AI-assisted rock project Kings Of Men follow the anthemic and riff-strong energy of Northstar, with a full-length album of rock originals. It’s an interesting example of the direction modern music seems to be heading, and whatever your opinions may be, the music is largely organic, and takes its inspiration from some of the best pop and rock sounds of the past few decades.
We begin with the similar sound and quirky yet immense riff for All In, as well as a huge chorus that’s naturally nostalgic, and which, in the live setting this would most likely be a massive crowd pleaser. The effected voice does remind us of the programmed aspect, but that’s a real vocalist we’re able to connect with – the effects simply highlight the heavy AI production to enhance the mix.
There’s a huge studio aspect to the Kings of Men style of creation, the lyrics and vocals are all from the heart, and even with AI production, POLARIS is genuinely loaded with great rock tracks, great energy, and a strong use of contrast for a worthy album arrangement.
Adam Layne Fisher is the man behind Kings of Men, a musician blending traditional instrumentation with generative AI, resulting in a fascinatingly successful take on what AI can mean for the future of music.
The Meanwhile follows and takes us to a fast-paced, Sons of Anarchy kind of impassioned blues rock realm. Slick riffs fall away from the fullness intermittently, Fisher showcasing his masterful approach to juxtaposition in order to hold attention throughout a full-length project. Lightbringer follows on brilliantly, a more electronic rock vibe with a huge long-form build to a snappy chorus, and a generally optimistic sense of empowerment and positivity that lingers.
Take Me Back softens the mood just in time, a trip-hop production building into another riff-strong arena of growing energy. A lot of the leading riffs on POLARIS tie to the familiar sound of the vocal adlibs, the effects, and the writing, to help maintain a sense of recognisable character. Blind Drive is another similar example, before Time Keeps Moving delves into an evocative and distinctly human subject matter, for a warm and thoughtful ode to the inevitable pressures of a fast-paced world.
Then we get an all the more human topic in the form of Religion To Blame – a personal highlight in terms of songs that push the boundaries conceptually, whilst presenting a country style hook that’s a natural earworm. Old Roads Ahead follows as a bold and again bluesy anthem of high-octane musicianship. The lyrics set things apart as ever, the building blocks of an album that notes a multitude of connections between stories, statements and ideas.
Shadowseer is softer on the ears and a pleasure to listen to during the final third. A minimal verse lets the voice connect more intimately, before we rise for a poetic outburst of another anthemic hook. The same electronically soaked beat kicks up the intensity of the voice, and the riff is humble here but still effective.
Legacy Lines is another memorable one for its gentler approach but also the sheer contrast as that classic distorted stomp of a chorus kicks in.
POLARIS in full feels like an explosive greatest hits collection in some ways, from a band who’ve released dozens of albums and found the big-arena hits that really strike up audience affection. In reality, this is a one-man project, an experimentation on behalf of a songwriter with a defiant passion for creative escapism.
Adam’s work is openly accompanied by the soon-to-be limitless creative assistance of AI. It’s categorically more enjoyable than much of the wholly AI-generated pop of late, most likely due to the strong sense of humanity driving each arrangement and performance. The writing is hopeful, inspiring, uplifting, and there’s talk of a full band set-up in the works to hopefully bring these rock anthems to the stage. Definitely a journey worth tuning in for.
Find Kings Of Men on Facebook, Instagram, X or their Website.
