Posts Tagged ‘Pins’


When Manchester, England-based band Pins’ original rhythm section decided to move on it left founding members Faith Vern and Lois MacDonald (plus Kyoko Swan) with a conundrum in terms of how to move things forwards. “We had to figure out a different way of making music without a traditional drummer,” explain Vern. “Lois was really getting into all the drum machines and synthesizers, so it was getting a little more electronic at that point anyway.” 

The trio decided that rather than recruit new permanent members they’d work with a rotating cast of collaborators. It was a bold move but it certainly paid off as their third album Hot Slick is arguably their most cohesive work to date. The band sound bigger and brighter than ever and they have crafted an album that still maintains all the edginess that made PINS such an interesting proposition in the first place, but they’ve also expanded their sonic palette and taken it onto a sticky neon-lit dance floor. 

“We wanted this album to be a bit more electronic but keep that dark energy in there,” explains Vern. “I think it’s certainly the first album we’ve done which you can dance to. The beauty of the set up now is it’s just the three of us at the core and we can bring in anyone else who wants to collaborate and people can come and go as they please. In that way, there’s a lot less pressure. And when we were writing the album our roles were flexible and interchangeable. So for example, Lois played the guitar on some tracks, I played on some, and Kyoko did. It was like if you’ve got a bass guitar next to you just pick it up. It was a lot looser in that we didn’t have assigned roles which made us much freer.”

After releasing their second album, Wild Nights, via Bella Union, Vern explains why the band decided to self-release again via their own Haus of Pins label. “When we were with Bella Union, creatively it was great, but financially it was a bit of a struggle,” she says. “That’s simply due to the nature of record contracts. Abbey and Simon [Raymonde], who run the label, were always hugely supportive. At the time we felt like we needed some additional support from the wider team there. Eventually, we felt perhaps we weren’t getting what we wanted out of things.” 

After looking around to see what other deals might be on offer, the band weren’t overly impressed. Vern explains that most labels “were all about taking more off us than we were willing to give and we certainly didn’t want to give up creative control.” 

PINS tested the waters by releasing their 2017 EP, Bad Thing, and 2017 single, “Serve the Rich,” on Haus of Pins. “We worked with Cargo records who took on aspects we didn’t know much about such as getting records pressed, storing them, and the distribution to record stores which hugely takes the pressure off,” Vern says. 

And besides releasing their own music, when the band began the label back in 2012 they supported other emerging artists, releasing early recordings by the likes of Dream Wife, September Girls, Abjects, and Cheri Cheri Jaguar. Vern admits they wouldn’t be averse to exploring that aspect of the label again. “It would be nice to release more vinyl in the future and start releasing other artists. But let’s see how the land lies after all this corona shit is over!” she laughs. “I mean the music business was a struggle before this, but being a self-releasing band at least we can actually put our album out! I know other artists have been advised by their labels not to put anything out yet, but who knows what will happen?”

Hot Slick released on 29.05.2020

It’s been more than a minute since we’ve gotten a full album from Manchester outfit Pins, but today they’ve revealed a May 29th release date for “Hot Slick”, their first since 2015’s brilliant Wild Nights. To go along with the news, the indie post-punk trio dropped the single “Ponytail,” .

“Ponytail” is glorious with its serpentine beat in front of singer Faith Vern cooing about being up all night with her hands in the air, high heels and guitar on while she whips her ponytail from side-to-side without a care in the world. The song is the third single from Hot Slick, following the record’s title track and exquisitely addictive “Bad Girls Forever,” both released last month.

“Have you ever had a bad day and instead of crawling into bed with a bucket of ice cream, you swipe your mouth with some lipstick, put your high heels on and go out to dance?” asks Vern. “That’s what ‘Ponytail’ is about.”


Though they’ve not released a full length in sometime, PINS haven’t been out of the spotlight entirely, dropping an EP here and single featuring Iggy Pop there, but have also been adjusting to the departure of their original rhythm section. Singer/guitarist Vern, along with guitarist Lois MacDonald and bassist Kyoko Swan, have been joined by a rotating cast of collaborators in the studio, including The Kills Jamie Hince and Nathan Saoudi of Fat White Family. The result is a bevy of strutting synth nods on Hot Slick to everyone from Soulwax and Suicide to New Order.


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Hard to believe it has been five years since Manchester based trio PINS released Wild Nights.

Again we’re a bit late to the party, but Hot Slick, their third long player will be out on 29th May via their own Haus of Pins label. Three tracks have already been shared from it (see below) and now we have Ghosting, which also features Nathan Saoudi from Fat White Family on additional keys. It is a cracking indie anthem shot through with some techno-trance vibes that dials up the sleaze factor. Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester’s PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let’s face it that’s pretty much most of us. Tracks like ‘Read My Lips’ and ‘Bad Habit’ are fine examples of a dark but alluring edge this lot seem more than capable of creating, while ‘Daisies’ could almost replace Wilson Phillips to score the final scene of ‘Bridesmaids’. Which is certainly no bad thing. “We can keep going” the band threaten over ‘Ghosting”s compressed but intense rave punk. Based on this, we’re more than happy with that idea.

