PHOTO CREDIT: Christoph Eisenmenger


Female-fronted, post-hardcore high flyers Future Palace will release their new album Distortion, due out September 6 via Arising Empire! Pre-order it here.

Today, the band has shared the video for “DREAMSTATE.” Watch it here

Sometimes, the world is so overwhelming that the thought of another reality seems like salvation. With “Dreamstate,” this Berlin post-hardcore trio describes the escape into a dream world with musical vigor.

Dense synthwave arpeggios put the epic instrumentals into fluid hovering states, and the energetic drums sound like a racing heartbeat, while singer Maria Lessing lets all emotions run free in a monumental hook. With the crashing breakdown in the finale, in which the constructed illusion finally collapses like a nightmare, it becomes clear that this escape offers no real way out. Future Palace emphasize — both sonically and lyrically — a desire for escapism that arises from deep pain.

That “Dreamstate” has become such a massive sonic demonstration of power is not at all evident from the song’s genesis.

 “At first, I actually intended to write a piano ballad,” says guitarist Manuel Kohlert. “But the song quickly became much harder.”

“It’s now one of my favorite songs on our new album,” adds Lessing.

The organic development process of the song, in which quiet sounds were ultimately overtaken by massive anger, can perhaps even be read symbolically — after all, the singer was also thinking about her career as a musician, which sometimes seems just as overwhelming. “Very often I lack the strength to see it all through,” she continues. “I think many people can empathize with this feeling of being overwhelmed in our performance-oriented society.”

 For the music video of “Dreamstate,” the band once again collaborated with Pavel Trebukhin and traveled back to Riga, Latvia.

The world is a firework of overstimulation, and Future Palace have dedicated their latest album Distortion, to this overwhelming feeling.

On the new record, the band delves into a mass of mental illnesses and societal problems, creating music that, fittingly, delivers more hooks than ever before, shifting seamlessly from the quietest depths to the loftiest heights.

While their previous album, Run, leaned toward musical extremes, Distortion is the ultimate culmination of all the tones Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music. The album features the most powerful metalcore breakdowns meeting trembling darkwave beats, anthemic emocore refrains à la Bad Omens contrasted with sacred choirs, and the coldness of industrial clashing with the powerful emotionality of Sleep Token, making Distortion more like a manifesto.

“Panic Paralysis”
The Echoes of Disparity” (Feat. Charle Rolfe of As Everything Unfolds)
“In Too Deep”
“Rays of Light”
“A Fool on a Devil’s Reins”
“They Take What They Want”

Future Palace’s music has always explored internal struggles, and Distortion is the brutal climax of this approach. The album title, derived from the psychological term cognitive distortion, reflects a world where changing perceptions trap individuals in recurring pitfalls. Distortion addresses various mental illnesses and personal struggles, from ADHD to depression to narcissism. The band’s third album is a powerful force of emotions, cycles, and cries of desperation, overwhelming listeners with its intensity.

The band’s creativity shines as they tackle demanding topics with fresh perspectives. On Distortion, they build on their previous work by incorporating new elements, like orchestral interjections in “The Echoes of Disparity,” which combines brutal screams and chant-like passages to convey psychological struggle. “Panic Paralysis” features a massive vocal motif with an arabesque touch, while “They Take What They Want” dives into emotional depths, blending raw metalcore with gentle vocal passages and massive choirs.

Despite the album’s emotional intensity, Distortion was created amid excessive demands. Produced by Julian Breucker and Christoph Wieczorek, known for their work with Annisokay, Beyond the Black, and Smash Into Pieces, the recording process was grueling. Lessing recorded the album with a root infection and after wisdom tooth surgery, adding stress but enhancing the songs’ authenticity. Guitarist Manuel Kohlert notes that the album reflects the band’s experience as a heavy touring band, capturing the feelings of being on the road and contemplating their existence.

Maria — Vocals
Manuel — Guitar
Johannes — Drums


Disturbingly Good


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