to do justice in words the epic that Capsize is. I would picture many of these sings in 21 Grams (2003), by a director who would be able to do justice to these transitions. I’m an Iñárritu fan, but this is an extremely talented band I am an instant fan of. Whatever music they have, I recommend you check out, like I am going to now. Follow them for whatever they do, for no one will do it better.
BARock-Sturm aufs Paradies
Bjørn BARock has created a legacy for himself with these experimentations in music. With compositions that transcend ambient expressions to in-depth introspections in rock, pop, and metal-there is very less this man has not explored. With his full length album, he wishes to share the narrative with us. This is Sturm aufs Paradies. The opening single itself will leave you in awe. Echoing whispers with the instrumentals draw you into the song, while rock insertions are a regular occurrence. He knows how to flick the switch of the genre in a second. You could see the song be immensely popular in front of a packed crowd. Memento Mori brings a post-grunge rock experience. BARock preps you for something exciting, a song that screams action and aggression. After the pandemic, this artist has continued this passion project as a one-man spearhead, which makes this all the more interesting. He uses silence for building tension, just like a filmmaker would. The tones he has got are apt and accurate. They create the desired effect, and his lyrics are a meditation on his observations. A smorgasbord of genres Stell mir keine Fragen has those punk beginnings. This makes sense, he says, how the baroque is something he is fascinated by. It is this kind of dedication to learning the makings of a genre and mastering it that make him such an admirable multi-instrumentalist. Passionate and verbose, he ensures the music is felt the way he would want it experienced. Überwinde jede Mauer continues this red-hot punk energy, and it is fascinating and entertaining to listen to. If anything is a condolence, it is how BARock has made this an outlet of his personality. It is evident he has made music a passionate relationship he keeps returning to. With each song, he solidifies his style, and explores more, every time. Raus in die Freiheit had a whole different set of tones, and this artist has found a vessel within which he can continue his diaries. Meine Kleine, grosse Welt has a texture of a prog–rock ballad. BARock creates exactly that feel with his melody and tones he uses. I also admire his vocal recording style, it seems like he is singing to you, as compared to a stadium or hall feel. It is unique, fascinating to see such a powerhouse of a talent kicking open the doors of expectation like this. Alles nicht so leicht opens with a thunderous drum lick, while there are trap beats as part of the song. You will never hear textures like this in many artists songs, for they wouldn’t dare to explore. This would be great in the 2001 German movie The Experiment. There are so many songs and styles that BARock could be featured in any without doubt. Listen to his album above and make sure you follow this talented songwriter for more!
Massimo de Simone-Nel tutto
Massimo de Simone loves to experiment through several layers in his music. In an effort to create a narrative, he blurs genres and lines, to make something interesting. Not just an aural platform for lyrical journeys, but experiences that try to search for elements more than your standard pop and rock. This one is called Nel tutto. You can hear a rhythmic exercise in pulse and tempo happening quite often in this song. It is an exciting premise to keep running through, where elements come together in brilliant cohesion. Massimo de Simone is an artist who is looking at the story the song gives, rather than just some flashy sound effects. The result is something that touches on synthwave, a ballad and indie rock aspects. He utilizes the synth to encapsulate the feature of timelessness, suddenly moving to The Who kind of sound as well. It is prog rock we have reached now, probably a different state of being. It is so unique to feel, for you don’t know what you will encounter in one verse to the next. There is a Rush like aspect to near the 2:40 mark, where you’re hearing the synth and guitars come together for a fantastic medley. This song would be perfect in the Italian movie Era Ora (2022), with the different kind of themes and time skipping that ensues. Massimo de Simone has taken us through an audio theatre unlike any other, creating a fabricated wormhole of melody and story. Listen to his song here and follow him for more like this!
