Opening with the title track, “Some Kind of Heaven” establishes the album’s emotional foundation. Its spacious, laid-back atmosphere immediately invites reflection before shimmering guitars suddenly illuminate the arrangement, briefly lifting the song into brighter territory before returning to its intimate mood. The addition of the female vocal, gently echoing lines like “life is in front of us,” creates an almost ethereal dialogue that beautifully complements lyrics acknowledging pain, loss, and the search for something beyond them. It is an understated yet deeply effective introduction.

“I’m Famous” quickly shifts the momentum with a burst of classic rock swagger. Built around an infectious Americana-tinged groove, the track comes alive after its explosive chorus, where a soaring guitar solo injects a powerful sense of celebration and liberation. However, beneath the triumphant repetition of “I’m famous, baby!” lies a far more vulnerable narrative. Lines such as “I’m crying all the time” and “I’m dying every day” expose the emotional cost hidden beneath the desire for recognition, giving the song a compelling duality.

The pure joy of rock music takes center stage on “Can’t Stop Rock n Roll.” The playful contrast between gritty guitars and bright piano lines immediately grabs attention, while the brief piano-and-guitar dual solo provides one of the song’s most memorable moments. Its infectious chorus becomes more than a hook; it serves as a declaration of passion for rock ‘n’ roll, delivered with irresistible energy.

“Darling Blue” deepens the album’s emotional weight. Driven initially by commanding drums before gradually unfolding into dreamy textures, the arrangement mirrors the uncertainty and vulnerability expressed throughout the lyrics. Particularly striking is the section featuring “more than I ever could know… where I can rest my head,” where the piano’s subtle responses to the vocal melody add remarkable emotional depth.

With “Screw Em Up,” Sal NUNZ leans confidently into Americana influences. Beginning with country-inspired guitar work, the track steadily intensifies while maintaining its gritty atmosphere; a blistering guitar solo showcases impressive technical skill, while the repeated “screw them all” refrain transforms frustration into an undeniably cathartic release.

One of the album’s strongest atmospheric moments arrives with “Front Street.” Its mysterious guitar introduction, Beatles-inspired keyboard textures, sustained pads, playful bass lines, and delicate female harmonies combine to create an immersive sonic landscape. Sal NUNZ’s relaxed yet subtly seductive vocal delivery perfectly complements the song’s storytelling, while the gradual layering of instruments builds tension without sacrificing its spacious feel.

“I’m OK” opens with an enchanting trumpet solo that immediately sets a reflective tone before giving way to another emotionally vulnerable performance. The repeated “I’ll be okay someday baby” never feels entirely convincing, making the refrain resonate even more deeply as it captures the slow and often uncertain process of healing.

The driving energy of “Everybody’s Dead” creates one of the album’s most effective contrasts. While the guitars relentlessly push the song forward, the repeated use of the word “dead” almost functions as rhythmic punctuation, producing a compelling tension that keeps the track engaging throughout.

“Thinking Bout You” begins with an inventive rhythmic vocal introduction that gradually expands into a fuller arrangement. The hypnotic repetition beautifully mirrors obsessive thoughts following heartbreak, allowing both the vocal phrasing and instrumental development to reinforce the song’s emotional intensity.

“Superstitious” injects a welcome dose of funk into the album’s sonic palette. Its infectious groove, playful rhythmic feel, and energetic vocal performance offer an enjoyable stylistic shift while remaining perfectly at home within the album’s broader musical identity.

Momentum continues through “Last Big Fall,” one of the record’s most energetic moments. Propelled by a driving beat and relentless tempo, the track transforms emotional exhaustion into something unexpectedly exhilarating, balancing lyrical vulnerability with the band’s dynamic performance.

Closing with “Orange Man,” the album delivers one final burst of unapologetic rock energy. Beginning with a stripped-back drum introduction before unfolding into a sharp, confrontational performance, the song provides a subtle but powerful conclusion to the album.

Through its constantly evolving arrangements, expressive performances, and emotionally honest songwriting, Some Kind of Heaven demonstrates Sal NUNZ‘s ability to balance classic rock influences with a refreshing sense of variety. From reflective to atmospheric soundscapes to guitar-driven anthems and funk-infused grooves, every track contributes its own character while serving the album’s broader narrative. Introducing a cohesive and engaging record that proves Some Kind of Heaven is as compelling in its quieter moments as it is when it fully embraces the power of rock ‘n’ roll!

The song is part of the band’s upcoming five-track release “37 Miracles,” following their EP “Rock & Roll Preaching” and the success of “I’ll Be There,” which reached #27 on the SMR Chart alongside acts like Foo Fighters, Evanescence, and Shinedown. “Sky Is Falling” is currently sitting at #36 on the same chart. Structurally, the song does what a warning anthem needs to do – it builds urgency through repetition, with the chorus’s “we ran for shelter, but there’s nowhere to hide” landing as the song’s emotional center, and the dynamic between the verses’ frustrated pleading and the chorus’s full-throated chaos gives the track its forward momentum. It’s a song built for a big room and a singalong, and the band’s heavy-metal-edged but radio-ready approach serves that purpose well.

