It hits. Not just a sound, but a shockwave. “DOOM” by Nothing But Real isn’t just a single: it’s the first crack in the dam after years of silence. The band’s back, not with a whisper, but with the force of a rebirth. And this track? A full-on orchestral punch to the skull.
No need for visuals to feel the tension. The bass rumbles like tectonic plates shifting beneath the surface. Guitars slice through the dark like blades. And that voice, Sakar’s, or someone who sounds exactly like him, doesn’t sing. It declares. As if every word is proof, accusation, a call to arms.
And honestly? I’ve been waiting for this return for a while now. Since their last album, since the quiet, the absence. I’d almost forgotten what it felt like, this kind of rock that doesn’t play for effect, but makes one.
And then came the new video DOOM ( https://www.youtube.com/watch?v=QAkHoYEEsOE ), and the announcement:


The dream is back.
The clip, directed by Mathias Auster (L’innombrable), is pure cinematic poetry: Olivia Pinto, frozen in harsh light, a shadow creeping behind her. No theatrics. Just presence. That’s Nothing But Real: not performers, but Sentinels, messengers from a world we can’t see, but feel.
And “DOOM”? Not just a song title. A state. A moment when everything collapses. Inspired by Zimmer, Muse, Bring Me The Horizon, yes, but not copied. There’s real pain here, raw urgency. This isn’t metal for noise. It’s cinematic rock for awakening. The human condition, maybe. Or just a band finally saying: “We’re back.”
Now, Lost in the World Rebirth isn’t just a collection of songs. It’s a narrative arc. From the eerie crawl of “Snake Eyes” to the cathartic release of “Scars and Burdens,” from the psychological dread of “Behind the Door” to the defiant roar of “Strike.” It’s a journey through chaos, fragility, and resilience. Think Mastodon meets Godflesh, wrapped in a film score, haunted by Sakar’s whispers.
This isn’t just a single. It’s a signal. A cry. An awakening.
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