Tyler Kamen-Cornucopia Modus
Imagine every stage of your life is a video game. Tyler Kamen can write the soundtrack to your life in a jiffy. This talented songwriter exploded our minds to fragments with his superior album, Bamboozle Tesseract last year. He ups the ante and the level fittingly, with Cornucopia Modus. The thrill is ours, comrade. If you’re ever in a need to write a rock epic, I cannot point you in any direction but Tyler Kamen’s. His songwriting slices open parts of otherworldly exploration with surgeon like ease. You travel on a magic carpet with a mage, understanding a whole new aspect of divinity. If Bicentennial is his opening, you’ve just put the helmet on (fans of 3 Body Problem, wink wink). Gearing up, the opening song is like listening to Rush on an acid trip. You’re subjected to the exciting theme song, the guitars flowing melodies taking you through the scenic divinations to be witnessed eventually. Underneath is the third track, with instrumentals that tease the aspects of time travel. There are ridiculous melodic runs, sudden shifts and dramatic changes. Tyler Kamen balances the ride with each song exploring one aspect of a fantasy world with his raw talent and budding excitement. You’re in every part of the journey with him, while witnessing in awe the kind of instrumental genius he portrays. The Vegetable Tribe introduces you to a new species, an entire interaction with creatures that have a purpose. When he draws back the curtains, you can imagine the entire picture-a puzzle you’re making as he introduces you to the pieces. If you think songs like Frequency 9 are interludes, you’re a silly worm. Tyler Kamen designs these as B-rolls that can entice you to visualise the next background. As far as rock epics go, I cannot name one artist that would delve into the detail of what he is making with such care. Write a book parallelly, and we have an audiovisual voyage for fans to obsess over for years to come. The tones he chooses for songs like Jinx Loon give you the mystery and veil the depth of the whole story. He weilds Chekhov’s Gun, and he's using the trigger carefully. When you’re taken on journeys like Road to Lizard House, you can express the twists and turns. You might exhaust yourself telling your friends, so might as well host a listening party for Cornucopia Modus. Rarely do you find a gem like this where so much work is put with so much fervor. Each album of Tyler Kamen’s is a whole new world, and being a part of it is a greater than any movie you can watch. A spinoff of Dungeons and Dragons is the only feature I can visualise for this brilliant work. Check out more of his albums and his collection of work on his Spotify. Make sure you follow Tyler Kamen for more epics that will drop soon! Till then, I’ll be taking a nap in Gnome City.
Via Modesta Valenti-Suite for The Last Prophet
Via Modesta Valenti make truly thrilling music. There is something about the social investment of sitting in a room with your bandmates and jamming out to some tunes. That is exactly what their album Suite for The Last Prophet sounds like. Think King Gizzard with lesser drama. Welcome to indie delight. The Eternal Story opens with a 80s soaked tone of keys and echoing, heartfelt measures. As all the others patiently withdraw themselves, you will be reminded of a familiar tone before the electric guitar comes in. Lyrics are of the frogressive kind (leave me to battle autocorrect), where you’re imagining the colourful, fantastic world that is being made for you and me. Proceeding, there has to be a progressive, psychedelic aura in Desert Trip. It is like listening to instrumental magic on ayahuasca, while melodic vocals will inspire and haunt you. I thoroughly enjoyed the kind of aural progressions they have chosen for the tracks, making a unique transition from one aspect to another. Tempo builds are your next treat with Bazar Blues. The Italian band brings a lot of flavour and vigor with this song. It is embodying the place and activity with ridiculous accuracy in the song. If you were wondering where the bluesy aspect of a prog band was, there you go. Some interactive melodies Jazzy Smoky Snake has some soft lounge jazz that is reflected with Via Modesta Valenti adding their own unique take on it. Call it fusion, call it their own sub-genre, I am sure they are proud of it either way. We continue that soothing, melodic reverie with Pristine Soul. In this entire escapade through music, I have imagined the whole collection spanning through the show BoJack Horseman. The spinning concepts of time travel and desert rock fit perfectly in mind trips of the honestly animated character. The animated nature continues with a rock track called Barbara. It is a lovely study of music and the journeys it has taken that the band has done. Via Modesta Valenti have dipped their toes and crushed performances in every genre. You wouldn’t even expect going down the road that Silk and Mohair entertains you through. Every step of the way, the band creates niches that interest them, while building a presence through composed audio. It is an exciting way to move as a band, while diving into something that is quite rare to see in the age of dominating machinery. For their debut album, they have conquered the minds of listeners to be absorbed. Even though many singles were released, there is an underlying cohesion in their music now that is addictive. Make sure you listen to Via Modesta Valenti on their Spotify and follow them on their socials. The band from Rome will take you home, if you dare. Check out their music above!
