"I’m not really trying to fall in love // I still wonder if I’m good enough // All I’ve ever known is Rock and Roll // It’s wonderful, It’s wonderful..."
The unabashedly joyous and gorgeous indie rock cool of "It's Wonderful" by UK hybridic indie rock outfit Pynch and from their sophomore album "Beautiful Noise", that dropped on October 3rd (2025) via Chillburn Recordings, begins in lovely understated way as it was surely in it's embryonic state when probably written on the bedroom floor but 38 seconds in erupts into it's jammy universe. Everything here is so easy to love from the bending guitar notes, the propulsive beats with happy snare fills, and the sort of 90's indie rock / post punk rattle and jam aesthetic including an artfully askew double lead outro, and, yes Spencer Enock's evocative lead vox.
The chorus-less song although a verse refrain repeats make is wildly interesting as it gets to the point early on. LINER NOTES (excerpted / bracketed) reveal what kind of love song this is:
["It’s Wonderful" is our love letter to music - a slacker rock celebration of the joys and perils of devoting your life to art. The lyrics are an ironic but sincere portrait of being in a band and chasing your dreams.
There’s also line about always dreaming of making it to New York, and not long after writing it we were invited to play The New Colossus festival over there. I like to think that this song helped make that dream come true!]
There’s also line about always dreaming of making it to New York, and not long after writing it we were invited to play The New Colossus festival over there. I like to think that this song helped make that dream come true!]
Pynch continues to surprise. I have described their sonics as both the mid 80's and "a kind of mid / late aughts punk tropicalia of The Drums and also spoke of their freewheeling dreaminess and tightly wound progressive indie rock (with power pop) feeling artistically adjacent to the diverse differences of bands like The Kooks, Foals and Bloc Party. In the end, comparisons matter less than Pynch creating songs that transport you to dreamy places that inspires, that makes life somewhat more meaningful.
-Robb Donker Curtius
Lyrics:
I’m not really trying to fall in love
I still wonder if I’m good enough
All I’ve ever known is Rock and Roll
It’s wonderful, It’s wonderful
I really thought that I could change the world
I couldn’t even change for my girl
‘Cause all there’s ever been is Rock and Roll
It’s wonderful, It’s wonderful
Verse 2
I’m not the guy to tell you how I feel
But you can count on me to keep it real
Searching for truth and playing Rock and Roll
It’s wonderful, It’s wonderful
I really thought I’d make it to New York
But making money never was my sport
I made a mess so I could sing sad songs
It feels so good it must be wrong
Bridge
Cause I went crazy trying to make it
You know it’s lonely when the sun sets
Rip that keyboard out your baby’s arms
It feels so good it must be wrong
Verse 3
I’m not really trying to fall in love
I still wonder if I’m good enough
All I’ve ever known is Rock and Roll
It’s wonderful, It’s wonderful
I really thought that I could change the world
I couldn’t even change for my girl
‘Cause all there’s ever been is Rock and Roll
It’s wonderful, It’s wonderful
Additional LINER NOTES (excerpted / bracketed):
[Beautiful Noise marks a new chapter for Pynch. After founding member James Rees stepped back following their debut, Myles Gammon joined on synthesisers in 2024, bringing new textures to the band’s evolving sound. Spencer’s brother Scott contributes the album’s artwork with his self-developed 35mm photography providing a striking visual accompaniment and typifying the DIY ethos of the band. Alongside drummer Julianna Hopkins, who also provides vocals and synth parts on the record, each member brings a distinct voice to the band’s identity. Fittingly released on the band’s own label, Chillburn Recordings and distributed by The State 51 Conspiracy, Beautiful Noise is a labour of love in every sense.
This is not a record of answers but of small moments and big questions. Of spiritual yearning disguised as slacker pop. As Spencer puts it: “We wanted to make a record that’s authentic and reflective of who we are a band. We mostly recorded it in my bedroom in Brixton with the help of some incredible people. It’s all about love, death and the wonder of being alive in the first place. It was a joy to make, and I think you can hear that in the music.” In a time that asks artists to self-brand, self-sell, and self-commodify, Pynch have made something else. Something messier, stranger, and more human. It’s a deeply personal record made by a band still figuring things out and finding something transcendent in the process.]
THE FACTS AS WE KNOW THEM
https://soundcloud.com/pynchband
https://www.youtube.com/channel/UCYI5DN-Ha20K3t7fOeEdFIQ
https://www.instagram.com/pynchband/
https://www.facebook.com/PynchBand/
https://x.com/PynchBand
https://pynchband.com/
https://pynch.bandcamp.com/album/beautiful-noise
Following their acclaimed debut "Howling at a Concrete Moon", a coming-of-age record that captured the disaffection of youth in austerity-era Britain, Pynch return with Beautiful Noise. Less concerned with making sense of the world around them, their second fulllength shifts its gaze inward, taking a trip though love, death, faith and the pursuit of meaning through art.
