AN incredibly vibrant and refreshing band that has made their presence known far and wide since exploding onto the scene in 2011, Manchester-based four piece PINS have long possessed a substantial and robust sound that was inspired a great deal of adoration.
With a knack for creating punk rock songs that are both catchy and potent, one of the most pivotal tenets of their music has been the lo-fi style in which it was presented both on record and during their much-loved live performances.
In light of this, the announcement that they had enlisted famed Queens Of The Stone Age producer Dave Catching to be at the helm for their sophomore LP aroused a combination of suspicion and apprehension.
Would higher production values and the tutelage of such an acclaimed figure be both advantageous to them and yield the kind of results that may elevate them into a new pantheon altogether?
If merely summarising, the answer would be a simple bust impassioned ‘yes’; as their latest LP Wild Nights feels not only as prolific as its predecessor, but is a more cohesive release altogether.
The aggressive guitar part on ‘Baby Bhangs’ provides nothing short of a triumphant introduction to the record, beginning proceedings with a piece that contains both the undeterred spirit of acts such as Savages with a poppier nature at its epicentre. The sumptuous vocal melodies and assertive declarations of Faith Holgate cultivate something mysterious and magnetic that is not only captured upon the album’s opening gambit but at various intervals throughout its 11 track duration.
Straddling both light hearted indie and punk rock with a notable level of dexterity, ‘Young Girls’ comes across as breezy and effortless, delivered in an optimistic yet hesitant demeanour that can be found in the Phil Spector produced vocal groups of the 60’s such as The Ronettes and The Crystals.
‘Curse These Dreams’ continues to delve into interesting terrain, focusing on a droning sound that borders on shoegaze without dissipating its sense of universal accessibility before the punchy ‘Oh Lord’ takes full advantage of an imposing, New Wave based bassline to form the bedrock of one of the record’s most outstanding tracks. Their unusual fusion of swooning and at times bereft lyricism with calculated yet relentless rock ‘n’ roll is effective despite the fact that they’d appear to be at odds in conception.
‘Dazed By You’ harbours the jangle of C86 indebted alt-rock in conjunction with well tread rhythms, resulting in a track that instantly coaxes comparisons to the lavish yet often accessible material of Beach House and Deer Hunter. All at once raising the tempo to a positively frantic level, its dissonant crescendo comes across as both joyful and undeniably appealing; buoyed by hypnotising guitar and background howls that serve to further allure the listener with their unabashed charisma.
The gentile dream pop of ‘Got It Bad’ is accentuated by the idealistic sense of all-consuming love that is expelled within the lyrics; coming across as utterly besotted as opposed to the more pensive and cynical stances that are exhibited on some of the LP’s other tracks.
The squirming 60’s based organ, unrelenting percussion and ferocious guitar of ‘Too Little Too Late’ are accompanied by an easily decipherable and intensely relatable lyrical sentiment the likes of which are dotted within the record. The passive aggressive and more demure facade that is maintained throughout the verses and chorus eventually crumbles, giving way to more zealous and animated textures.
Both atmospheric and menacing, ‘House Of Love’ recalls the oft-cited Siouxie And The Banshees due to its flair for the dramatic and sense of inescapability; led by sonics that firmly take the reins and ensure that the concentration of the listener is held captive from the very opening strain to its final, painstaking exaltation.
The hazier aesthetic that was adopted on various other tracks and much of their earlier material prevails on ‘If Only’, flanked by a gorgeous melodies and a wistful sound that would coerce envy from The Shangri-Las during their pomp.
Looping guitar and dense percussion mark the arrival of ‘Molly’, serving as an excellent base for a track which sees them the purging demons and vocalising the dynamics of a love-hate relationship that has reared its head.
‘Everyone Says’ retains the drowsy vibe that is regularly adopted whilst pulling back the layers to the reveal the fragile heart of the song; eventually exposing a narrative rife with paranoia which is coated in transparent nonchalance.
Wild Nights sees PINS refining the sound that they’d previously displayed, particularly in reference to their song-writing craft and the insatiable ear for melody that they’ve developed which makes the record a joy to listen to.
Coming across as a more cohesive unit than ever before, it’s an album which is sure to impress and enthral those well versed in their back catalogue as well as the droves that will soon be looking to embrace them with open arms.