‘…No matter where you turn on this record, there is a new and often brilliant surprise; it is the product of complete fearlessness…’
Allegations that heavy music is a dead scene are persistent, unrelenting, and absolute bullshit. Certainly, a cursory listen to the likes of Octane FM and whatever is trending on an algorithmically generated playlist may well only provide varying degrees of Bring Me The Horion-lite, Architects-lite, and Sleep Token-lite; hoards of bands that know what sells in heavy music environments, and how to get a quick five minutes of traction on a middle of the road rock station. Yet anybody who spends even a modicum of effort digging into the scene will uncover a wealth of acts that simply haven’t lined up those lucky reels to achieve mainstream attention.
Paledusk might be the epitome of this. Hailing from Fukuoka, this Japanese four-piece have been throwing genres into a blender since 2015, and gained some serious momentum back in 2020 with the release of their ‘HAPPY TALK‘ EP. Last year saw the band release their ‘PALEHELL‘ EP, which collated some of their finest singles with a couple of other pretty decent tracks, but listeners couldn’t help but wonder when the band were truly going to show the world what they were capable of, and how weird they could actually get; there was simply a feeling that this was a band still holding back. At long last however, 2025 has not only offered the debut full-length record for this band, but a vision of who Paledusk unleashed truly are.
‘I ❤️ YOU BABY!!’ alternates between devilishly infectious and sugary hooks, and moments of bone-crushing heaviness that takes influence from deathcore. The choruses make for bold, electrifying moments of striking catchiness amidst pure, frenetic chaos that tosses the listener about with little care for making any sense. The follow-up, ‘PALEHELL’, has already made an appearance on the EP of the same name, but arguably fits here far better; wonderfully anthemic, the track crams huge choruses next to galloping verses, with hints of pop and perhaps even emo laced throughout.
‘HUGs’ puts the “progressive” into the band’s progressive-metalcore label, stretching out to near the six minute mark. It’s a baffling behemoth of a track that continually twists and turns, yet never feels like it doesn’t know precisely what it wants to do. Choruses boast ridiculously compelling melodies, delivered with KAITO‘s trademark frantic style, whilst the rest of the track is a sugar rush of glitching guitars, jazzy piano splashes, grandiose harmonies, and a whole rainbow of electronic effects. It’s a masterclass of utilising every single moment of a song, and ensuring that every second of this progressive onslaught on the senses keeps the listener hooked.
‘DIVE INSIDE FOREVER IN THE DARK’ commences as an industrial-tinged, claustrophobic nightmare of an instrumental; chugging riffs barrel down upon the listener, intersected with hellish screeches, almost giving the effect of sonic strobe lights. At the half way mark, the vocals finally join the fray, yet do little to dilute the track’s unsettling edge; it’s a phenomenal demonstration of Paledusk using their talents to create something wholly unexpected, yet wholly fitting within their artistic style. The track plays perfectly into the follow-up ‘GOOD DEATH’, with strips things back to a swaggering, lurching percussive beat, barked vocals, and downtuned chugging, before morphing into a surprisingly danceable beast of a track.
‘AFTER DUSK’ is a glittering rollercoaster of a track, with jazzy horns and swing rhythms giving way to gritty instrumentals and slick rapped passages from guest vocalist AB. ‘RUMBLE’, featuring Masato of Coldrain, evolves from a chunky metalcore number into a gospel inspired anthem, weaving in saxophones, chiptune beats, and soaring melodies. ‘SUPER NATURAL HIGH’ has guest vocalist tubakiii delivering rapped verses over a dreamy, ethereal sonic backdrop, whilst the band conjure up somewhat grungy choruses and a breakdown that even toys with ideas from dubstep. No matter where you turn on this record, there is a new and often brilliant surprise; it is the product of complete fearlessness.
The album is rounded out with a surprisingly beautiful one-two punch in the form of ‘I’m sorry’ and ‘BIG M MELODY’. The former is a brilliantly melodramatic cut that exudes both emotional weight and pure rockstar energy; DAIDAI’s guitar solo in the track’s climax commences as a classic stadium rock performance, before slowly deconstructing in a manner wholly befitting of Paledusk. The chaos of it all is wonderfully juxtaposed by the simple music box instrumental closer of ‘BIG M MELODY’.
The bulk of metalcore and modern metal artists out there currently, especially those that continue to pedal the same ideas that have dominated the scene for well over a decade, should be made to sit down and listen to this record, and take pages upon pages of notes. Paledusk’s complete disregard for making any sense, or keeping within any specific genre framework, leads to some of the most exciting heavy music that has been released in 2025, and leaves so many of their contemporaries in the dirt. A masterclass of creativity, a whirlwind of ideas, and a bloody good time all at once.
RATING: 86/100 – Mostly Excellent
For Fans Of: Vianova, Void Of Vision, The Callous Daoboys, One OK Rock
Physical copies are available to purchase from here.
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