Paleface Swiss continues to grow in strength year after year, and 2025 is set to be a particularly successful year for this Swiss force. I’d bet that the opening track, “Un Pobra Nino Murio” (translated: “A Poor Child Died”), will be featured as the backdrop for a horror movie trailer. Imagine a half-dead body dragging itself, eerie church synths intensifying as the bass rumbles, all leading up to the horrific details of its grim fate. The viewer’s eyes would be locked to the screen as Marc “Zelli” Zellweger’s guttural vocals swirl in a whirlwind of despair. It’s one of the most chilling and unsettling tracks, not just as an album opener but in general. While the 2022 album Fear and Dagger had an intro that could fit in a Saw movie, this one creates pure, atmospheric TERROR.
I was already eagerly anticipating this release, as Paleface Swiss has quickly become one of my favorite deathcore bands. They’re always churning out new music and collaborations while also hitting the road to bring their energetic performances to America. When I saw them live at Milwaukee Metal Fest in May, they delivered one of the most exciting sets of the weekend, smoothly handling technical issues and throwing in some humorous remarks between songs.
No matter how heavy Paleface Swiss gets, one of the things I love most about them is their commitment to keeping metal fun. So many bands take themselves too seriously, trapped in their own egos. Paleface is the complete opposite of that, with Zelli’s signature scream-laughs, Swiss-cheese humor, and smiles that make their presence feel light-hearted. They constantly experiment with interesting blends of vocal effects and blast beats, and we’ve witnessed Zelli’s unique vocal style evolve into what we now hear on the upcoming 2025 record Cursed. His growth is truly impressive to hear.
After the intense opener (which, in a positive way, feels like a horror show), the second track, “Hatred,” quickly showcases some of the most impressive blast beats I’ve heard from Cassi. Guitarist Yannick Lehmann and bassist Tommy Lee also shine, each contributing their skills to create an unstoppable force of deathcore chaos. Zelli delivers his trademark scream-laugh, and it’s immediately clear that his vocal abilities have reached new heights, with vicious growling screams that stand out.
The third and fourth tracks, “…and with hope you’ll be damned” and “Don’t You Ever Stop,” take a more bass-heavy, nu-metal direction. I wasn’t entirely surprised to hear this shift since Zelli’s vocal style often evokes rap/rock elements. While these tracks may not be my personal favorites, they still feel at home within the album’s overall vibe.
Halfway through, we hit “Enough,” and honestly, I had to stop the track. I needed a moment to process the disappointment. I had gone into this record expecting a deathcore masterpiece, but this song left me questioning everything. I know I’ll probably be lumped in with the “haters” the lyrics seem to address, but I’m willing to take that risk. The lyrics feel like something straight out of middle school, paired with a one-dimensional, SoundCloud-inspired beat. It’s frustrating because I know what this band is capable of, and they’ve set a higher bar for themselves. I respect their talent, but I really wish this track had stayed on the cutting room floor, as it disrupts the album’s flow right in the middle. Sometimes, the best way to silence the critics is to just ignore them and focus on improving.
After “Enough,” we get “Youth Decay,” which opens with clean vocals that remind me of early 2000s rock (though I’m not sure who’s singing). This breaks up the track’s classic Paleface style before launching into a riff that could’ve come straight out of an Avenged Sevenfold song. Maybe it’s just the lingering disappointment from the previous track, but I’m really struggling to get into this one. Despite my obsession with this band over the past three years, I’m having a hard time enjoying these songs.
“My Blood On Your Hands” delivers another chilling, horror-inspired vibe, and I’m relieved to hear more of this unsettling tone. I only wish it lasted longer than 1:40. Zelli absolutely crushes it with what might be the scream of the century, his voice trembling as if he’s choking on his own blood—it’s intense.
“Love Burns” is tough to categorize, blending classic rock guitar riffs, background shouts, screams, and heavy chugging guitars. “River Of Sorrows” definitely conveys a deep sadness through its lyrics and clean vocals, before shifting into a rap section and then returning to screaming. I especially love the part starting around 3:30, when the guitars amplify the gloom and sadness, guiding listeners down a metaphorical river of sorrow.
Overall, I feel like Cursed is a creative misstep for Paleface Swiss. The album could have benefited from a more cohesive structure, perhaps focusing on one or two genres instead of trying to juggle so many different styles without fully committing to how they fit together. It feels like they dipped their toes into various elements but didn’t take the time to seamlessly blend them into a unified sound.