Punk rock trio Palaye Royale is a band dripping with nostalgia. Soundwise, they host the sort of heart-bleeding, shout-your-lungs-out-and-burst-the-eardrums style that many would attribute to the early 2000s emo scene.
Aesthetically they exist somewhere closer to 80s glam rock. They are nicknamed “the vampire, the pirate, and the gentlemen”, on account of the individual styles of the three Leith brothers. It is gothic romance that draws in their fanbase, a steadily growing and now formidable group of admirers, which the band of brothers have worked tirelessly to build up since playing to unenthused bar audiences as kids.
‘Paranoid’ is the latest single to come from the trio, and unfortunately it leaves a lot to be desired. The chord progression, a little pedestrian for Palaye Royale, sounds as though they have attempted to domesticate their music for a wider audience.
Moreover, the lyrics are repetitive and neglect to make use of Remington’s exceptional vocal range and grit for which the band is known, and although repetitive lyrics can be catchy if paired with an interesting soundscape, ‘Paranoid’ doesn’t quite hit this mark. All in all, the song is a little disappointing for a band known for producing the sort of music that blows the cobwebs out through your ears.
Luckily, the B sides that have been released alongside ‘Paranoid’ leave a less bitter taste in the mouth. ‘No Love In LA’ and ‘Punching Bag’, allow the boys redeem themselves. In ‘No Love in LA’ we get the freakshow vibe of their last album Little Bastards which recalls Panic! At The Disco’s ‘I Write Sins Not Tragedies’.
The sonic landscape recalls an abandoned fairground, with stretched guitar riffs producing a lilting and ominous sound. Both music and lyrics expertly render an image of the phony, slightly sinister perfection of the ‘City of Angels’. The track culminates with a soaring riff, Remington’s voice ripping through like a jet engine. It is brilliantly cathartic.
‘Punching Bag’ begins lethargically, with Remington’s brooding, treacly crooning. It quickly builds into something brighter, lifting as though entering a vast and cathedral-like space. With every chorus the boys transcend higher.
By the end the boys could be said to be in space. They push through to the heavens, delivering a final, cathartic cacophony of everything at once. If one thing is for certain, this track is made for live performance. Well worth turning up the volume for this one.
Photo via: Flickr by Drew Fawkes.