PALACE (UK) RETURN WITH PERSONAL NEW ALBUM ‘ULTRASOUND’ AND SHARE FIRST SINGLE ‘BLEACH’

Armed with an already extensive back-catalogue of stunning music, Palace return with the announcement of their brand new, deeply personal, fourth studio album, Ultrasound - out April 5th, 2024 via Fiction Records. Its new offering, ‘Bleach’ is available now.
 
The record’s production sees the band reunited with Adam Jaffrey, 8 years after working together on their debut album, and arrives off the back of Part I - When Everything Was Lost and Part II - Nightmares & Ice Cream the band’s 2023 companion EPs. 
While writing the first batch of songs for the album, frontman Leo Wyndham’s partner suffered a late miscarriage. Ultrasound naturally became an open diary of a year-long struggle from devastation to deliverance. “It was incredibly hard to comprehend what had happened, how to deal with it and how to move forward,” Leo says. “The album is the journey of that experience - starting with a loss, then a period of processing, and then finally acceptance, release and growth. And being in awe of women within that. Their dignity, strength and courage in how they can deal with these things that feel beyond a man.” 

Album opener ‘When Everything Was Lost’, is chilling ozone rock with a hint of Bon Iver, capturing what Leo calls “that initial bombshell feeling”. From there, Ultrasound picks its way through the wreckage, seeking light, with the languid and lustrous pop-gaze trio of ‘Bleach’, ‘Nightmares & Ice Cream’ and ‘Rabid Dog’. The hallucinogenic ‘Nightmares…’ was based on a dream Leo had about seeing his partner in the afterlife: “It was a very beautiful abstract thing that we were together and there was this total acceptance of what had happened and it was euphoric,” he says. 

At the album’s core sit three songs of support and consolidation. ‘Make You Proud’ is about wanting to be the best version of yourself out of love for another. There’s the soulful ‘Inside My Chest’, and ‘Love Is A Precious Thing’, the album’s melodic centrepiece. 

The final stretch signifies a more reflective period. ‘Say The Words’ acknowledges the societal pressures on women to raise families and their resilience in the struggles of motherhood, ‘How Far We’ve Come’ confronts ageing and mortality. ‘All We’ve Ever Wanted’ revisits the rawness of Leo’s anguish in its images of forest fires and quicksand, his desire for fatherhood still burning. 

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