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Pale Waves on embracing “heavy distortion and chaos and energy” and the way The 1975’s Matty Healy bought them hooked on Vox’s coffin-shaped Phantom

The very first thing that strikes you about Pale Waves’ Undesirable is that it’s loud. Like, loud within the quantity sense. Even with the dial turned down it nonetheless sounds up. It is not background music.

All that is by design on an album that takes the Manchester band’s sound from the gentle focus of indie and synth-pop towards one thing tougher and extra quick. You could possibly name it pop-punk, as long as it’s on the understanding that the needle ping-pongs between both excessive.

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