Grandfeathered

St Petersburg's shoegaze phenomenon - Pinkshinyultrablast, return with vengeance...well, they never really went away, as their last offering, the stunning 'Everything Else Matters' - so colossal in structure, was released barely a year ago.Thankfully, 'Grandfeathered' is a continuation on the tried and tested FX laden noise - fests of past, where the band have pushed it up a notch, to almost nuclear levels. Imagine the power of a thousand distorted guitars fighting an epic battle through one humongous kick-ass amp.Of course, it's not all about ferocious feedback. The bands genius inclusion of a voice, so feminine, so angelic, is a definite lesson in understanding how to tone down such a harsh environment of sound. Thanks to some pretty incredible engineering/production work, Ms Soloveva's pure vocal tones work so affectively, allowing the softness of her voice to rise majestically above the barrage of sound - never to be overpowered. Ok, we need a translator to decipher what she's actually singing? - but it worked for Elizabeth Frazer and The Cocteau Twins, so why not this band.Strangely, there is a slightly different approach on the first track. Bone crunching/abrasive guitar, takes a back seat, allowing the piece to gradually form with an almost oriental feel. Enter the lushest of voices and forceful bass, as the tempo changes with a wonderful bass drum/percussive accompaniment. Such a great way to start.It's one of the endearing qualities of the band, the gradual formation of the music, where you can never predict how each track is going to form - or what direction it will follow? That's because they are so abstract in composition. It's what I love about the band. Every track you hear, is a: "Well I wasn't expecting that?"Maybe the first track was a gentle warm up on proceedings? Just to break you in, before the onslaught. From there on, it's a full on sensory assault, with no let up. Prepare to be battered sideways by the sheer ferocity of guitar carnage and the total change in contrast, with a voice sent from heaven and the jingle/jangle of clean guitar.I've heard many bands play with such zeal and contempt - and bar the usual shoegaze suspects, another one of my favourite makers of feedback mayhem - The Jesus and Mary Chain, and the track 'Never Understand' - off Psychocandy, also comes to mind, with that same dirty distorted sound - though comparisons with other bands, should be kept to a minimum, as this band are so original - it hurts.And as was expected - when playing 'Ziggy Stardust and the Spiders From Mars' - as should be done with 'Grandfeathered'..."TO BE PLAYED AT MAXIMUM VOLUME" - if you dare?

A very strong second album which should more than justify Pinkshinyultrablast's critical potential - and a recent move to Los Angeles is a big statement of intent.First off, this is a far thicker and denser sound than on the debut; the guitars and effects are turned up to an ultra-intensity in the mix, for example in the opening to 'Mölkky' and during sections of 'Grandfeathered' - which may explain one of the weaker reviews amounting to "impenetrable" and lacking personality... eerh? Quite simply these guys have left behind the facile bagging into the category of 4AD/Creation-ism. Pinkshinyultrablast could even make the rationale for raw talent producing an effortless flow without the studious lifting of the past, since on a philosophical level at least Grandfeathered begs the question: if musical genres have a teleology can they only be unleashed by cool visionaries...?But now an electronic sensibility adds to the band's palette, starting with the 'Initial' track which is somewhere between the trip hop dance of Sneaker Pimps and alternative rock of Garbage - both mid nineties bands. The synthesizer treatment spatters over the rest of the album to sanguinely lift the mood out of the heavy distortion, for example on 'Comet Marbles'. But what is most striking on this relatively short 8 track bonanza, is the deftness of production arrangements laid out like a Fortnum and Mason hamper spread you might just want to take a moment to appreciate before gorging; the sophisticated use of silent breaks and a decrescendo 3 mins into 'Kiddy Pool Dreams' are a few of the noteworthy dynamics to listen for from a purely technical angle.Stand outs for me which show off their trademark forte delicato alternanza (which I believe inspired the album title) are 'I catch You Napping', 'The Cherry Pit', and Mölkky (the shortest song at 4:16 mins!) which all lurch between Cocteauy Lushness and Muse-like mercurial bursts of pure energy - though it may require a sea change in the musical establishment for them to be allowed any serious airplay outside of the festival season.With such contrasting elements, it is a tribute that all the band members hold their own in the talent stakes (Igor - bass, Lyubov - vocals, Sergey - drums, Rustam - synths and electronics, and Roman – guitars). As the front person the insouciantly graceful Lyubov continues her trail of ethereal ectoplasm juxtaposing the speed guitar-riffing, sparkling lead textures, frenetic bass pulsations and jazz inspired drums which fit around math rock and progressive alt structures - check out 'Glow Vastly' and the coda to 'The Cherry Pit' to name but a few.There are so many moments which make for one unholy amalgam of disconcerting complexity - and even dare one say hell raising ('Kiddy Pool Dreams'). And with the majority of songs at well over 5 minutes in length there is a lot to digest (possibly for the newcomer - sorry Pitchfork it might mean some effort). Here's hoping that Pinkshinyultrablast's muse does not wane on Venice Beach, and the inclusion of electronica into their set augurs well for more excellent albums to follow.It is not often a band like this comes around.