We Speak Music
Nathan Bryce and Loaded Dice Get Real With “Drunk Dial Baby”
Nathan Bryce and Loaded Dice have released “Drunk Dial Baby”. It’s funny, it hurts, and most importantly, it sounds like three guys who’ve actually lived this exact situation one too many times.
The song opens with a loose, funky pocket that feels nothing like the heavier blues rock stuff Bryce and Loaded Dice usually throw down. Jerry Paswaters’ bass line is the real MVP here, locking everything down while Dylan Halacy’s drums stay just loose enough to feel like they’re having fun with it. It’s got swing. It’s got soul. And Bryce’s guitar cuts through like he’s been waiting to let this one out.
The lyrics are where this songs gets its teeth. “She only calls me after a couple shots of whiskey” is the kind of line that lands because you’ve either said it or heard it a hundred times. The whole thing walks this perfect line between laughing at yourself and acknowledging that yeah, this situation sucks. The bridge line “She just wants a little rock and roll to fill the holes in her soul” hits different, followed by that perfectly honest closer: “I’ll pick up that phone. Every. Damn. Time.” That’s the whole relationship right there in one sentence.
After three years backing up Taj Farrant and grinding it out on the road, it’s clear these guys have earned their chops. This track is them stepping out and proving they’ve got their own voice, their own story to tell. And on “Drunk Dial Baby,” they tell it really well.
You can listen here.
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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