Produced by frontman Spencer Enock in the band’s home studio, with drums recorded by Stereolab’s Andy Ramsay at Press Play Studios, "Beautiful Noise" is a lo-fi odyssey that feels both more intimate and more ambitious than its predecessor. Mixed by Jimmy Robertson (Fat Dog / Los Campesinos!), the album is a kaleidoscope of distortion, new-wave synths, breakbeats and glitchy vocals presented in playfully DIY fashion.
This approach to production is narrated in the meta-pop of “Post-Punk”, where Spencer sings, “I’m playing with a drum machine, I’m glued to my laptop screen / I don’t know what I’m doing but maybe that’s where the truth is”. The same slacker sincerity runs across the record, from the summertime melancholy of “Forever” to “Hanging on a Bassline’s” plea for cheap beer and understanding. Despite the existential weight of its themes, Beautiful Noise is filled with irreverent charm and warmth.
Throughout the album, everyday snapshots like searching for the perfect pair of jeans or reading relationship advice on Reddit are set against plainspoken philosophy. “Microwave Rhapsody” ponders the meaning of life: “Does it even matter at all? / I thought I could be anything / Is there really something more?”, while the title track asks, “Is it all just a Beautiful Noise? / Daily pain and joy before we return to the void?” These juxtapositions form the heart of Pynch’s sound: intimate but cinematic, melancholic but playful, lo-fi yet expansive.
Just as inspired by Jonathan Richman and Sufjan Stevens as they are Pavement and New Order, the songwriting on Beautiful Noise is sharper, more confident and often more vulnerable. “How to Love Someone” and “Revolve Around You” trace the breakdown of a relationship with burning catharsis, while “The Supermarket” explores modern ennui and alienation. “Come Outside”, the penultimate track, is a breathless duet between Spencer and drummer Julianna Hopkins that weaves the album’s themes into poignant yet hopeful collage:
“It’s in the misspent weekends, the sun, the sea, the seasons,
The aching heart that’s beating, the English air we’re breathing.
It’s in the fading dreams that we choose to believe.
It’s in the mystery of being anything.”
The record then closes with “It’s Wonderful”, which strikes a chord of chaotic bliss, celebrating the act of creating art as an end in itself while delivering one final bittersweet confession:
“I really thought that I could change the world / I couldn't even change for my girl / All I've ever known is Rock and Roll / It's wonderful, it's wonderful.”
Following their acclaimed debut "Howling at a Concrete Moon", a coming-of-age record that captured the disaffection of youth in austerity-era Britain, Pynch return with Beautiful Noise. Less concerned with making sense of the world around them, their second fulllength shifts its gaze inward, taking a trip though love, death, faith and the pursuit of meaning through art.
Produced by frontman Spencer Enock in the band’s home studio, with drums recorded by Stereolab’s Andy Ramsay at Press Play Studios, "Beautiful Noise" is a lo-fi odyssey that feels both more intimate and more ambitious than its predecessor. Mixed by Jimmy Robertson (Fat Dog / Los Campesinos!), the album is a kaleidoscope of distortion, new-wave synths, breakbeats and glitchy vocals presented in playfully DIY fashion.
This approach to production is narrated in the meta-pop of “Post-Punk”, where Spencer sings, “I’m playing with a drum machine, I’m glued to my laptop screen / I don’t know what I’m doing but maybe that’s where the truth is”. The same slacker sincerity runs across the record, from the summertime melancholy of “Forever” to “Hanging on a Bassline’s” plea for cheap beer and understanding. Despite the existential weight of its themes, Beautiful Noise is filled with irreverent charm and warmth.
Throughout the album, everyday snapshots like searching for the perfect pair of jeans or reading relationship advice on Reddit are set against plainspoken philosophy. “Microwave Rhapsody” ponders the meaning of life: “Does it even matter at all? / I thought I could be anything / Is there really something more?”, while the title track asks, “Is it all just a Beautiful Noise? / Daily pain and joy before we return to the void?” These juxtapositions form the heart of Pynch’s sound: intimate but cinematic, melancholic but playful, lo-fi yet expansive.
Just as inspired by Jonathan Richman and Sufjan Stevens as they are Pavement and New Order, the songwriting on Beautiful Noise is sharper, more confident and often more vulnerable. “How to Love Someone” and “Revolve Around You” trace the breakdown of a relationship with burning catharsis, while “The Supermarket” explores modern ennui and alienation. “Come Outside”, the penultimate track, is a breathless duet between Spencer and drummer Julianna Hopkins that weaves the album’s themes into poignant yet hopeful collage:
“It’s in the misspent weekends, the sun, the sea, the seasons,
The aching heart that’s beating, the English air we’re breathing.
It’s in the fading dreams that we choose to believe.
It’s in the mystery of being anything.”
The record then closes with “It’s Wonderful”, which strikes a chord of chaotic bliss, celebrating the act of creating art as an end in itself while delivering one final bittersweet confession:
“I really thought that I could change the world / I couldn't even change for my girl / All I've ever known is Rock and Roll / It's wonderful, it's wonderful.”
Pynch, UK new wave indie rock band, dreamy, post punk, art pop, nuwave, alt pop, art punk, hybrid rock, hybrid pop, vocalist Spencer Enock, booming, power pop, punk tropicalia, "It's Wonderful", Official Video,
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