We Speak Music
Paul Le Rocq Nails It With “Rock to the Top”
“Rock to the Top” is a song that gets stuck in your head whether you want it to or not. Those opening guitar riffs hit and you just know this is going somewhere good.
What Paul Le Rocq does right from the start is obvious: he writes hooks that work. The melody feels instantly familiar in that way where you swear you’ve heard it before, even though you haven’t. By the time the chorus lands, you’re already singing along. That doesn’t happen by accident. That’s someone who knows exactly what he’s doing.
The song opens in a really honest place. It’s just a guy alone, writing music with nobody listening, asking himself if any of this matters. It’s vulnerable in a way you don’t always hear in rock songs. But then the chorus flips that doubt into pure momentum. “It is gonna be hell over heels all over and all over again” is the kind of line that makes you want to hear it live, loud, in a room full of people feeling the same thing.
Le Rocq handles everything on this track: guitar, keyboards, vocals, the whole thing. You can hear influences from the bands that defined the 80s and 90s in his sound—Bon Jovi, Motley Crue, Scorpions, that whole era—but he’s not trying to copy them. He grew up on those records, let them sink in, and then wrote something that’s completely his own. “Rock to the Top” doesn’t sound like throwback nostalgia. It sounds like right now.
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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