PINS Debut Single “Waiting For The End” Detail Release of ‘Girls Like Us’ on Bella Union”Direct descendants of Manc rabble-rousers The Fall (in sneery attitude), with a scratchy dose of C-’86 style pop hooks.” Brooklyn Vegan
“Manc post-punk monochromatic minimalism, Adam Ant drums, Siouxsie declamation, banshees guitar – this is sublime.” The Sunday Times
To say there’s excitement for Girls Like Us, the storming debut album by fiery Manchester four-piece PINS, would be an understatement. Even before the rousing reception to their oscillating, reverb-drenched EP LuvU4Lyfon Bella Union last autumn, first shows in disused office blocks and hotel basements left barely an inch of elbow room whilst an uber-limited gold cassette single released on their own Haus of Pins label flew off the shelves quicker than a hipster uploading an Instagram snap.
Now PINS arrive on US soil, lining up a run of SXSW shows along with the release of Girls Like Us for the incomparable Bella Union on March 4th.
PINS – Waiting For The End from PINS on Vimeo.
They don’t appear to be daunted one bit. Thick as thieves, this is a girl gang who’ve since battled line up changes, taken on European terrain, and scoffed in the face of supposed Armageddon by hosting their own swansong gig in a warehouse. Akin to cult 60s novel/70s film The Warriors, PINS are true fighters; a taut rebel unit living out their own manifesto and defending their turf as purveyors of brooding guitar pop.
Purists at heart, PINS recorded the album as live at Liverpool’s Parr Street Studios for its vast selection of analogue gear; it was self-produced and nailed within a week. Such is the understanding of and dedication to their girl gang feel, PINS even learned guitar parts backwards and brought in found sounds to give Girls Like Us its desired effect. The pitch and tempo of “Play With Fire” was manipulated to make it sound like warped vinyl whilst Sophie covered her floor toms with tea towels to give the relentless beatific rhythms a distinctive boxy sound. The footsteps at the beginning of “Howlin’” is the sound of Faith walking from the control room to the vocal booth.
Comparisons to other gangs (of New York) Vivian Girls and Crystal Stilts will be inevitable, yet PINS’ femme fatale extends far beyond that of C86 tribute. Here seemingly straightforward guitar pop is choked with atmosphere created by group chants a la The Shop Assistants and the abrasive sonic experimentation of Jesus and Mary Chain. Energetic, focused, and ruthless, Girls Like Us is the album PINS wanted to make and for us to hear. We’re grateful. This is an exclusive invitation to PINS’ very own midnight summit.
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