FM-Jax-Shadow Wolf
The sound that FM-Jax brings is a shade of retro in the light of the contemporary. Never before would you have heard an artist pitching a balance of both so well. With his idiosyncratic composition styles, it is rare to find such a blend-while also creating cinematic motifs that lead the story on. This is his latest single called Shadow Wolf, and the number of references I have for this might break the bank. I can already picture this in so many episodes of Miami Vice. If not, just the pulsating opening will make Kenny Loggins jealous. The tones for the guitar are the quintessential octave compositions that inspired the bootleg return. As much as he is returning to the radio sound, FM-Jax is making his own radio frequency to fall in love with. As a soundtrack designer, he has a bright future in assisting visuals of bright blue and rock and roll parties. The rock shift is unexpected, and well-balanced to the degree that it is classifiable as prog-rock. A metal touch exists in how he composes the percussions. Luckily, Cobra Kai is in the need for some music that gives a retro flavour to its palette. Well here you have it Netflix, FM-Jax is your guy! The synth solos made my mind melt, while elevating the song to a whole new degree. I could see FM-Jax being the 6th member of Dream Theater as well. The 2019 movie Dark Waters could have a great push with a song like this, composed with such care and efficiency. Listen to the single above and make sure you follow this incredible musician for more!
I Forget Myself-Some Err then Winter
I Forget Myself is rock theme for your upcoming decade. No one else can deliver smoked, charred acid/sludge rock like this project. The last I heard an album this good, it was Uncle Acid and the Deadbeats. This album is a great reminder of focused delivery and instrumental perfectionism. Titled Some Err then Winter, this is to bring a smile to your face, a big one. I’m gaga for riffs. My favourite songs are riff rock, ranging from Mountain to Zeppelin and RATM. I Forget Myself opens the album with the strong Everything As It Should Be. The mellow, melodic vocals resonate in the back of your head, while dissonant notes highlight the lyrics as well. You can get a hint of Puscifier in during the bridge and verse as well. Drums are a highlight, and the textural mappings are beyond belief. I must commend the genius engineering and mixing for this album, and all this is just one song in. Osmanthus has a scenic dystopia in the distance. If this is your journey towards it, the magnetic bass if your accomplice along the way. Grooves lean into the background for the chant like verse parts. I was addicted particularly to the cinematic harmonics the lead guitar gives ever so charismatically. The chasms of sludge melodies Look, I know nothing about this band. There is no bio available on Spotify, they give no hints as to the musicians they love. The music literally speaks for them. Not only this, I’m extremely glad the band runs their own label to put out this music. If X marks the spot, you better own the land around. Eureka accelerates us into the next gear. Percussions galore into a gallop, while you wait for realisation to dawn. Metal undercurrents are brought in with blistering double bass as well. Longer rhythm parts spread out to really appreciate the melodies. I’ll be honest, Eureka has more than a realisation, more of a surprise moment. Challenge you to spot it. Rock-as you want it I Forget Myself go alt-rock with their song Season Without Song. Wet Sand (2021) has some great sequences which would fit parts of this album. Not only is the band unpredictable, but how they deliver their ideas is unique. Sure, you’re a music connoisseur and have heard thousands of hours of rock and metal. Doesn’t this incite hope in the most enigmatic fashion? Sweetness uses the tone palette to become your brain tattoo almost instantly. Bass is beyond belief, if you’re actually listening to the layers that are coming together. This album has made me do a deep dive into their collection and admire their storytelling style. Each album follows a theme, in different nodes of conscience. The guitar parts in Sweetness are really worth picking apart, but I control myself from fanboying so hard. The songs would also fit well in The Stepfather (2009). In my humble opinion, I Forget Myself needs to soundtrack a fresh new movie with their ideas. You can check out their Spotify page for more and follow their socials for more release news. Until the next album, check out their latest above!