Hot Slick will be released on 29.05.2020

Two years ago, the tough and tuneful Manchester band Pins impressed us with their debut album Wild Nights. Earlier this year, they followed it up with their Bad Thing EP. And now, they’ve come out with a crunchy, steely-eyed new single “Serve The Rich.” The band recorded it with producer Jamie Hince, one half of the Kills, and it’s got some of that band’s forbidding throb. But it’s playful, too, and it’s a logical extension of what Pins have been doing for the past few years. Below, listen to “Serve The Rich” and read what the band has to say about it.

Jamie played us a reworked version of the demo and we were all blown away. I felt like he’d reached into my head and created the sound I’d been imagining.

The track is about how sometimes we feel like we only exist to make money for other people, it’s a swizz. We are promised things by saviours, these people who have come to rescue us, but it’s not true. “Serve The Rich” was my opportunity to assert myself. I’m saying that we as PINS, musicians, women, Labour voters, and feminists, are here to save the kids, we’re here to save each other, we’re here to save ourselves.

The song has been in their current live set, with the band leaving a trail of glitter-strewn destruction across the land.

‘Serve The Rich’ gains a limited vinyl pressing, Faith’s pointed vocal takes centre stage, urging: “I’m only here to serve the rich, I’m only here to save the kids…”

PINS – ” Bad Thing “

Posted: September 28, 2017 in MUSIC
Tags: , ,


The EP features five new tracks, and as well as the Iggy Pop-featuring cut, PINS are including a cover of Joy Division’s “Dead Souls”.

“We had talked about doing a Joy Division cover – I think it was Faith [Vern, vocals/guitar] who suggested ‘Dead Souls’,” say PINS. “Because we were in a rickety cottage and not a studio there was no isolation – so when people were recording parts everyone else had to be super quiet.”

Bad Things, the follow up to 2015 LP Wild Nights, was recorded in a studio along the Scottish Borders with Mark Vernon on co-production duties with the band.

“We took all the gear we could possibly find and locked ourselves away in the Scottish wilderness for a fortnight,” the band add. “[We were] expecting to do some demos, and coming away with an EP that we really loved. It was an immersive experience – there was no civilisation for miles around so we were free to make noise and experiment.”

Taken from the PINS EP ‘Bad Thing’ released on 24th March 2017 on Haus of Pins.


PINS, the Manchester quintet, have teased a future collaboration with Iggy Pop, something that coupled with the deep knowledge of the extensive artistry that underpins everything the band does has got us salivating. The Manchester band PINS got Iggy Pop to feature on a new track that’ll be featured on their forthcoming EP, “Bad Thing”, its the follow-up to their 2015 full-length album “Wild Nights”. The band explained that they got him to record his spoken word part by asking via e-mail through their booking agent, who happened to be friends with Iggy’s manager.

Iggy had to say this about the collab.  “I’ve got a session with a bunch of girls from Manchester called PINS, they sent me a good song and they’re looking for a narration in it, and I liked their music and their picture, so I’m doing that.”  PINS explain: “‘Aggrophobe’ is the wild card from our EP. The video was filmed partly at the director’s studio in Ancoats and partly at one of our favourite pubs on Oldham Street called Gulliver’s. We we’re backstage waiting to go on to play a show, whilst the other acts are doing their thing.”

Catch Pins at the Cookie in Leicester next week. also Instore on Record Store Day at Rough Trade Nottingham

01 “Bad Thing”
02 “Aggrophobe” (Feat. Iggy Pop)
03 “All Hail”
04 “In Nightmares”
05 “Dead Souls”

21/04 Leicester, The Cookie 

Image of The Jesus And Mary Chain - Damage And Joy

The Jesus And Mary Chain are set to release their long-awaited new album ‘Damage and Joy’ on March 24th, their first since ‘Munki’, back in the summer of 1998. The Reid brothers have enlisted the help of super (as in cool, not megabucks!) producer Youth and he has coaxed and cajoled these perma-scrapping siblings (still, even now!!) into producing a magnificent distillation of everything we’ve come to love about their sound.

Fuzzed up trashy or broken and blue, Jim’s honeyed voice takes us over familiar territory while William scuzzes things up in the wings. The songs are all classic Mary Chain.
With the help of Isobel Campbell, Sky Ferreira and the Reids’ own sister Linda on vocals, there’s also a freshness to their palette, bringing their much imitated sound back up to date, here in the now.  It’s great to have them back!

