Pinkshyinyultrablast – Everything Else Matters Review

Pinkshinyultrablast
This is the face of Russian Shogaze at the moment. The nation and the genre may not seem like an obvious marriage, but Pinkshinyultrablast from St. Petersburg are certainly establishing the genre in Russia right now. Like most modern shoegaze bands their influences are no different from their French, British or US counterparts with My Bloody Valentine and The Cocetau Twins playing a big part in that regard. Can they bring a different perspective on the Shoegaze sound with their debut Everything Else Matters? They did say that “we realised the local indie scene was totally boring and wanted to play something radically different.” after all.
Their lead single ‘Umi’ opens with a siren-like guitar with rapid and tumbling percussion falling upon it. The bass comes in to string these two instrumentals together along with the sweeping, wistful vocals that glaze over the main body of music to give it a sense of balance and add to it’s potential space and atmospheric quality. This allows for the main body of music to fall in and out of this floating melodic ‘mist’ to only emphasise the rhythm and distant urgency of the instrumentals. A soft edged and fluid track. ‘Holy Forest’ features a loose and rotating riff that locks in the flashing synths that intercede it before launching into a distorted wash out with the echoed vocals and wiry synths taking over the songs direction. These are underpinned by the sharp percussion beneath if for true distorted affair flanked by moments of light guitar work.
‘Metamorphis’ features a wave of looped synth chords and vocal manipulations that slide off into a shoegaze wash of distortion and crashing percussion which itself fades off into a stripped back instrumental of an isolated bass line and a wistful, echoed vocal. These instrumentals are ushered in by simple percussive elements back into the washed out, firework display of a sound. ‘Land’s End’ offers up a similar approach musically with the isolated guitars and percussion being glazed over by floating and fluid electronica and vocal sweeps. ‘Marigold’ is the eight minute shoegaze anthem (for want of a better word) that finishes off the short album. The ringing guitars are switched back and forth to the tradition distorted washes and the vocal is almost haunting to the track throughout. This washed out sound reaches a peak and leaks out a more expansive and drawn out sound from the guitars and alternates in this fashion to more rougher and sharper guitars too. The album is pretty faithful to the shoegaze genre but does gently formulate some of it’s own sounds and idea in amongst the traditional elements that they deliver better than most modern shoegaze bands. For a debut album it’s something that should receive a fair amount of admiration but there are greater things to come for sure.
Pinkshinyultrablast – Everything Else Matters = 8/10

This Week’s Music Video with Ariel Pink, Modest Mouse, Ex Hex and Pond

Gig Alert! Metal Postcard Gig at Macbeth, Hoxton Street N1 6LP at 8pm FREE ENTRY

On Wednesday there is a showcase of the DIY label Metal Postcard and they are showcasing three acts from three continents for a free entry.

New Dehli’s Fuzz Culture a well worth a look. Emerging from the Cities Indie scene, they dish out Electro -Punk for your ears only.

Das Fluff have already appeared on Musicandotherthingz last year with their single ‘One Cent Plus Postage’ and the dark and spiky synth music from London via Berlin will keep you on your toes.

Established Electronic band of five: ollo vintage sounding electronic through to krautrock. Expect experimentation that saw the band nominated for the Australian Mercury Prize.

Sunday Suggestion – The Clash – Clampdown

By the turn of 1979, The Clash had become the enduring force of Punk that the Sex Pistols would not be. But at this time, they were starting to enthuse their punk with reggae and elements of new wave into their sound which culminated in on of the greatest albums of all time with London Calling. It is one of the most influential pieces of political statement in music that has been produced on this island. Almost every song was not just the worthwhile fusion of genres and truth telling. One example from the vast array on this album is ‘Clampdown’. Musically, it is the simple, yet effective combination of Strummer’s rough and unmoved vocal along with Mick Jones’ softer and more delicately animated vocal. Not only offering the harmony but the depth and a shifting nature in addition to this. The instrumentals carry out the same tasks with the jolting percussive beat, the rough wash of the guitars and the bass line anchor with the wiry lead guitar solos and ringing organs. This changes with Jones’ sole vocal part with the guitars shimmering and glistening in all directions. The lyrics too are about the endless, fruitless work of people in the capital system and with subtle references to the rise of Nazism and Revolution too. A song with as much lyrical relevance as musical relevance and it’s simply a hook filled anthem on top of that too. A token of the Clash’s talent and legacy.

Gig Review – Alvvays and Moon King at Think Tank, Newcastle

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Alvvays took charge of the Think Tank in Newcastle last night for what was all in all a chilled out and swaying affair as the Nova Scotia via Toronto band dished out some melodic and at times swooning surf rock and pop. After setting up their own instruments and declaring that “we’ve already blew up one amp today” they hammered out an hour long set of tracks off their self titled 2014 debut LP. Naturally tracks like ‘Archie, Marry Me’ got the crowd swaying in contentment (myself included) and singing along with Molly’s wistful and sweeping vocals. These vocals really came into their own for the gracious and contemplative tracks like ‘Ones Who Love You’. After blasting out ‘Adult Diversion’ for an apt and catchy conclusion, they returned for an encore that included a new track and a warning about the hordes of clubbers massing below. Between tracks they were a picture of Canadian politeness talking of being happy to be playing in “their ancestral homeland” and bemoaning how “more people have heard of Nova Scotia in the U.K than in the U.S”. They were preceded by fellow Canadian four piece Moon King. They delivered a rough and distorted sound entwined with the vocal harmonies to counter act them. They did their set without any bass at all and with the lead guitarist occasionally moving down to the lower chords. All in all it was an intimate and relaxed gig with all the right amounts of sweet rhythms and melody as you’d expect. Oh and a belated happy birthday to Keyboardist Kerri, who’s birthday it was yesterday!

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