47SOUL Envision a Defiant Return to Palestine on ‘Dualism Pt.2’

Made in the midst of shock and outrage, Palestinian Shamstep outfit 47SOUL released the first installment of Dualism in May, 2025, with their focus on a deliberate expression of grief, while sitting with the devastation taking place in Gaza and speaking directly to it. Their latest release, Dualism Pt.2, moves differently. The band’s emotional register has shifted from disbelief to reaffirmation. The tempo is up, the arrangements are fuller, yet the EP’s three tracks are underscored by a sustained, detailed imagining of return.

‘The Signal’ opens the EP on with group’s trademark club-ready dabke sonics. Coming in with analog bass and lead synths that cut right through with Levantine melodies, the track’s energy is both danceable and evocative with its central themes of protest and public readiness to take action. We then venture to Haifa for one night on ‘Leila’, which opens with a simple guitar riff, bright arpeggios and a raspy lead vocal over bass-heavy, shimmering production. Here, the arrangement is slow and steady on the surface but dense in the details, with a lot happening underneath the outlines of the kick and claps. Lyrically, the track goes on to tell a story of burnt identification papers and walking carelessly through checkpoints, paining a vivid picture of homecoming.

The closing track ‘Rajilik’ is the EP's most upbeat moment and, in some ways, its most affecting. Stepping outside the Shamstep framework into something more pop-leaning and playful, El Far3i's low register is pushed to its limits while reaching the melody's high notes in the verses, and the strain gives the track a vulnerability the that contrasts the instrumental nicely. The dabke influence comes through in the synth lines and the undertow of the rhythm, but the track’s real center of gravity is in its lyrical weight, exploring the Palestinians people’s generational pledge of never giving up.

Across Dualism Pt.2, 47SOUL hold grief and momentum side by side, while making the case that keeping culture loud, dance floors full, and the idea of return specific and present is itself a form of resistance.