Whereafter - Blind Heart
The latest release by Whereafter, Blind Heart, plunges listeners into a sonic journey that masterfully combines the intricate structures of progressive rock with the raw edge of modern nu-metal. The song kicks off with walls of distorted guitars, instantly setting a mood of intensity and urgency. Paired with in-your-face drumming that commands attention, the rhythm section creates a driving energy that is impossible to ignore. The vivid dynamic range of the track stands out as one of its key strengths. Moments of subtlety and introspection flow seamlessly into towering crescendos, showcasing the band's ability to keep the listener engaged throughout. The soaring vocals, evocative and emotive, take center stage, delivering powerful melodies and lyrics that feel deeply personal yet universally relatable. This dynamic vocal performance evokes comparisons to bands like Breaking Benjamin and Karnivool, especially in the way the songwriting navigates the soundscape. The mix of Blind Heart is a testament to the band's attention to detail. The carefully crafted stereo field allows every element to shine without overpowering the others, creating a balanced and immersive listening experience. The song’s anthemic quality and evocative mood would fit perfectly in the indie action film Kate or the darkly intense TV series Reacher. Blind Heart by Whereafter is a triumph, solidifying their place in the indie music scene as a band capable of delivering emotionally charged and sonically thrilling compositions.
Marc Soucy - Mayhem in Antartica
A twisting and turning journey through a vast, cinematic soundscape, "Marc Soucy - Mayhem in Antartica" isn’t in a hurry to reveal its full story. Instead, over 8 minutes, it patiently constructs a sonic world, layering retro synths, textured cymbal strikes, and a pulsating bassline into a controlled yet electrifying crescendo. The track opens with an organic fuzz, evoking the grandeur of an emperor’s arrival. The melody unfurls with a regal flair before seamlessly transitioning into a guitar-esque synth passage, reminiscent of a Spaghetti Western—but with an icy, otherworldly twist. Soucy’s knack for genre-blending is on full display, fusing elements of cyberpunk, progressive rock, and vintage synthwave into a mesmerizing composition. Dimensional percussion, cerebral synths, and muted bells drive the track into high gear, conjuring a Knight Rider-esque energy laced with psychedelic flourishes. There’s an underlying tension throughout, an unrelenting force propelling the piece forward. It’s almost as if we’re in a high-speed chase across an unforgiving, frozen wasteland, each note heightening the urgency. Whether intentional or not, the piece mirrors modern anxieties—climate change, global instability, the relentless march of time. Though originally recorded in 1983 in a stone cellar using just three room mics, meticulous audio restoration in 2023 and 2025 has preserved its essence while injecting a contemporary edge. Inspired by Emerson, Lake & Palmer, "Marc Soucy - Mayhem in Antartica" serves as both a tribute to Keith Emerson and a testament to Soucy’s progressive trio, Antarctica, featuring drummer Ray Lavigne and bassist Jeff Carano. With its hypnotic synth lines, pulsating bass, and frenetic yet controlled percussion, "Marc Soucy - Mayhem in Antartica" feels like the perfect soundtrack for a cosmic odyssey—perhaps even a lost scene from 2001: A Space Odyssey. It’s a mind-bending, high-tempo ride into the unknown.
