For a record with an almost niche concept, we can’t get enough on how “God Of The Dead” sounds and feels. It explores the extensive range of rock, from folk, blues, funk—you name it, the album probably has the type of song you’re looking for. Think of a Flying Dutchman sort of scene, with the aesthetic filled to the brim with skulls and all that fun stuff.
Illinois-based rock band Rosetta West comes back alive this year with their new record “God Of The Dead”. Joseph Demagore spearheads this record once more by handling the vocals, piano, and guitar parts, along with Orpheus Jones on bass, and Mike Weaver and Nathan Q. Scratch on drums. Rosetta West has also collaborated with outside artists such as Caden Cratch and Louis Constant.
“God Of The Dead” starts off energetic with “Boneyard Blues”, as anyone could probably tell straight away from the upbeat flow of the riff and the soaring vocals, highlighting its folk rock element. It’s a great opener due to its immaculate vibe that would get you pumped up and ready for more, and, seeing as it’s a fifteen-track album, you’re definitely in for a treat. The outro instrumental is outright magical with how intricate and well-arranged everything that plays a part in it is.
“Underground” quite literally sounds like underground—with hints of folk and blues rock—music. It’s the type of song that wouldn’t be on your 2025 bingo card by how unique and beautifully unexpected it is. What’s more is that if this type of song was played in an open bar, you might just have the best night of your life. It has enough energy to hype up and get a room full of people to stand up and jam out.
With a tune and progression that you can get addicted to, “Susanna Jones, Pt. 1” is a head-bob worthy track that can easily be recruited to be part of a film’s soundtrack. You could probably envision what this song sounds like: blue skies, ranches, khaki clothing, and horses. Additionally, “Susanna Jones, Pt. 2” mostly has the same instrumentality to it, only there’s a hint of somberness which is not stated or heard outright on the first listen. But the thought of having that emotional aura is outstanding regardless. It has unique elements such as the solo, which shows off the band’s expertise of making instruments sing.
“Inferno” is an intermission that has an atmospheric, ambience-heavy soundscape, featuring a system feedback or sirens that lasts for two and a half minutes. This track tells you a lot about the album, reflecting on Rosetta West’s goal of making the record’s concept cohesive and meaningful.
Despite the riff in “My Life” being reminiscent of Metallica’s Enter Sandman, the band pulls listeners back into their world. You can truly feel the emotion through every tone and pitch of the vocals, making you feel these songs to the core more extensively. Likewise, “I Don’t Care” highlights the vocals pretty well by taking a tamer turn; it features a raw, acoustic element that gets listeners to focus more on the signature vocals of Rosetta West. It keeps up this very old-town, sidewalk pace for the duration of the track.
You would probably think of the vocals as something artificial or tampered with judging by its unwavering power throughout the songs, but no, it’s just the passion and the drive making itself known through every bolt and soar. “God Of The Dead” does not stay in its own lane at all—if it even has one. It runs to every sound profile, almost every genre in the rock spectrum to merge Rosetta West’s signature style with. There’s nothing more worth listening to than this album right now.
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About the Author
Kate Clarice Lee is a psychology major in Ateneo de Naga University with a knack for music and writing. She takes interest in playing guitar, poetry, creative writing, and lyrics that—subjectively—hit close to home. Kate mostly enjoys indie, alternative, pop & punk rock music.