With “Sky Is Falling,” The Word66 continue doing exactly what they’ve built their name on: rock with a clear point of view and a hook built to stick. We caught up with the band to talk about the new single, the lineup changes, and what’s ahead with “37 Miracles.”

• Welcome guys, your band has had quite the journey since 1990 but for readers who are just discovering Ramses now, how do you describe what this band is and what it’s always been about?

The group’s founder, Stefaan Lambrecht, has always been passionate about ancient Egypt and named the group Ramses (in reference to the great King Ramses II) with the aim of combining a concept with melodic heavy rock.

• Why the name Ramses? It’s a bold choice for a band from Belgium with no direct cultural connection to Egypt. Where did that come from?

The name Ramses was chosen in reference to the great King Ramses II, and although we have only our passion for Ancient Egypt, it serves as a source of inspiration for lyrics and Eastern melodies.

• Following on from that – Egyptian mythology is a very specific lane. What drew you to it as a thematic foundation? There are plenty of Belgian bands who have never once thought about the pharaohs.

Founder and guitarist Stefaan became interested in Ancient Egypt after watching a documentary on TV. He made his first trip to Egypt in May 1994 and was captivated; his passion for Ancient Egypt grew. He read books on mythology and immersed himself in Egyptology. He also met an Egyptian, Mohamed Holail, who lives in Belgium and works as a guide and Egyptologist, and has travelled to Egypt with him more than 20 times. He loves not only Ancient Egypt but also modern-day Egypt and its people. With Mohamed Holail, he travelled from Abu Simbel to Alexandria, visiting sites and monuments that ordinary tourists never see, and explored the four main deserts: the Eastern Desert, the Sinai Desert, the Western Desert and the Great Sand Sea. Egyptian nature is also a source of inspiration, such as Wadi El Hitan, Wadi El Ryan and Wadi El Natron. He stayed with local people in Diyu Al Wusta (Delta), visited mosques and the monasteries in Wadi Natroen.

• The band split in 1997 and only came back in 2019. What was the moment or conversation that made the reunion feel real rather than just a possibility?

The seed for a reunion was planted when “Lost Realm Records” released the first album + the 4 tracks from the mini-cd on the “The Secrets Of Faith In Rebirth” reissue-cd in 2016 and a new interest for Ramses was born. Still it lasted until 2019 before Ramses 2.0 was born, original guitar player Stefaan Lambrecht and the singer from the “Faith In Rebirth” CD Kurt Verschelden reunited and soon a new line-up was formed.

Guitarplayer Frank Deroubaix (ex-Axel / ex-Runaway), bass player Michel Hautier (ex-Hands Of Mercy) and drummer Kris Poelman joined the band. Later on Kris was replaced by Quinten Van Den Abbeele on drums and Kurt Verschelden left the band in April 2024. The new high priest as frontman returned with Marc De Veirman.

• The new lineup has seen a few changes since the reunion, with Marc De Veirman stepping in as frontman in 2024. How has the band’s sound or dynamic shifted with him at the helm?

Marc is our new high priest, and his return has given the group an extra boost with his powerful voice. He also believes in the Egypt concept and has become more interested in mythology and songwriting.

The new album features a track, ‘Our King is a Warrior’, which is about the Battle of Kadesh (1274 BC), a major battle between Egypt under Ramses II and the Hittites under Muwatalli II, which ended without a clear winner but led to the first known peace treaty.

• The new album was recorded at Rockstar Recording Studios and features a choir, which is not something you hear about every day. How did such elements end up on a heavy metal record?

Ramses is a concept band that incorporates Eastern melodies and features a choir and an instrument such as the xaphoon. The album contains 12 tracks, and every effort has been made to make it sound as colourful as possible, even featuring a choir and a xaphoon.We wanted to make it sound as colorful as possible.

• “Desert Storm” is the first single. What made that the right song to lead with, and how representative is it of the full album?

The track ‘Desert Storm’ was deliberately chosen as a single because it is the title track of the album and is intended to stand out amongst the many albums being released these days. What’s more, it’s a catchy track around which we were also able to create an engaging music video. The video was viewed more than 5,300 times in just a few weeks

• The album is set for 2026. Are there plans for live shows to support it, or is the focus right now on getting the record out?

The album has now been released on CD and will also be available on vinyl by the end of this month. We are, of course, promoting the album ‘Desert Storm’ with live performances in Belgium and neighbouring countries, but our dream is, naturally, to play a live show in Cairo, preferably in front of the pyramids. We are, by the way, very honoured that an Egyptian rock magazine such as yours is giving our band and the album ‘Desert Storm’ the attention they deserve.

