Review
Palette Knife
Keyframe

Take This To Heart Records (2026) Jeremiah Duncan

Palette Knife – Keyframe cover artwork
Palette Knife – Keyframe — Take This To Heart Records, 2026

There’s a fine line between being a quirky emo band with scene references and something that actually sticks. On Keyframe, Columbus trio Palette Knife don’t just flirt with that line but sharpen it, name it after a Final Fantasy item, and build ten huge choruses around it.

The band’s self-described “Nerd-Core-Mid-West-Emo” tag could easily read like a gimmick, but this release works because the hooks land first and the references follow. The album opens with “Phoenix Down,” and it’s a bold move. The track is nearly ninety seconds of instrumental build before the vocals even enter. Guitars stack into a buzzing wall of sound, drums push forward with a mathy urgency, and then right when it feels like it might tip into indulgence, the song detonates into an avalanche of hooks. It’s decisive songwriting with just enough chaos to keep it from feeling safe.

Mixed by Billy Mannino (Oso OsoMacsealBen Quad), the record has that modern Midwest clarity with bright guitars, punchy low end, and vocals pushed right where they need to be. But what separates Palette Knife from the pack is how confidently they swing for the fences. These choruses aren’t polite. They’re the kind that beg to be shouted in a packed basement or a 200-cap room where everyone knows the words by week three.

“Sleep Paralysis,” the lead single, showcases that balance best. It’s rhythmically tight and emotionally loose. The verses bounce with restless energy before the chorus erupts into something explosive and undeniably catchy. There’s a little PUP-style punch in the delivery, but the emotional core feels closer to Hot Mulligan’s gut-punch melodicism. The result is a song that feels both calculated and impulsive while being structured but urgent.

Throughout Keyframe, the band lean into early-2000s pop-punk immediacy while sneaking in math-rock flourishes that give the songs texture. Breakdowns don’t feel obligatory but earned. Riffs zig where you expect them to zag, but never at the expense of the hook. That restraint is what keeps the album from drifting into novelty territory.

Lyrically, Palette Knife walk a smart line between unabashed fandom and relatable anxiety. There’s an endearing self-awareness in how they embrace their nerdier passions without hiding behind irony. The emotional stakes feel real full of insecurity, longing, and late-night overthinking. However, they’re filtered through a lens that feels specific rather than generic. That specificity builds connection.

If there’s a criticism to level, it’s that this album rarely slows down. The energy stays high, the hooks stay stacked, and the band doesn’t often pull back to let a quieter moment breathe. But honestly? That relentlessness feels intentional. This is a record built for forward motion with its head-bobbing mathy grooves and chorus-after-chorus catharsis.

Palette Knife aren’t reinventing Midwest emo. They’re refining it with pop precision and nerdy pride. Keyframe feels less like a breakthrough and more like a band confidently leveling up in public. And yeah… it’s dangerously replayable.

Palette Knife – Keyframe cover artwork
Palette Knife – Keyframe — Take This To Heart Records, 2026

Recently-posted album reviews

Alien Nosejob

How A Mosquito Operates
Anti Fade, Iron Lung (2026)

The one-man band of Alien Nosejob continues to crank out short, angry hardcore in quick bursts. I've lost count of how many records Jake Robertson has now released under the name. I'll just say that while the first couple took some direction changes, the project seems to have found its footing in 1980s-influenced hardcore. With 17 songs in 24 minutes, … Read more

Cancer Bats

Give Me Dirt
Marshall Amplification PLC, New Damage records (2026)

ALBUM HIGHLIGHTS – “Bright Eyes of Gold”, “Give Me Dirt”, “Long Tooth”, “Fools Like You” Almost exactly two years ago, on 8th August 2024, Cancer Bats played Conne Island in Leipzig – a choice they would live to regret. Unbeknownst to them at the time, the centre had slowly become renowned for its radical politics and, more recently, the ban … Read more

Tyler Sonnichsen

The Dead Milkmen
J-Card Press (2026)

When I saw The Dead Milkmen at Toronto’s Diamond Club back in the late 1980s, the floor was a volatile, beautiful mess of colliding subcultures. It was like different species of house flies bumping into one another, wondering what the hell you were doing in the mason jar. You had suburban high school pocket-pen-protector pencil-neck nubile nerds, college radio snobs … Read more