"I'm saving up for the apocalypse, cause there are gonna be deals..."
The piercing organ sound that hearkens back to a 68-ish Vox Continental organ, the sprite electric guitar rhythms, throttling bass, be bop surf rock machine beats and Spencer Enock's snappy artful vocal countenance on London based Pynch's charged up, conspiratorial "Tin Foil" is exhilarating. The atmosphere here is full of sonic cues that feel somewhere between late 70's proto punk and 80's power pop / new wave.
"Tin Foil" is the last single from the band's upcoming debut album "Howling at a Concrete Moon" out now.
About "Tin Foil" Spencer shares:
About "Howling at a Concrete Moon":
“Working on this project and album has really been my life’s work so far so it’s scary but also a big relief to finally be able to let it go and share it with the world. We’re completely independent so it’s taken patience and a lot of hard work to get to this point but it’s been a wonderful journey”.
In the end, "Tin Foil" feels nostalgic, an escapist piece of sonic cinema, a musical wormhole to get thoroughly lost in.
-Robb Donker Curtius
THE FACTS AS WE KNOW THEM
https://soundcloud.com/pynchband
https://www.tiktok.com/tag/pynchband
https://twitter.com/PynchBand
https://www.facebook.com/PynchBand/
https://open.spotify.com/artist/6R1b13BgmP15f21dQZpFz9
https://www.youtube.com/channel/UCYI5DN-Ha20K3t7fOeEdFIQ
https://pynch.bandcamp.com/album/howling-at-a-concrete-moon
Pynch are a true 21st century DIY band that have built a dedicated global fanbase from a handful of self-released singles through a combination of tenacity, wistful lo-fi and life affirming lyricism. From working with Dan Carey and Speedy Wunderground through a speculative demo submission (He simply replied “I fucking love this”), to setting up their own label and touring the UK and Europe in a Skoda Fabia, the band have been on somewhat of an indie-rock odyssey in their first few years together. Now set to release their debut album, Howling at a Concrete Moon, Pynch are ready to deliver their full artistic statement and make good on the promise of their early singles.
Sonically, Pynch serve up a heady concoction of motorik beats (Julianna Hopkins), driving basslines (Scott Enock), soaring guitars (Spencer Enock) and melancholic synths (James Rees) to create a sound that is steeped in indie and electronic history yet still vitally present. Their music draws on dreampop, britpop, indietronica and post-punk to deliver dramatic arrangements filtered through their distinctive lo-fi aesthetic. Their fondness for home-recording and sonic experimentation shine throughout the record, as glitchy synth textures regularly mingle with distorted guitars over the enduring tick of a drum machine.
Though clearly concerned with the world around him, Spencer's observations on society and the human condition are often delivered in the disarmingly humorous way that has now become a key feature of the band’s identity. This blurring between cynicism and sincerity runs throughout the record, traversing noughties nostalgia ("2009"), metropolitan malaise ("The City") and lost love ("Karaoke"), with heartfelt reflections often set side by side with wry social commentary. In penultimate track, "London", Spencer addresses living through financial and housing crises: the disappointment of a generation is evoked and the stark realities of being young in austerity Britain are laid bare.
“My overarching concept for the album was to try and capture my experience of what it has felt like to be young and living in Britain at this particular point in history” Spencer explains. ”I’ve tried to take my inner search for meaning and set it against the strange cultural and economic landscape that we find ourselves in”. These themes are apparent throughout the album, as Spencer grapples with existentialism and the pursuit of dreams within a doomer cityscape filled with pervasive advertising, market crashes and downloadable souls."
To record the album, the band enlisted Andy Ramsay of Stereolab to co-produce alongside Spencer and augment his home recordings. They worked together across ten intense days at his studio in Bermondsey at the start of 2022, recording an array of material for the album with the tongue-in-cheek mantra of ‘any old shit will do’ powering them through. “Working with Andy on the album was such a fun experience” Spencer says. “We managed to get so much done and were laughing pretty much the entire time. He had a lot of creative ideas and helped us record things that would have been impossible for us to do at home.” The album was then mixed by Tom Carmichael (Porridge Radio/Matt Maltese) over in Margate where Spencer and Scott both went to school.
Throughout the record, Spencer’s lyrics combine a yearning for meaning with dry observations about pop-culture, conspiracies and McDonalds; juxtaposing the celestial with the everyday, to the tune of a slacker Gameboy rhapsody.
“Working on this project and album has really been my life’s work so far so it’s scary but also a big relief to finally be able to let it go and share it with the world”, Spencer says of the upcoming release. “We’re completely independent so it’s taken patience and a lot of hard work to get to this point but it’s been a wonderful journey”.
Pynch have certainly been on a journey and it’s plain to see that they have done things their own way. Since forming at university, they have played over a hundred shows around the UK and Europe, joined the Libertines on tour, released their debut single on Speedy Wunderground, amassed 2 million streams on a song recorded with just an SM57 and received support from The Guardian, The Telegraph, Paste Magazine, So Young and NME. On Howling at a Concrete Moon, they have followed through on their creative vision and delivered ten stunning tracks that offer a compelling snapshot of what it is to be young and adrift at this strange junction of history.
Pynch, new wave, indie rock, lo-fi rock, London, nostalgic, fast forward, blending genres, brit pop, indie electronica, post punk, new album "Howling at a Concrete Moon", "Tin Foil",
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