The Pale White – The Big Sad
Newcastle hailing rock-trio The Pale White are back with their sophomore album The Big Sad, an accomplished second outing brimming with heavy-hitting rock tracks that are rife with thick basslines, fuzzed-out guitar riffs and soaring rock vocals.
The record kicks off with the rapturous Lost In the Moment, a twisted rock-infused opener jammed with screeching guitar licks, twinkly synths and explosive drums. It’s a big, no holds-barred opener that, at times, can feel overstuffed as free-firing guitar lines fade in and out amidst frontman Adam Hope’s theatrical vocals, and it is all set against a shimmery soundscape that hits a melancholic tone, signalling what’s to come.
Soon to follow is Woolly Thunder, a short and sharp dose of hard rock that kicks off with a hunderous guitar riff and the rattling of drumsticks. It’s all very Queens of the Stone Age with its descending crescendo, dragged forward by Hope’s vocal and its distinct tinge of melodrama with its sublimely gloomy orchestration. I’m Sorry follows a familiar pattern as a hard-rock forward track that vacillates between loud and punishingly loud moments, teeming with fuzzed-out guitars that become increasingly distorted and meaty as the track goes on, with thumping percussion providing the backbone.
Things take a turn with January, Please, an acoustic-led melody that opens with an almost flamenco-esque plucked chord progression and continues with this wiry, lean arrangement that begins to spiral out of control. This is a far cry from the the hefty hard-rock of the opening four tracks, and proves to be more The Smile than Foo Fighters. It’s just short of tremendous, with its stirring shifts in melody and tempo that lead to a particularly great, almost Beatles-y (think A Day in the Life), thread at the bridge.
Nostradamus, the second single from The Big Sad, is a compelling, alt-rock track that weaves thick basslines with digital squeals and chiming guitar riffs. You can easily see this track making it big in the indie era of the 2000s, and there’s a definite air of The Klaxon’s à la It’s Not Over Yet about this track, with its smattering of digital synths and pop-forward arrangement.
The album comes to a close with title track The Big Sad, an orchestral closer that spins Hope’s “ooo” and “ah-ing” with lush strings, portentous lyrics and purposeful bass threads. It’s a fitting closer to an album tinged in melancholy and feels like a mash-up of Bittersweet Symphony (The Verve) and Lakeshore Drive (Aliotta Haynes Jeremiah) that plays with 70s rock rhythms and grand orchestral sequences then careers off into something murkier.
The Big Sad is undoubtedly an ambitious album full of soaring highs and some truly exciting moments, further cementing The Pale White’s position as a band to watch for rock fans looking out for the next Queens of the Stone Age. But don’t just take this writer’s word for it: the young rockers have seemingly earned the Black Francis seal of approval, as the Geordie trio have booked another European tour supporting rock-titans The Pixies). Surprisingly, The Pale White revel in the album’s lighter moments, from January, Please to the record’s finale, The Big Sad. These more restrained, overtly more acoustic-driven and occasionally folksy entries allow the Newcastle group’s songwriting talents to shine and pave the way for more varied and complex arrangements, and grander shifts in melody and tone. It’s an exciting dynamic, and it’s worth watching where the avenues explored on The Big Sad will lead The Pale White to next.
Ronan Fawsitt
Image: Sam McMahon
The Big Sad is released on 18th April 2025. For further information or to order the album visit The Pale White’s website here.
Watch the video for the single Lost in the Moment here:
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