Friday, April 30, 2021


For anyone thinking that rock music is well and truly buried, think again. An unlikely alliance between the distinctive sound of rock guitars and a modern take on indie music, The Pale White’s debut album, Infinite Pleasure, drives home this message louder than any other.

The trio, originally hailing from Newcastle, emerged onto the music scene in 2016, and have not looked back since, in the hope of defying mainstream pop and resurrecting what is seemingly a fast-dying genre – rock.

With album teasers since the release of ‘Take Your Time’, in 2020, their intention has always been at the forefront of their music, and perhaps The Pale White are the missing puzzle piece to an industry lacking the once-great guitar sound.

The title track, ‘Infinite Pleasure’, kickstarts the album with a somewhat eerie and unconventional intro, soon followed by a commanding guitar riff and the vocals of frontman Adam Hope.

Hope’s dominating guitar riffs continue into the second track, ‘Glue’, accompanied by haunting backing vocals and a melody heavily inspired by grunge. The likes of Nirvana and The Black Keys as musical influences are strong throughout the album from here on out.

A much less aggressive and arguably more ‘popified’ composition comes in the form of ‘Take Your Time’ – a teaser track that was released last year. With a distinct grumbling bass and steadier drumbeat, it would not be misplaced alongside the likes of Inhaler.

Never shying away from a Royal Blood paced tempo and style for too long, ‘That Dress’ takes the listener back to the debut’s opening moments and relies on the collaboration of a booming guitar and bass sound. 

Finalising the first half of the album, ‘Nothing Lasts Forever’, has the possibility of more somber tones – in both composition and lyrically. Whilst matching the rebellious energy of its predecessors, it is not until its final 30 seconds that we are met with an erratic and angry crescendo, made famous by the likes of Led Zeppelin and The Who.

‘Medicine’ sets the second half of the album off to a strong start and sees the band incorporate various aspects of the first half. Whilst each verse seems to be catchier and modernised, the chorus reflects the band’s true rock calling.

Track seven, ‘Confession Box’, seems to hold much more weight as a song with a more explicit meaning, setting up the despondent tone of the latter half of the album. The repetitive questioning of ‘who’s better off now?’ is suggestive of a failed relationship and is, therefore, more melancholic in contrast to earlier tracks.

‘Anechoic Chamber Blues’ builds on this, with a much simpler yet still stand-out composition. As a slow, acoustic tune, Hope’s storytelling takes the listener on a journey of heartbreak, whilst the songwriter explores two varying approaches to his lyrical ability and arrangement of guitar music.

Towards the finale, ‘Sonder’ is thrown into the mix to deny the band’s rock roots being forgotten. It revamps the powerful bass and guitar duet, alongside the faster tempo to keep the listener hooked right until the closing note. 

A short 37-second interlude matches the poignant tracks that have seen the debut come to its close, and allows a subtle, effortless transition into the final lengthy track, ‘Frank Sinatra’. The tune falls just short of seven minutes and sees a powerful arrangement recapitulate the album and their hopeful resurrection of rock music. It is a piece ensued from hours of diligence, and it concludes the album in the most commanding way possible, with a large dependence on a powerful, closing instrumental.

The Pale White are undeniably a band with an unlimited amount of promise, and their message is apparent – rock music is alive, and it is here to stay.

Infinite Pleasure is available to stream on all major music platforms and available to buy in both CD and Vinyl format from the band’s online store:

The Pale White embark on their Infinite Pleasure Tour in December this year, and will be performing on the following dates:

4th December – Boiler Shop, Newcastle

7th December – King Tuts, Glasgow

8th December – Mama Roux’s, Birmingham

10th December – Academy 3, Manchester

11th December – Clwb Ifor Bach, Cardiff

12th December – The Key Club, Leeds

14th December – Scala, London

15th December – The Bodega, Nottingham

Buy tickets here: 

Lauren Whitehead

Instagram: @laurenwhiteheadjourno

Twitter: @LaurenJourno_

Image: Official Album Cover

1 comment:

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