We Speak Music
Michele Ducci releases new psychedelic pop gem ‘Follow The Sun’.
‘Follow the Sun’ is the first instalment from the album and animated film ‘Snail in the Clouds’ by Michele Ducci and Letizia Mandolesi.
The album and film tell the story of a planet called Snail, inhabited by hybrids – primarily a mixture between scorpions, snails and humans – who lead a life according to the style of Pythagoras, devoted to music. There is also a cloud man named Agostos, a writer of musical operettas, who together with a talking smoke machine called Doctor Subtilis, begins to kill all hybrids, targeting in particular the hybrid musician Diodoros and his band, in an effort to steal the ark of melodies, an ancient ship that allows the whole planet to survive with music and joy.
‘Follow the Sun’ is a psychedelic-tinged pop song that evokes a ramble in the sunshine. Joining Michele and Letizia in the studio are Simon Milner (Is Tropical, Ysing), who performs and also recorded and produced the song at his 4am Studios, along with Shane Kennedy (Girl in the Year Above), Lou Jenkins and Bill Morris (Yowl, Ysing). GregoryBeBad also contributed to the lyrics.
The accompanying video focusses on the childhood of Diodoros and his band, with whom Diodoros is rehearsing for the festival called Holy Wood, where they will offer their melodies to immense space. Diodorus was born to a goddess who resembles the Greek mythological character Thetis, the mother of Achilles. In the video we see Diodoros trying to go beyond the curve in which experience flexes to become the experience of something and someone, in search of the source of life, the place where the sun has a home.
About the track, Michele says, “I had been working for a while on Follow the Sun, which I had performed live for the first time at the Nursery for Freedom festival in London in aid of Palestinian families in the West Bank. I was joined onstage by GregoryBeBad who gave me a fabulous hand with a couple of verses of the song. Does the sun have a home? The theme of the song reminded me of Giordano Bruno’s idea of the sun, everywhere and every time at the same time.
We recorded the track the following day at Simon’s 4am studio. We started with Simon recording keyboard bontempi and drums and from then on it was a continuous and fantastic flow. Shane arrived for the bass, Lou to help with the lyrics, and Bill on the guitar. It was magic! It’s as if the song had been the presence itself, and everyone put in their own contribution with the motto “you do you”. It’s my ideal of life I think. In the morning at 6 Simon gave me the mix via WhatsApp and I listened to it again when I returned from perhaps one of the best sleeps of my life.”
We Speak Music
Unethical Dogma Pull Back The Dark Curtain For A Carefully Engineered Descent into Technical Melancholy
Unethical Dogma return on Behind The Dark Curtain feels less like a standalone EP and more like the final act of a deliberately constructed psychological arc. Across its runtime, the band commits fully to its horror-driven narrative framework, closing the conceptual thread that began with DUSK. The result is a release that feels cohesive, intentional, and structurally disciplined rather than loosely assembled.
Instrumentally, the EP leans heavily into polyrhythmic complexity and tightly wound djent grooves, but what stands out most is how often the band resists pure technical display in favor of atmosphere. Piano passages and choral textures are not ornamental—they function as emotional anchors, giving the heavier sections a sense of collapse rather than just aggression. The contrast between brutality and fragility is handled with noticeable care.
The vocal performance is equally dual-layered. Screamed vocals carry the narrative’s psychological deterioration with intensity, while clean vocals are used sparingly to emphasize moments of reflection or detachment. This dynamic avoids predictability by making restraint as important as force, especially in transitions where the story shifts perspective.
Lyrically and conceptually, the EP benefits from its unusual writing process, which begins with short stories before being translated into music. That foundation is audible in how scenes unfold rather than verses simply progressing. The storytelling feels cinematic, as if each track is a chapter viewed through unstable memory.
Overall, Behind The Dark Curtain succeeds most when it trusts its atmosphere over its technical ambition. It is a dense, carefully designed work that prioritizes immersion, and while it demands patience, it rewards listeners who engage with its narrative structure rather than just its surface complexity.
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