Without a doubt, Palaye Royale are a particularly divisive band.
The trio of brothers has had a tempestuous time with audiences, promoters and venue owners even before their debut album was released in 2016.
Like a robotic assembly line calls for Palaye Royale to be cancelled, are repeated ad nausea, for errors both perceived and tangible.
However, the constant scramble for virtue points means the band’s creativeness, musical dexterities and dynamic energy often goes overlooked.
This week sees Palaye Royale release their third studio album, fans have anticipated the new tracks for some time. So, is it finally time for a wider audience to forgo the drama and focus on their music?
The album sets its tone from the start, with Little Bastards, opening the door to Palaye Royale’s specially created introspective world. Emotive darkness is recited via a dynamic and anthemic composition. Singer Remington Leith’s raw vocals slide in alongside spiky harmonies and lashing riffs that punctuate swelling grooves. Lyrical clap backs to the haters, acknowledging the hurt of criticism with honest reflection and archetypal punk bluntness “Lonely, I’ve been feeling lonely, Put me in my place, So fuck you, I don’t even like you”.
Palaye Royale has been teasing this their third album for many months. Always a band to offer more than just the music creating lore for The Bastards. A utopian world, that’s an echo of reality and constructed in a mythical landscape. “It takes place around the island of Obsidian and it’s set in 1888” explains drummer Emerson Barrett. “In short, it’s a world that started off with intentions where the island encouraged free thinkers and artists to exist and, as everything does in life, eventually it becomes this political power and evil toxicity that comes with everything. To remain a true individual in the society, you must wear a gas mask.”
As we enter mid-way point in this three-way solipsism creation, Hang On To Yourself starts a deliciously decadent feast of tracks, that continues with Fucking With My Head and Nervous Breakdown. They gratify the need to simply loose ya shit. Sebastian Danzig again thrashing out resplendently addictive hooks. Any resistance to their call to move is hopeless. Nervous Breakdown particularly delivers multi-layered intensity. Impassioned rhythms and cords drop away leaving Leith to agonise “You say you love me but you still left me, I guess it’s why I hate myself, You say it’s over but you’re still calling, I guess its why I live in hell” Wretchedness has never been so bewitching.
Something of a live deep cut Masochist finally makes it to a release. Beguiling metronomic rhythm intersected by buzzy guitars. Despite being a track, the band have played as far back as early 2018 it fits incredibly well within the sequencing of the album. Closing with Redeemer a curiously melancholy track that further showcases Leith’s ability to impart candid vulnerability. While the band shows off a wealth of musical dexterities and multiplicities with a classical arrangement that packs an emotional punch.
Palaye Royale has presented an album that while dark is also exciting, displays a tangible depth and demonstrates that Palaye Royale are focused on their music, art and the community that has evolved around them. And with The Bastards, Palaye Royale has curated an impressive expedition through life’s shadows of anguish, fear and fragility, that will be significant to people for many years.
The Bastards is released via Sumerian Records on Friday 29 May 2020. Pre-orders for The Bastards are available now with a variety of special pre-order items. You can stay connected with all Palaye Royale tour dates, releases and more through their official website, Facebook and Twitter from which they tweet as @PalayeRoyale.