Thank you for taking the time to speak with us. It’s a good moment for Ramses, and “Desert Storm” is a solid first look at what’s coming. Keep an eye on their socials and check out the music video on YouTube. The full album lands in 2026.

Asking the provocative question — “Are humans capable of living in peace without identifying an enemy to hate?” — the track suggests that one day we may need to turn on the aliens to stop tearing each other apart. With biting lyrics that explore expansion, domination, and the perpetuation of earthly inequalities into space, “KosmoX” cynically examines how technological progress far outpaces moral maturity. The idea of “starting afresh” on another planet is exposed as an illusion that allows us to avoid the necessary soul-searching required here on Earth.

The official music video, directed and edited by Yves Huppen, was filmed entirely in a workshop on the outskirts of Charleroi, Belgium. It features Phil playing all 30 roles of Earthlings with costumes, wigs, and make-up, symbolising humanity in all its pride, emptiness, and arrogance. Blending green screen with 3D technology, the video presents a deliberately light-hearted depiction of brutal colonization — a scientist casually explaining the conquest of another planet while the “hero” subjugates aliens by force.

BAÏKI, whose name comes from the Polish word “bajki” meaning “tales” or “stories,” continues their tradition of committed, frontal rock with socially conscious lyrics, often delivered in multiple languages. Over six years and multiple albums, the project has blended influences from rock, punk, and beyond to create music that pairs strong melodies with unfiltered truth-telling.

“KosmoX” is available now on all major streaming platforms.

About BAÏKI

BAÏKI is a Belgian rock band known for their socially engaged lyrics and genre-blending sound. With a commitment to addressing real-world issues through music, the band crafts songs that are both entertaining and thought-provoking. “KosmoX” continues their exploration of human nature, conflict, and the stories we tell ourselves.

Marking the first new standalone release since their acclaimed 2025 album The Will to Endure, “With (No) Clarity” continues the band’s exploration of resilience, emotional conflict, and the search for meaning in uncertain times. Built around atmospheric guitars, driving bass lines, and emotionally charged vocals, the track captures the tension between confusion and conviction balancing vulnerability and intensity in a world where clarity remains elusive, yet hope endures.

Recorded at Sing Sing Recording Studios in Melbourne and mixed by James Taplin, the single reflects the darker, more layered, and emotionally direct creative era Highroad No. 28 has embraced since their return.

Originally formed in 1998, Highroad No. 28 built a strong reputation across releases including Obscure Madness (1999), Dynamic Introspection (2002), Unsteady and Steady State (2005), and Stumbling to Divinity (2008). After an extended hiatus, the project re-emerged in 2025 with renewed focus, delivering a more atmospheric and introspective sound while staying true to their core themes of endurance and emotional honesty.

The band is currently preparing for their first live performances in more than a decade, with a new live lineup expected to be unveiled later in 2026.

“With (No) Clarity” is available now on all major streaming platforms.

About Highroad No. 28

Highroad No. 28 is an Australian alternative rock project known for blending heavy riffs, introspective songwriting, and emotional depth. Formed in 1998, the band has returned after a long hiatus with a renewed creative vision, delivering music that resonates with resilience and raw honesty.

Produced by Alex Mountford (formerly of Dead!), “Tell Me You Care” builds on the momentum of their debut single “Let Me Out” (released February 27th, 2026). The band’s sound — heavy yet melodic, familiar but distinctly their own — draws comparisons to Deftones, Sunny Day Real Estate, and Wünderhorse, while carving out a fresh identity rooted in emotional honesty and high-energy dynamics.

Formed in London by Lewis Maddison, George Power, and George Butcher, Sutlej have quickly earned a reputation for intense, captivating live performances. Having already completed two DIY UK tours even before their first official release, the band continues to build a dedicated following through raw, high-octane shows.

“It’s All Indie” founder Fred Bambridge praised the band early on, stating: “You can be at the very start of a band’s journey to being one of the UK’s best new rock trios.”

With more releases and live dates planned throughout 2026, Sutlej are proving themselves as a vital new voice in the UK alternative rock scene.

“Tell Me You Care” is available now on all major streaming platforms.

About Sutlej

Sutlej are a three-piece alternative rock band from London, consisting of Lewis Maddison, George Power, and George Butcher. Their sound fuses the raw power of 90s grunge and emo with elements of modern post-punk, creating music that feels both nostalgic and forward-thinking. Known for their high-energy live performances, Sutlej are rapidly establishing themselves as one of the most exciting emerging bands in the UK rock scene.

The song establishes a lively atmosphere through driving guitars, steady rhythms, and a Britpop-inspired charm. Drawing influence from bands such as The Strokes, Green Day, and Radiohead, Law crafts a sound that feels both familiar and fresh, pairing infectious melodies with a deeper lyrical focus.

