I remember the second I became a fan of PALES: the first video of theirs I watched is the live session performance of “Piece of Meat”, which I think found me via some algorithm. At exactly 3:08 in the video below, after a long buildup, singer Célia Souarit shifts from detached amusement to bloodthirsty fury. The band sounds like they’re ready to go to war for her. Later that day I posted this.
It’s a simple moment but it still gives me goosebumps, months later. The second song in that video, “1518”, feels made for an Edgar Wright or Danny Boyle chase or fight scene. It’s a classic iron fist in a velvet glove.
I’ve watched that video three times while writing this post. PALES’ new EP Crush only has three songs that aren’t covered in that post, but I don’t care: more people need to listen to PALES.
The songs on this EP sound like they’re coming from a dark place, both figuratively and literally: every moment is either a breath away from brutal violence or furious dancing. “Uppercut” (up top), the final pre-release single, is cut from the same cloth as “1518”, blurring the lines between dancefloor and mosh pit.
The seven-minute closer “Dangerous Dance” flips the script, starting with frantic energy, turning at the halfway point into something softer, the gentle denouement a rare showcase for Souarit’s singing voice.
PALES has been putting out records for a few years now. When I dove into their catalog for the post in November, I felt that this shift to an aggressive punk-influenced sound would set them apart from the Meet Me In the Bathroom-style post-punk sound of the moment. This EP is it: it’s got an unmistakeable sound and confidence and swagger to spare.
