Lost in Time

Lost in Time pulls together work from the last couple of years where I was chasing something specific: that moment when a distorted riff and a tremolo violin exist in the same space without either one apologizing. Some of these tracks lean hard into that collision—"Now or Never" builds its urgency through layered strings and a rhythm section that doesn't let up, while "The Fallen Heroes" uses orchestral weight to make the heaviness feel inevitable rather than just loud. Others take it sideways. "Baked Beans" strips almost everything away, just deadpan vocals and bare guitar, which somehow felt more brutal than anything symphonic.

“It's a collection built on restraint and deliberate choices about when to pull back versus when to let everything collide.”

What tied these together was working in modal spaces rather than traditional progressions, letting the strings and guitars orbit each other instead of playing support roles. You'll hear it clearest on "Lost in Time" itself, where the melodic lines don't resolve the way you'd expect them to, and "Scripted Existence," where the orchestration mirrors the guitar's angular shapes. I wasn't after that symphonic metal sound where strings pad out the arrangement—I wanted them competing for the same harmonic real estate, creating friction.

This is alternative metal that doesn't need every moment to hit maximum intensity. The quieter passages in "Moments of Silence" and the syncopated unease of "Binary Emotions" matter just as much as the aggressive moments. It's a collection built on restraint and deliberate choices about when to pull back versus when to let everything collide.