​

Palace, the London based four-piece alternative band, is one of those groups that resonates with your soul. The British rock group creates one of the most genuine and impactful sounds I’ve discovered, while simultaneously being one of the chillest, most energetic and captivating bands. The UK has produced some stellar rock bands, such as Radiohead, The Kooks, Arctic Monkeys, Foals, etc., and Palace could very well be the next indie rock legends of Britain. It’s not often that such a stripped down sound can immerse you into a vast and ambient musical landscape, comprising of two guitars panned to opposite sides of your headphones, a laid-back but full-bodied electric bass, and drums abundant in nuanced and artful fills, steady rhythms and cathartic crescendos.

​

The band formed in September of 2012  with singer/guitarist Leo Wyndham, guitarist Rupert Turner, bassist Will Dorey and drummer Matt Hodges. Their sound - lush in reverb, twangy guitars, booming kicks and symbols - is a breath of fresh air for lovers of the more classic indie/alternative genre, which is moving towards electronic and synth-influenced production on tracks. Palace creates an intimate yet monolithic experience for the listener; the cry and echo in Wyndham’s voice pulls you in to appreciate his poetic, raw and honest lyricism. Each note of Turner’s eclectic and intricate riffs take you along for the journey of the song, Dorey’s basslines ground each harmonious, alternating guitar track in a steady and driven manner, and Hodges’ drums display a dynamic range of smooth grooves and hard-hitting jams. With a good pair of headphones on and the volume cranked up, Palace transports you into a euphoric and reflective state of being, where the music connects you in an emotional and haunting way.

​

​

​

​

​

​

​

 

 

 

 

​

​

​

​

​

​

​

​

 

So far, Palace has released 3 EPs, and their debut LP “So Long Forever” is so good that I’ve listened to it at least twice a week since I first heard it earlier this year. Tracks like “Bitter” with alternating time signatures between the main riff/bridge and verses/choruses guide you through the ebb and flow of Wyndham's inner turmoil between resentment and self-love. Not to mention lyrics like:

 

Strike a nerve like an airstrike raid, all under my skin

I'll wear a mask to cover myself, in the shape of a grin

 

Alternatively, the pies de resistance of the album, “Holy Smoke”, with its acoustic rhythm guitar and arpeggiated electric guitar under the verses and eruption of drums and guitar in the choruses is simply cinematic. It creates a sense of floating in a calm sea, carried  by the rushing tides and swells, never seeming to drown. Wyndham conveys his longing for answers and clarity with these lines:

​

Sometimes my father’s looking up

How he yearns to hear your voice

If there’s a God, how could he mold

A life so cruel, yet so bold

​

These lyrics juxtaposed with the roller coaster of dynamics and intensity of the instrumentation creates an impassioned and moving experience for the listener. The album as a whole is complex, heartfelt and a triumphantly authentic display of emotion through its lyricism and musicality.

 

If you haven’t already, listen to Palace's newest single “Heaven Up There” - a 7-minute-long sonic voyage with a dissonant and evocative intro that wanders through the fog and explodes into a rich and anthemic high by the start of the second verse. It’s the kind of song that you absolutely lose yourself in, and being their first released single in 2 years, it’s a promise of more incredible music to come. I always find myself amazed by the longevity of the impact Palace’s songs have on me; no matter how many times I listen to their discography, I still feel each fervent lyric, elaborate guitar riff, resolving bass line, and crashing drum strike a chord in my soul that keeps pulling me back to them.