ALBUM REVIEW: Black Heart – Palps
Mental health is a heavy yet sensitive subject, for everyone involved. Whether living with an affliction yourself or having a loved one who does, everyone has some experience of it in their lives. Yet it still comes with a very outdated stigma that it’s a sign of weakness; something not to be spoken about. Joining the growing consensus that that is utter nonsense, PALPS release their debut album Black Heart.
Considering the heavy subject matter, the Essex quartet have also compiled this album into a short film. The premise of album and film is we follow the daily struggles of someone attempting to navigate their poor mental health while also shining a light on how it affects the people around them. There’s a certain expectation of dreary and melancholy tones going into Black Heart so AVA comes as a surprise with its upbeat, almost jovial intro, though distortion sitting among the guitars paint a more subtle picture – until subtlety is thrown out the window completely. Alex Gray’s lyrics speak about the feeling of internal hatred and how it has drained all the good qualities from them. While there are bursts of chaotic guitars from Gray and Liam Kelly, the lyrics are the focal point of the verses. As AVA unfolds however, it becomes muddy and squashed together until the track becomes a wall of noise.
Where AVA touches on self-loathing, Love, Always addresses self-awareness. “In six months I might feel incredible” Gray ponders as we move onto the impermanence of everything, including our own thoughts. A staggering 60% of our thoughts are negative. We must learn not to follow their threads. A droning lower vocal lays beneath Gray as he seeks reassurance. Love, Always starts slow and pensive but develops into a faster track we’re not sure is needed, though the squeal of guitars after the gang vocal interval is lovely to listen to. Consequences comes thick and fast with Hayden Crease’s cymbals leading the way. An argument could be made against the lack of distinction between verse and choruses but when a mind is as impeded as this protagonist’s is distinction between thoughts merely doesn’t exist. What we can appreciate though is Dan Chapman’s bassline shining through around the 90-second mark, adding some needed texture. Consequences also marks a shift in perspective as a female vocal comes into play. “I’m more than just a line in your songs” inadvertently calls out pop-punk bands who reduce partners to a line or a phrase. It could have been introduced slightly earlier but is a nice touch.
The shift continues with Messages, a capsule of support from loved ones who want to help their friend or family member through their dark time. “It’s just a little dip” feels slightly patronising but the high-pitched tone is meant to reassure. Gray adopts a softer tone for the vocals here which is a refreshing change after three tracks of balls to the wall. Something we are noticing though is the songs feel flat, especially as warmer, fuller tones float in towards the end. Playing with sonic space comes with In My Head, a fast chug from the guitars symbolising the racing mind. Though it disappears after a few moments, Crease’s rolling drums keep the synapses firing. Minimalist vocals bloom into the bigger chorus but the feeling of something lacking still lingers. It’s a shame as lines such as “tragic end to a boring tale” are wonderfully direct but need that reinforcement from the instrumentals.
An interesting development comes with Imprint. PALPS explore the idea of entering a relationship with someone who isn’t your soulmate and the pain that can cause. Not only to the intended but to yourself as well. “This is all I’ve ever wanted so why isn’t it what I want” is an incredibly mature approach to take. This slower, much sadder track opens doors for PALPS to experiment with tones and depth, which they do for a time. However the instrumentals leave Gray’s vocals drowning in them.
Moving into the closing duo of tracks, nothing quite prepares us for the harrowing end. Before The Black explores suicidal feelings and the thought of what would be written in our eulogy. Would people be kind about us or would they see us how we see ourselves in those moments? It should become clear now Black Heart is not for the mind in crisis. Dead’s upbeat yet dark tones set us up for the end. Following questions of what if, we’re led to believe we are still with the protagonist from earlier. Grinding guitars make our brains cringe, thinking we know what’s coming. Yet it’s not the twist in the narrative which hits the hardest. The album closes with a monologue from the spiralling soul. It hollows us as it unravels. Thoughts of not recognising yourself anymore spill into the soundscape. The cry of “I just want my lost years back” severs the heartstrings.
Allowing the album to sit with us in the moments after its closing, we’re unsure how to feel about it. Black Heart is a very impassioned record. The love and effort which went into it is undeniable. PALPS clearly spent a lot of time in its construction. It just didn’t land for us in the way we desperately wanted it to. It felt flat for us. Not soulless, but something was missing. We have to give credit where it’s due, Black Heart is an impactful record, and it provoked some feelings within us. We just wanted more, and it never came.
Rating: 6/10
Black Heart is set for release on October 7th via self-release.
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