Lose Myself is a compelling twelve-minute power stance from SOS. Previous submissions to RARB from SOS were singles that didn't leave a significant impression on reviewers, so experiencing Lose Myself was a wonderful surprise.

Cut My Hair starts with a strong though foreboding vibe. This piece also sets the thematic tone for the EP, a cohesive four-track work about self-discovery and rough relationships. When lead Jacie Nisperos sings, "Just wanna cut my hair / lose myself / make you sweat …" it's only the beginning of this journey, as Nisperos continues as the lead in track two (!) by answering herself, "Don't you know, it's a new moon, and I'm over you." Man is that a hard clap. New Moon also features a terrific energy that propels the song forward from the first note to the last through quick rhythms and Nisperos's agility. It's sophisticated empowerment.

The second half of this short release packs a serious wallop. How Do You Sleep makes great use of unison and percussion that pops in and out at the perfect times to stay interesting. And suddenly, two leads! This is a thoughtful, focused a cappella performance. The fantasy of sounds is so intriguing that I missed my exit on the highway.

To The River can't be missed, either. We get more nimble singing, and this time it's an ensemble effort — plus great builds and an unexpected turn into Wade in the Water, with some R&B gospel behind it. The piece is fantastic and genuinely exciting.

Lose Myself is certainly impressive, with strong arranging and music worth hearing.

No other genre is more covered within a cappella than pop music. One could go as far as to say that it is the bread and butter of our community. So, when a new EP drops full of pop selections, it feels normal to have a sense of hesitancy.

After a full listen of Lose Myself by SOS, I can definitively say that these are no cookie-cutter, run-of-the-mill covers. SOS is good! Really good.

Each track on Lose Myself is masterfully produced. The sound is prominent, well balanced, and downright easy to get lost in. Good tracks grab your attention; great tracks hold it until the end.

Cut My Hair is what I would consider easy-listening pop. The song maintains a natural flow carried by the smooth vocals of SOS and percussion that sits right in the pocket. The higher register of Jacie Nisperos cuts nicely through all the vocal animation playing out underneath, occasionally adding riffs to the emotional arc. The foundation of the song is incredibly solid. My only knock on this track is that it sometimes runs on cruise control, lacking the depth of the other tracks.

New Moon feels more intentional with its artistic choices. The song is a dance track that maintains energy and focus, adding unique color and dimensions underneath. Where many pop tracks are all bass, or drums, or too solo-heavy with no substance, New Moon deserves praise for its mixing. Nothing ever gets lost in the mix, even with how rhythmic the voice parts are. It all blends and shines at the right moment, especially with the frequent quick hits from the backing vocals.

How Do You Sleep is perhaps the most impressive selection on Lose Myself. The track has it all: gripping harmonies, flawless transitions, organic intensity, and two sublime soloists. Sam Smith's original track is something to behold, but the life and originality that SOS breathes into this rendition … chef's kiss. Alex Zubillaga and Sophia Bonasso each command their respective sections, delivering refreshing takes packed with character and skill. And the harmonies are gorgeous, creating waves of emotion.

To round it all out, the group brings boundless energy and ferocity with To The River. This is a track that has soul! The scarcity of vocals in the opening sets the stage for emphasizing that pure singing is what this entire song relies on. There is exciting percussion and production, but the best moments occur when the group is in lock step with each other, harmonizing or pushing their range. One of the best instances of this is the incorporation of Wade in the Water as the song's breakdown section. Holy cow! The group already had momentum, but it further intensifies at this point.

There is so much right on Lose Myself that the few elements mentioned here do not do it justice. Go give it a listen, and then another, and then one more for good measure. It will surprise and amaze you and have you asking, "Where did this group come from?"

There's a lot of really good ear candy in the debut EP from semi-pro group SOS, Lose Myself. And that candy isn't just in the lead vocals, which are fantastic across all four tracks, but throughout all parts: backing vocals, percussion, and overall blend of the group. Top it off with a great collection of songs ranging from Sam Smith to Tate McRae, and you're bound to lose yourself in this EP very quickly.

All the tracks are fantastic, but I want to start and spend some time with Sam Smith's How Do You Sleep — a song that I had high expectations for coming in, as this is one of my favorite tracks by Smith in the last few albums they've released. SOS certainly does not disappoint from the very start, with a bit of a stripped-down opening that gives the track more of a haunting overtone, and which is well done. Granted, it's nearly impossible to pull off a "reproduction" of Sam's opening, with all the intricacies it has, with a mere seven people, so the choice to not do that and take the stripped-down route instead was smart. It's also evident that this group is just full of musicians through their attention to dynamics. The build throughout the first verse, followed by a quick transition to piano, before coming back strong to forte in the interlude leading to the second verse, is well executed. Add in a strong bass line and great vocal percussion throughout, and this track will be in my steady rotation for the foreseeable future.

Overall, the blend is pretty good throughout all tracks, with band member Saul De Anda completing the whole process from recording to mastering. There are a few moments where I lose the whole group, but I'm not sure if it is just an arrangement issue or something to do with the recording. Coming out of the bridge in To The River — which has this great build in both vocal parts and dynamics — I then briefly lose the middle voice parts entering the final chorus, and it makes the impact that should follow the build feel a bit more empty than I want. I essentially want, and was expecting, to be "punched in the mouth" from a wall of sound after the build, and I don't get it. Also, in Cut My Hair, I don't have enough bass in the chorus compared to the other parts and the percussion as it seems to step away. This is not the case in the verses, though, where the bass comes through well. Again, these moments don't take away from the overall musicianship of the EP, which is tremendous all the way through.

If this is what SOS is able to give us on an EP, I am already waiting with bated breath for a full-length album that I can jam to. Now, time to go and dance to some Sam Smith again...