Rosetta West channels their ingenuity with the eclectic album "God of the Dead."

Not sixty days after their productive visit to Gravity studios, blues rockers Rosetta West have come out with yet another flagship offering for their discography: "God of the Dead," as they have chosen to call the fifteen-track album, is not only an exciting return to their gripping signature sound but also an intriguing push towards breaking the mold.

Regular readers might already be familiar with the Illinois-based musicians— they have been a mainstay in the underground scene for quite some time, having emerged only recently. The competitive grounds of streaming music have proved to be greatly beneficial for Rosetta West, as global listeners have flocked in thousands to experience their artistry: one that comprises of resounding blues-heavy classic rock sound, filled with tenacious vocal deliveries and a penchant for adopting off-kilter aspects (as mysticism and spirituality continues playing a dominant role in demarcating their music further).

They are on a productive streak— there's no denying that— as the group drew the curtains from "Night's Cross" earlier this year, their sophomore album available online. In June, they made the most out of Chicago's famed Gravity Studio by re-recording their fan-favorites. "Gravity sessions" marked a pinnacle moment for its creators, as they harnessed the raw prowess of their previous endeavors through high-profile audio equipment for old and new listeners alike to admire.

It doesn't take them long to get into business— "Boneyard Blues" inaugurates the latest LP with the expected oomph we have become familiar with while dealing with Rosetta West: The dense, buzzing, and timeless guitar tones are sufficiently raucous, with Joseph Demagore's unfiltered vocal dexterity taking charge. The songwriting doesn't flinch away and rather embraces grim topics like death and losing sanity. After four minutes of this blazing opener, the following acts vary radically in style: such as the unmistakable Country twang on "Underground" (not without gnarly guitars and cathartic vocals), and the stripped back "I Don't Care"— which forsakes any compositional polish for crude, unbridled acoustics. Extended sequences of instrumentation, a recurring feature, doesn't lose importance on this project— "Town of Tomorrow" satisfies with some magnificent guitar work that drowns everything out, and much later when "Inferno" unfolds with menacing distortions and washed out vocal shouts (akin to staring directly into the inescapable and torrid depths of hell itself).

Vulnerable moments present in the albums extend the emotional range considerably, offering a breather after the barrage of hefty tracks before. Midway through the album, "Baby Come Home" yearns for rekindling love dearly with apologetic vocals, over the soothing twangs of acoustic guitars. The upcoming songs swap grungy amplifiers for cleaner, folksier efforts— a noteworthy mention here would "Dead Of Night" with its ethnic percussions and mellow piano notes, inducting rich influences of world music. "Midnight" closes the curtain on this expansive venture, psychedelic in its making— the initial moments stretch out with detuned and slowed-down sequence, giving away to scratchy guitars and faint drums— embodying the unconventional nuances of 60s psychedelia. Bold and unrestrained with this choice of finishing, it is this creative magnitude that makes "God of the Dead" riveting from start to end— and there's no doubt Rosetta West will replicate such feats with their upcoming projects.

Listen to "God of the Dead" on Spotify, and stay tuned with Rosetta West on Bandcamp.