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 their second album Beautiful Noise, released via their own Chillburn Recordings label. Less concerned with making sense of the world around them, their second full-length shifts its gaze inward, taking a trip through 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.
“Hanging on a Bassline” is a breezy highlight from Pynch’s sophomore effort, and it does a beautiful job of emphasizing the singularity of this exhilarating young band. With an infectious atmosphere that rains nimble electronics and toe-tapping melodies down on the listener, the band captured a jovial snapshot of their individuality here. The vocal performance dances with the expressive arrangement, kicking up a cloud of red, lo-fi dust that casts a haze over the nuanced grooves and vivid imagery. “Hanging on a Bassline” only scratches the surface of the meticulous approach Pynch brings to indie rock. The way the band packs so much personality and familiarity into this tune is just one reason to sprint to listen to the rest of Beautiful Noise, an album carefully crafted for those who care.
“‘Hanging on a Bassline’ is a celebration of the chaos and euphoria of your 20s. A song for late-night taxis, dancefloors, and watching the sun come up,” explains the band. “We experimented with a few new production ideas when recording this one, and it’s one of our absolute favourites to play live.”
