European beatdown already dispenses with subtlety, but Switzerland's Paleface takes that style to almost comical extremes. They also hark back to Wild West days of Myspace deathcore with choice samples like the Wilhelm scream in "Curse Us," while vocalist Marc "Zelli" Zellweger puts his vocal cords at risk in his channeling of Iowa-era Corey Taylor. Paleface has never shied away from the recent nü-metal/beatdown connection, but their latest album completely embraces that hyper-emotive bombast. While this can blur the line between menacing and ridiculous, it seems that Paleface enjoys riding that line with Fear & Dagger.
"Pain" aptly reintroduces Paleface's customary expletive-ridden threats of physical violence and palm-muted power chords, but before that comes "666," which depicts a man falling into psychosis after being forced to watch a bunch of snuff-films. In concept, it functions like Slipknot's "515" to bring that classic nü-metal "don't touch me, I'm crazy" vibe. Still, the narrator's gradual fall from comprehensibility to screaming for his parents like a wounded animal is convincing enough. It certainly proves how committed Paleface are to their aesthetic. It's completely over-the-top… just how they like it.
Speaking of over-the-top, "Dead Man's Diary" stands out beyond the pyrotechnics and helicopters in its music video. From bomb-blasts and tremolo picks to speedy rap flows from fellow Euro-core enthusiasts Landmvrks, Paleface pulls out all stops to get away from the beatdown basics. That'd explain why "The Orphan" can remain interesting at double the length of most songs in the genre. Guitarist Yannick Lehmann and bassist Tommy-Lee Abt redirect primitive slam riffs into various brutal death and bounce riff flavors, allowing drummer Colin "CJ" Hammond to capitalize on plenty of break-neck tempo shifts.
It's fun to get caught up in Paleface's unrelenting instrumentals, but Zelli's really the star of Paleface. This is largely because he treats his screams like rap bars. Take his myriad of rhythmic subdivisions during the mosh part of "Suppressing," or his rapid-fire triplet flows on the first verse of "Deathtouch." The fact he's pulling it off with such raw, unfiltered delivery is, frankly, astounding. However he's doing it, hopefully he doesn't kill his voice with it. He certainly sounds like it at times, when he gives that throaty inhale before a bestial bellow.
Some tracks could use a lyrical leg up (like the literal "fuck you Jesus" edginess of "Make a Deal with the Devil"), and more creative mosh calls on a cut like "Nail to the Tooth" ("what the fuck is up, fuckers?" doesn't hit as hard after "the time has come, see you in hell" set the bar last year). But this doesn't stop Paleface from d when coupled with Zelli's deranged presence. The way he throws timing out the window to play up his crazy factor before dropping onto the downbeat with an emphatic "off" makes "God Looks the Other Way" feel not only heavy, but dangerous.
This isn't to say the riffs don't have their time to drive Paleface forward, like the agile fretwork that starts "Chaos Theory." But let's be real: the slams blend together during deeper cuts, making vocals the vital component. Beyond the monstrous contribution from Traitors' Tyler Shelton, the band saw fit to add fight club announcement for the whole band ("with a combined weight of 675 pounds!"). That's really the appeal of a cut like "Bite The Curb:" pure, unadulterated violence. No nuance, no philosophizing, just fight riffs to inspire people to hit their friends in the pit.
It's easy to get used to Fear & Dagger's nü-beatdown angle, making "My Grave Lay with Me" that much more of a curveball. Part trap metal, part post-hardcore, it's a total rollercoaster of genre blending—only heald back by the try-hard melodrama of the first minute. Maybe Zelli really did choke up when he started his a cappella confessional freestyle rap, but hearing him give himself a pep talk in the take is… a lot… even for nu metal: "Come on man, you got this, even though it hurts!"
That doesn't stop the song from coming together once the beat hits, and holy god can Zelli sing! His earnest melody cuts through the crescendo for a genuinely powerful climax. Honestly, the fact the song even exists is astounding, and certainly a welcome diversion from the musical equivalent of a Street Fighter bonus round. Where the following "Hellhole" and "No Room Left in Hell" are alike in more ways than their title, "Grave" is a real test of artistic breadth. Here's to Paleface exploring this experimental vein in the future.
The title track hints at a way for Paleface to shake things up without going totally off the rails. It maintains the unnerving rage, but lets the arrangement breathe. This makes for the most memorable guitar licks on the record, and emphasizes the palpable emotion of Zelli's screaming. Of course, the extra space does draw attention to the fact these guys aren't exactly doing anything deep. Then again, the band doesn't apologise for their youthful tom-foolery. Just browse at their meme-tastic Instagram page! They're having fun with it, resulting in addictive machismo that keeps closing cut "Judgement Day" from getting stale—even if it's essentially more of the same.
Paleface simply never lets up, maintaining maximum melee in every faucet of their sound. It's easy to look at an album this exaggerated and laugh at it, but why not laugh with it? The band seems self-aware about their outrageous sound. Taken on those terms, Fear & Dagger is a wild ride of total pandemonium. Stop pretending to be cultured, and get down with the beatdown. In this article: landmvrks, paleface
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