“Made Up Construct” explores our tendency to search for meaning in everything around us. Through catchy, memorable lyricism, the track questions how often we interpret events through a personal lens, creating stories and connections that help us navigate the world. Rather than becoming overly philosophical, the song delivers these ideas with a light touch, allowing listeners to engage with them naturally.

The introspective themes never overshadow the music itself. Instead, they are carried by a memorable chorus and an energetic performance that keeps the song engaging throughout. We get a track that skilfully encourages reflection while remaining effortlessly enjoyable.

Recorded at Riverside Music College, the single also marks the first time Law recorded alongside his full band, and that collaborative spirit is evident in the final product. The performance feels cohesive, vibrant, and genuine.

With “Made Up Construct,” Matt Law delivers a release that combines thoughtful songwriting with infectious indie rock sensibilities. It is a release that resonates not only because of its hooks, but because of the questions and state it quietly leaves behind..

The song plays it safe with its riff and groove and attempts and succeeds at capturing that 80s sound, but doesn’t have a signature twist on it or new characteristics, really. It’s a faithful, well-executed recreation of a familiar hard rock formula – the kind of track that knows exactly what era and tone it’s going for and hits the mark cleanly, without pushing the riff, the groove, or the production into anywhere genuinely unexpected. That’s not necessarily a problem for a song built around mood and narrative rather than innovation; the cop ‘s-perspective storytelling and the cinematic pacing are doing the heavy lifting here, while the instrumentation stays comfortably within the lines of the genre it’s paying tribute to.

The music video is fully AI-generated, as far as I can tell, and it is well-made, with no obvious visual glitches or issues. It just lays out the backdrops for the song and delivers exactly what the title promises – a fast, loud, late-night ride through South Florida’s stranger corners. “South Florida Police” delivers competently and confidently. It’s less interested in reinventing the genre than in proving it still works when executed with this much conviction.

An epic yet melancholic indie rock ballad.

From the start, frontman Nick Swettenham originally began writing “Letters” as a reflection of modern consumption. As the song evolved, he found himself drawing on more personal experiences, with memories of his grandmother’s battle with dementia and mental health influencing a subtle lyrical change in the second chorus.

Although several future releases had already been planned, “Letters” resonated so strongly during the writing process that it was fast-tracked for a summer 2026 release. The result is a powerful and emotionally charged song that balances soaring melodies with deeply personal storytelling.

The single features Nick Swettenham on vocals and guitars, his brother Jamie Swettenham on drums, and longtime school friend Nick Granville on bass.

Accompanying the release are two exclusive B-sides: an acoustic teaser version of the band’s forthcoming single, “Take Me Back,” alongside a stripped-back vocal and piano rendition of “Letters.” The latter features 15-year-old pianist Joseph Syed, recently awarded Musician of the Year at Kingston Academy, whose piano performance brings a fresh emotional dimension to the track.

Music runs deep within the Swettenham family. Nick’s father, Geoff, and uncle Peter were part of the vibrant late-1960s British rock scene as founding members of Grapefruit, the psychedelic band signed by The Beatles in 1968 and famously named by John Lennon. That musical heritage continues today through Model Citisin, drawing inspiration from a rich family history rooted in songwriting and rock music.

“Letters” will be available on all major streaming platforms on July 17, 2026.

Spotify pre-release: July 10, 2026.

Bringing fun-in-the-sun beach energy and golden-hour warmth, “LaiLuv” tells the story of summer love, warm nights, and late drives — that fleeting, joyful moment we all wish could last forever. With serene lyrics and a breezy tropical melody, the track is a masterclass in pure pop craftsmanship — light, uplifting, and impossible to get out of your head.

Written by GRAMMY® Award-winning producer Michael Lloyd and Emmy Award winner Greg O’Connor, “LaiLuv” perfectly showcases Owen’s smooth vocals and charismatic charm.

At just nineteen, Owen Rivera is already a multi-talented force a singer-songwriter, drummer, multi-instrumentalist, and actor whose star continues to rise rapidly. His 2025 Christmas single “Rudolph The Red-Nosed Reindeer” reached #5 on the MediaBase Christmas Chart. Proud of his Puerto Rican roots, Owen is currently recording bilingual original music while balancing his growing music and acting career.

“LaiLuv” is available now on all major streaming platforms.

About Owen Rivera

Owen Rivera is a multi-talented young artist, musician, and actor signed to Curb Records. Discovered early by NAMM, he has performed with legends like Mavis Staples, Jason Mraz, and Graham Nash, and has built a strong presence as a voice actor (The Loud House, Super Wings) and rising pop talent. With his Puerto Rican heritage and cross-genre appeal, Owen brings fresh energy and authenticity to every release.