“the range of sounds that they draw from has broadened considerably: percussion, strings, synths and, most noticeably, soaring wordless vocals build a bigger and more involving sound than their first release.” – Drowned In Sound
“a vivid, gorgeous, and multi-faceted release” – DIY
Watch the beautiful animated video by Dan Jacobs for Springworlds here, and listen below:
ANNOUNCE NEW ALBUM ‘WILD NIGHTS’ RELEASED ON 8TH JUNE
RELEASE NEW 7” SINGLE ‘TOO LITTLE TOO LATE’ ON 30TH MARCH
SLEATER-KINNEY SUPPORT IN MARCH & DRENGE SUPPORT IN APRIL
HEADLINE LONDON SHOW ANNOUNCED
With a slow motion video, which sees PINS, dressed exclusively by Saint Laurent, cut between visuals of screaming and swearing girls amidst overflowing glitter and powder, ‘Too Little Too Late’ is the perfect taster of the bands new album. Premiered this week on Marc Riley’s 6Music show, opening with a fearless drumbeat and heavy bassline, the track slows into a sparse momentary instrumental before reverting back to Faith’s alluring vocal and finally stampeding heavily into a fuzzed up sound clash of guitars and drums.
PINS say; “Writing the ‘Too Little Too Late’ lyrics was very cathartic, they spewed out like hot lava from an angry volcano. It is a middle-finger-to-the-world kind of song and the video mirrors that notion. Hell hath no fury like a woman scorned!”
The B-side to the 7” is a cover of The Misfits ‘Hybrid Moments’, a track the band also perform live, which was recorded for Part Time Punks and mixed by Josiah Mazzaschi.
Recorded in Joshua Tree at Rancho De La Luna with Dave Catching (QOTSA, Eagles of Death Metal) and Hayden Scott, and mixed in New York with Ben Baptie at Atomic Sound NYC (Mark Ronson), PINS second album ‘Wild Nights’ will be released through Bella Union on 8th June. The full album tracklisting is as follows:
Curse These Dreams
Dazed By You
Got It Bad
Too Little Too Late
House of Love
Accumulating high praise and a growing fanbase for their debut album ‘Girls Like Us’, along with packed out headline shows and tour dates supporting the likes of Crocodiles, Sleigh Bells, Warpaint, The Growlers and The Fall, tight-knit girl gang PINS have had quite a two years.
Following on from their first West Coast tour and performances at New York’s CMJ festival at the end of last year, PINS previewed songs from their new album at three sold out UK shows last week and have just been announced to support Sleater-Kinney on their March tour and Drenge on their April tour. They will also play a headline London show on 27th May at The Lexington. Full live dates are as follows:
March (with Sleater-Kinney):
Weds 18th Berlin Huxleys
Sat 21st Antwerp Trix
Mon 23rd London The Roundhouse
Tues 24th Manchester Albert Hall
Weds 25th Glasgow O2 ABC
April (with Drenge):
Fri 10th Nottingham Rescue Rooms
Sat 11th Birmingham The Institute
Mon 13th Gateshead The Sage
Tue 14th Glasgow The Classic Grand
Wed 15th Liverpool The Kazimier
Tue 21st London Electric Ballroom
14th-16th Brighton The Great Escape
Wed 27th: London The Lexington Headline Show
DOP: Ben Marshall
Art Direction: Natalia Christina
Make-up: Nina Ribena
Grade: Lewis Crossfield @ ETC
Production Company: Only
From HEYOON out May 4th. Pre-order here.
Bella Union are thrilled to announce the signing of Ezra Furman, whose 2013 album Day Of The Dog and riotous live shows with his band The Boyfriends won numerous 5 star reviews.
Furman, who The Guardian has called “a punk-fired rock’n’roll classicist,” has just announced news of his biggest London headline show to date, at Shepherd’s Bush Empire in October, the pre-sale tickets of which go on-sale tomorrow via Songkick followed by general on-sale this Friday 6th March. Date/info below:
Thursday 22nd October – LONDON – O2 Shepherd’s Bush Empire (TICKETS)
This show will follow the summer release of his as-yet-untitled first album for the label. The first taste of its unfettered melodies and charisma can be heard in the forthcoming single ‘Restless Year’ which is streaming here:
The news is the latest chapter in a musical career that redefines slow-burning. Day Of The Dog was already the American’s fifth album; looking back, it seems extraordinary that these early records passed relatively under the radar, given Furman’s inspirational blend of seminal influences, from Fifties skiffle and doo-wop to Sixties garage and the righteous mix of urchin charm, winning melody and caustic humour of Jonathan Richman and The Violent Femmes. But Furman is a true original, equally tapping the godheads of power pop and country blues, with honking saxophone as much a lead instrument as guitar.
Day Of The Dog was dedicated to, “all those who are rejected, abused, destitute, misunderstood, bullied, forsaken, broken-hearted, hopeless, sick, strange, lonely, alienated, widowed or orphaned,” and Furman gives emotionally charged voice to the aforementioned while penning lyrics that jump off the page. The punchy middle-eight of ‘Restless Year’ – “Death is my former employer / Death is my own Tom Sawyer / Death waits for me to destroy her / I never wanna die and I never grow older” – is brilliant testimony to his mixture of outsider-angst and life-affirming energy, which is always reflected in his electrifying stage persona.
Summer 2015 will see the release of Furman’s most fully realised and streamlined record, chock-full of snarling, zestful tunes and invested with the feeling that, this time, people are paying attention. “One of the main things my music is about is feeling totally insane!” Furman concludes. “I feel desperate a lot – desperate to try to explain something, I’m not sure what it is. You can hear it in a lot our songs; that I’m trying to shake people by the shoulders and explain something. And when you feel like that, here’s some music to put on!
A video for ‘Restless Year’ is coming soon along with news of further live shows.
We are thrilled to be releasing our first record with Clarence Clarity today, No Now.
This is what Dazed said about it:
No Now, and its hyper-saturated, tumblr-ready cover, is like a music lesson in digital chemistry; layers upon layers of sleazy funk warped synth lines, clattering glitch patterns and contorted vocals collide to create a kaleidoscopic web of sound. That many elements should really sound chaotic, but instead the London artist creates something like popping candy for the ears.