Will Sims - There'll Be Another Time
Introspective and brooding, "Will Sims - There'll Be Another Time" pulls listeners into a vortex of raw emotion and cinematic storytelling. Will Sims crafts a poignant tale of love lost, resilience, and the bittersweet hope of meeting again in another time. The track opens with a melancholic piano melody, setting a somber yet entrancing tone. Sims’ voice, rich and soaring, carries an emotional weight that grips you instantly. The lyrics paint a picture of longing and acceptance: "The sky is falling in on the world,I thought a lifetime seemed so slow, yet it's gone in the blink of an eye." As the song progresses, the emotional intensity deepens. The chorus erupts with electrifying guitar riffs and thunderous drums, reminiscent of Linkin Park’s raw energy. The contrast between the somber verses and the explosive chorus makes for a gripping listening experience: "The tears in your eyes, they remind me of what it’s like to feel alive,I know that you don’t need me, you’ll be in someone else’s life,But even in the end, I know there’ll be another time." Abbey Danna’s contribution is especially powerful in the bridge, her haunting vocals reminiscent of Amy Lee, elevating the song to new emotional heights: "I don’t want to live without you,I want to feel this pain for one more breath with you." The harmonies between Sims and Danna create a breathtaking climax, their chemistry making for a truly unforgettable moment. Will Sims, a Baltimore-based alternative rock and pop artist, has a knack for weaving deeply personal themes into universally relatable music. "Will Sims - There'll Be Another Time" carries a timeless yet modern sound, perfect for fans of cinematic rock. It wouldn’t be out of place in an emotional movie like A Lot Like Love—a cathartic anthem for anyone who has ever loved and lost.
Dozenz - Be Someone
Dozenz has crafted something truly electric with Be Someone—an album that doesn't just aim for greatness but ignites with the kind of powerul sound that hits deep. Fueled by emotion, ambition, and a bold sonic identity, this release is the duo’s most definitive statement yet. Hailing from the UAE, Saleh Hamed (Sol Farah) and Ahmed Jamali deliver a genre-blurring record that fuses alternative rock, electronic drama, and cinematic flair into an unforgettable listening experience. The title track, Be Someone, erupts like an F1 car off the grid—no hesitation, just full-throttle energy. “They said you wanna be someone / they said I gotta be someone…” opens the lyrical charge, a battle cry of self-assertion and grit. The vocals soar, the drums blaze, and the guitars slice through the mix with searing clarity. It’s a headrush—like flooring the accelerator with your heart in your throat. When the chorus hits, you’re singing along before you even realize it. The sheer vocal command here—crisp, impassioned, larger-than-life—recalls the grandeur of U2, while the driving force underneath pulses with the urgency of early Muse. This is no one-hit wonder. The entire album is built for scale—synths swell, basslines pulse, and every drop of reverb feels intentional. The production is lush yet sharp, blending ambient layers with razor-edged hooks. The attention to detail is stunning. 'Daylight' is a prime example of this, a simple, familiar melody that evokes euphoria and movement. Still, what makes the album resonate isn’t just its explosiveness. Dozenz understand the ebb and flow of emotion. For every skyscraping chorus, there’s a moment of raw introspection. Tracks like "Chasing Tigers" are just that. A breezy reprieve from high tempo with introspective lyrics and a catchy, laidback tempo. Tracks pull back just enough to let you breathe—before launching you into another sonic high. "Falls Apart(Pick Yourself Up)" is an intricate balance. Being the halfway point of this album, it gives us a deeper look at Dozenz's range and versitility. This balance of intimate storytelling and colossal soundscapes is what elevates Be Someone from a good alt-rock album to a truly compelling body of work. Thematically, Be Someone is a powerful reflection on identity, resilience, and transformation. It’s about pushing boundaries—internally and externally—and emerging from chaos with clarity. There’s a rebellious spirit throughout, but it’s laced with hope. Every song feels like a personal evolution put to sound. Every track fits into a larger arc, building momentum and emotional weight as the record unfolds. It’s the kind of album that leaves you with your fists in the air and your heart wide open. This entire album is the perfect score for 'Formula 1: Drive to Survive'. It is tailor-made for the show's high-octane montages—its adrenaline-fueled pacing and anthemic highs, capturing both the thrill of the race and the internal battles fought behind the scenes. Dozenz haven’t just made a record—they’ve made a mission statement. And with Be Someone, they’ve arrived.