“It’s time to show them who we are.”
While many bands in the modern metalcore scene have adopted a safe, formulaic approach to songwriting, there are myriad lesser known groups who choose to go against the grain and craft something truly unique. One such group such is Fukuoka’s Paledusk, a quartet who initially broke into the scene with a progressive metalcore sound that was as melodic as it was technically impressive. However, almost a decade later in 2024, Paledusk have evolved into something far greater. Unafraid to take risks, they’ve meticulously crafted PALEHELL, a seven track EP that proves the band’s sound has expanded beyond what anyone could have anticipated, fusing electronic and J-pop elements with their metalcore roots to produce an multi-faceted soundscape that subtracts very little from the group’s technical chops, yet adds much in the way of diversity and overall fun.
“I’m ready to die for my friends” is an immediate demonstration of the band’s willingness for experimentation. The track’s bold and bright pop-driven hooks are sure to filter out any metalcore purists right from the get-go; however, more open-minded individuals are bound to find something to enjoy here, as this is just the tip of the iceberg. The band’s technical prowess has remained sharp, demonstrated by an array of exceptional drum and guitar performances present across this track and the remainder that follow.
Sophomore track “NO!” is short, sweet and to the point, a stark contrast to its experiment-heavy predecessor. A one minute and fifty four second rager, this track serves to best exemplify the band’s heaviness. While PALEHELL is a breath of fresh air for the metalcore scene, “NO!” promptly answers the question of “have they gone soft?” And the answer is right there in the name, with the music to back it up.
Tracks such as the titular “PALEHELL” and “Q2”, the latter of which features Crossfaith’s Kenta Koie continue to impress in the musicianship department, with the drums and guitars in particular standing proudly in the spotlight. Powerful lead guitar melodies and groovy percussion are met with a wide range of vocal styles, creating massive, memorable choruses that immensely add to PALEHELL’s replayability factor.
“RUMBLE” is the EP’s lengthiest and densest cut, just twenty seconds shy of being five minutes in length, and featuring coldrain vocalist Masato Hayakawa. This track embodies everything there is to love about the previous tracks, only now it’s all been turned up to a thousand. Sporting the EP’s most powerful vocal performance at the two and a half minute mark, as well as continuing to deliver on the experimentation front, there’s a lot to unpack here, and it may take a few listens to fully appreciate this track in its entirety. However, like the rest of PALEHELL, it is certainly worthwhile.
Penultimate track “SUPER PALE HORSE” is a dizzying, electronicore assault, featuring an array of synthesizers and guitar leads masterfully woven together to create a colorful and aesthetically pleasing soundscape, before transitioning into “TRANQUILO!”, which is tied with “NO!” for PALEHELL’s heaviest track. While this cut is certainly enjoyable on its own, it is a perplexing choice for a closer. A track such as “RUMBLE”, in my opinion, would have served a much more fitting conclusion for a release as deeply rooted in the avant garde as this; however, this is a very minor complaint in the grand scheme of things, and subtracts very little from the overall experience.
PALEHELL is almost certainly going to turn some heads; however, I strongly encourage metalcore enjoyers to give it a fair chance, even if it requires several consecutive listens. While it is certainly demanding, the payoff is worthwhile, and once you begin to understand what Paledusk have put together, it only gets better from there.
8/10
PALEHELL is out February 21st via SHARPTONE & Greyscale Records, and can be pre-ordered here.