Establishing the mood with rhythmic rising percussion, a meditative synth and layered guitars with a psychedelic 90s essence, RSM open Life is… with a track called The time is running out. The opus expands with an alternative rock dimensionality and cinematic allure as we are introduced to RSM‘s universe.

The meditative synth pulls out to unveil a bolder, precision-based energy with surf rock elements and a sound that one might experience in a 90s TV show like 90210 or Melrose Place. We appreciate the instrumental mastery and the cinematic nature of what manifests. The track becomes more dramatic and subversive, tapping into nu-metal motifs with trash metal guitar work before a sublime and immersive finale and climax which sends us astral with a purely cinematic close.

This leads us to Are we in abuse which opens with whispered vocalizations of the title of the track and dynamic rock soundscape. In essence, the song asks if modern life is a type of emotional abuse.

It creates a commentary on how people are rewarded for following rules, being predictable, and fitting into society, instead of being their most authentic selves. It questions a world that values money and control over love, passion and freedom.

The concept of the “fear fence” represents the invisible fears that stop us from changing, and the goal to “cut the power” symbolises breaking free from those constraints. It really feels quite zeitgeist and serves as an anthemic, stadium-ready song about waking up, questioning the system, and choosing a more authentic life.

We could imagine it in a movie like Limitless or Lucy. The guitars are epic, and the more brooding motifs for the middle eight with a high emotional quotient create a serene ebb and flow that really keep us enthralled.

Next up is Path to a scapegoat, which kicks off with a more subversive and dark-Americana edge reminding us of Metallica and Lynyrd Skynyrd. The song is about staying true to oneself even when other people reject or misunderstand us.

RSM share how we can feel judged, treated like an outsider, and called “crazy”. The truth is that the band sees the world differently and refuses to give up on their purpose. The lyrics describe a relatable and difficult personal journey of facing fear, pain, and self-doubt. In the end though, we come out stronger. It invites us to overcome our inner demons, and let go of other people’s expectations to discover our own strength and identity.

Again, the instrumentation is pristine and the journey that the guitars take us on is simply transcendental with epic solos that would set a stadium alight, with a cinematic screamo finale to boot!

Chasing the truth is an electronica and guitar fusion piece with a cosmic start – a seminal mid-way point of the album. The combination of microtonal melodies with a ferocious pulsating core, dynamic piano, and psychedelic Knight Rider-style details give the piece dimensionality and an unmistakeable cinematic presence. The tempo shifts are dope, whilst the more mysterious elements create intrigue and would be a great moment in a live show for the audience to truly experience the expertise of the band.

We learn that the record features composition and arrangement by Rafał Szewczyk, with performances from Rafał Szewczyk (guitars, keys), Marcin Blasiak (bass), Paweł Stępień (drums), guest vocals and lyrics by Kjetil Landsgard, and mixing and mastering by Grzegorz Mukanowski.

This brings us to Serotonin which kicks off in a softer way. Allowing for some respite from the rather stimulating album. The track is about healing from pain and breaking free from the emotional struggles that are passed down through generations. It has ethereal vocals intertwined with the more metallic and industrial core. It celebrates finding strength in suffering, and shows us that real happiness comes from facing life’s battles. It invites us to embrace the journey, and discover the light within ourselves. The track really cements the conscious nature of the wider body of work.

Having Hope is the instrumental piece that features guest saxophone by Hugo Lee. It’s sublime and peaceful, showcasing the range that RSM has to offer. Again, very 90s inspired, but this taps into the overall conceptual prog/fusion-rock notions of the album that explores the journey of existence, self-realizastion, acceptance, and reflection. The emerging guitar solo is mind-bending once more and truly demonstrates the fusion of jazz, progressive rock, and metal, leading through to another peaceful segment before an epic finale.

The final track on the record is aptly called Life and opens with a delicate piano performance before expanding with a moody bassline and textured trip-hop percussion. It’s a very cool energy reminiscent of Portishead and Massive Attack.

As for the song’s message, it explores the emotional exhaustion of someone who repeatedly rejects a safe, ordinary life in pursuit of a higher purpose, deeper love, and spiritual truth, only to find themselves trapped in cycles of suffering and disillusionment.

RSM shares that it feels like we are fighting a battle that never ends. There are even moments that remind us of Linkin Park and the guitar solo is reminiscent of Dire Straits. It’s about hoping that moments of love and connection will make all the pain worth it and help us to create a better world if we turn inward and find that peace and strength come from within. The track has a euphoric feel that exemplifies this well. The trippy middle eight, leading through to a sublime and slurred Radiohead style finale is a genius touch and a solid reflection on the full cyclical nature of life itself.

Needless to say, we are in awe of the entire sonic arc of the record, and have added Path to a scapegoat to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream the wider discography of RSM, and anticipate future releases.

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