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Buenos Aires, Wednesday 25, September 2024
Dropping in August 2024, this album isn’t just another alternative rock record. It’s a labyrinthine soundscape that expands the boundaries of the genre, offering listeners an immersive journey into vast sonic territories.
From the first chord to the last reverberating beat, Some Err, then Winter makes a statement: I Forget Myself is evolving, pushing both artistic and personal boundaries. And he’s doing it with the kind of quiet, unstoppable professionalism that only comes from decades of hard-earned experience.
Por Tina Sollosky
Born and raised in South Africa, I Forget Myself (a moniker that captures both anonymity and introspection) has lived a life shaped by the rich diversity of cultures. Over two decades, he has navigated the music industry from multiple vantage points: first as a member of rock bands, and now as a solo singer-songwriter, producer, and multi-instrumentalist. After spending over a decade in Asia, now based in Hong Kong, his music reflects an international perspective. His latest work infuses the jagged rhythms and haunting melodies of alternative rock with undercurrents of his global journey—yielding a unique sound that feels like it’s from everywhere and nowhere all at once.
The standout collaboration on Some Err, then Winter comes courtesy of session drummer Kyle Reece Williams, whose intricate and propulsive drumming adds an intensity to the album's sprawling tracks. At the helm of the mixing board was Clint Watts, a studio engineer whose deft touch helped shape the album’s sound into something both towering and intimate. Watts’ masterful mixing and Williams’ percussive precision make the record more than a collection of songs; it’s an exploration, a layered soundscape that rewards multiple listens.
His music doesn’t simply belong to one place—it draws from the sum of his experiences and his interactions with different cultures.
In an era of fleeting trends and viral fame, I Forget Myself embodies the spirit of the independent artist, steadily building a body of work that resonates deeply with those willing to listen. His professionalism—honed over two decades in the industry—doesn’t scream for attention; it’s evident in the quality and consistency of his output. There’s a certain weight in his music that comes from this experience—a sense of care that values craft over spectacle, depth over quick success.
Some Err, then Winter doesn’t attempt to dazzle with gimmicks or chart-chasing hooks. Instead, it offers a sense of catharsis, channeling emotions that feel all too familiar in these strange times: uncertainty, longing, and ultimately, acceptance. It’s alternative rock for the thinking listener—both cerebral and visceral, a journey that transcends borders and genre labels.
I Forget Myself’s music has always been about more than just self-expression. Born of European ancestry in South Africa, seasoned by life in Asia, and now creating from his home in Hong Kong, his work is shaped by the tensions and beauty of life lived across continents. His music doesn’t simply belong to one place—it draws from the sum of his experiences and his interactions with different cultures. This global viewpoint is part of what makes Some Err, then Winter so compelling. It speaks to a world that feels increasingly fractured but suggests, through sound, that we can still find unity in art.
As I Forget Myself continues to navigate his artistic journey, Some Err, then Winter marks a crucial stop along the way. For listeners, it’s an invitation to not just hear the music, but to experience the world through his eyes—one note, one beat, one reflection at a time.