CLOCKTOWERS is a genre-blending rock/metal duo that proves lightning can strike twice—first in the past, then in the most unexpected moment years later. The band was officially born in 2022. At its core, CLOCKTOWERS thrives on contrast and chemistry. Tarek, born in 1969, brings a lifetime of hard-earned perspective and vocal power rooted in classic metal and rock traditions. Dakota, born in 1995, injects fresh energy, fearless experimentation, and a modern edge that pushes the sound into uncharted territory. Their 25-year age gap isn't a limitation; it's a superpower. It allows the band to seamlessly blend old-school grit with new-school fire, delivering music that's nostalgic without being dated, current without being trendy.

The album has eight songs, and "Spirit Junkie" is first. The leading riff is heavy, groovy, and somewhat elementary when it comes to music…it isn't overly inventive. The vocals are raspy at times, and the bass work is excellent. "Ashes" has catchy rhythms and a little more energy. The melody is delivered in a straightforward manner, and there isn't much in the way of experimentation. Once again, however, the audible bass work is very good…very crunchy. "Eye" begins with clean, melancholy tones and the vocals match the sound. Once the main riff comes in, however, it's another simple delivery. Besides some emotive qualities, there just isn't a lot else going on.

"Bend the Snake" has a grittier sound from crunchy guitar rhythms, but so far, the album is struggling to take flight. They have the right ingredients, now it's just a matter of polishing them up. "Clocktowers" the song had another overly simple delivery. It's not that I am necessarily looking for something new each time I review an album, and I understand that some fans like a throwback sound, but this album would have still been lost if it was released 25 years ago. "Curse The Reflection" is like something out of the south…when tumble weeds blow and you can feel the heat. It's more of a mashup of metal with southern rock, but it has some soul, and some feeling. The title track shows some promise with a catchy chorus and a somber leading passage, but it falls flat once again.

"Dark Mother" is the final song, and again, it pushes some promising tones in the beginning but falls back to the familiar. The best part of the album was the bass guitar work. It was audible, thick, meaty, and animated, but it just wasn't enough to make the effort memorable for me. It was a promising start for the duo, but next time, I want to hear more of their personality in their music.