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500 limited edition 12” on Cadillac pink vinyl. Manchester all-female five-piece Pins release a new EP Bad Thing, through Haus Of Pins and features Aggrophobe, their single with the legendary Iggy Pop. Following the release of their acclaimed second album Wild Nights last year, Pins went back into the studio to work on new tracks. Recorded in a studio on the Scottish Borders last October and produced by Mark Vernon and the band themselves, the EP features 5 new tracks, which includes a cover of Joy Division’s Dead Souls. The EP opens with the teasing Bad Thing before moving into the addictive Aggrophobe, featuring Iggy Pop’s iconic vocal, leading onto the chant-like pop of All Hail and the dreamy and synth-laden In Nightmares, before ending with Pins own take on Dead Souls. The four new tracks are synonymous with Pins’ sound but also showcase a vigorous, more mature side to the band, making up a solid and impressive musical body of work.

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Desperate Journalist release their second album, Grow Up, ostensibly eleven tracks of rocketing leftfield delights propelled forth with thundering rhythms, thunderously spectacular guitar and Jo Bevan’s thunderstruck vocals. Such is intense life with Desperate Journalist, one of the most potent, important DIY bands lurking on the underground scene right now.

Image of The Moonlandingz - Interplanetary Class Classics

They began as a fictional band from a fictional town featured on the Eccentronic Research Council’s 2015 concept album Johnny Rocket, Narcissist And Music Machine… I’m Your Biggest Fan. Now The Moonlandingz have lurched, sticky and bleeding, into the real world and are releasing the first great album of 2017. Interplanetary Class Classics, released on Transgressive Records, is a feast of swirling juddering synths, wailing guitars, motorik stomp and extraordinary songwriting. The Moonlandingz have proven themselves to be one of the best live bands in the UK (“Magnificent, cosmic and batshit!” said The Quietus. “Feral antics and louche anarchy!” said The Guardian) and now they’ve produced an album of proper weird catchy glorious filthy pop.
The Moonlandingz is Eccentronic Research Council’s Adrian Flanagan and Dean Honer in cahoots with Fat White Family’s Lias Saoudi (aka frontman Johnny Rocket) and Saul Adamczewski. They recorded the album with Sean Lennon at his studio in upstate New York. Also on the record: Randy Jones the Cowboy from The Village People, Rebecca Taylor from Slow Club, drummer Ross Orton, bassist Mairead O’Connor, Phil Oakey and YOKO fucking ONO, who sings and yowls on epic closer This Cities Undone.

Image of Sonic Jesus - Grace

Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut ‘Neither Virtue Nor Anger’; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album ‘Grace’ goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

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Limited to 1000 Copies. Long Time is the second single off Blondie’s new album Pollinator and comes backed with exclusive B-Side Breaks.

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On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year’s aptly named Turn Into compilation showcased a fuzz-loving artist in flux – chronicling her mission to master bedroom recording – then the rising Oakland star’s latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever – writing, recording, playing, and producing every sound beyond a few backing vocals – but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. Everybody Works was made in three furious, caffeinated weeks. She came home from the road, moved into a new apartment, set up her bedroom studio and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like Lipstick Stains all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like 1 Billion Dogs and in the melodic distortions of Take It, we also get the sublimely spacious synth-pop beauty of Remain, and the luxe, proggy funk of One More Time, Please.

Image of Samantha Crain - You Had Me At Goodbye - Bonus Disc Edition

Fifth album (third for Full Time Hobby) from Samantha Crain, following 2015’s “Under Branch & Thorn & Tree” and the 2014 album “Kid Face.”

Written over 4 months at the back end of winter whilst at home in Norman, Oklahoma, You Had Me At Goodbye was penned whilst Samantha was working shifts at a pizza place to save up money for touring, recording, paying bills, and as a self-confessed ‘film nerd,’ binge watching movies. “Oklahoma is beautiful but my relationship with it is complicated. There are mountains, plains, prairies, rolling hills, high deserts and plateaus, with an amazing creative community of people making beautiful visual art, interesting films and loud music. But it’s extremely Christian, conservative, and whilst people say it’s ‘friendly,’ really, people are only friendly if you’re white and aren’t dressed unconventionally. I feel welcome and alienated all at once.”
Bolstered by the visionary production of John Vanderslice (Spoon, the Mountain Goats, Strand of Oaks), mixed and engineered by Jacob Winik (The Magnetic Fields, Hot Buttered Rum), Samantha returned to the Bay Area in California to, once again, record the album in analog at Tiny Telephone Studio.

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Iggy Pop had hit bottom after the messy breakup of the Stooges and he needed help, and when friend and fan David Bowie offered to lend him a hand, he was smart and grateful enough to accept. Bowie produced Iggy’s first solo album, The Idiot, and after Iggy set up a tour to promote the record, Bowie put together the band and tagged along as their keyboard player. Bowie’s presence insured a larger audience than Iggy had attracted during the grim final days of his band, and he was determined to prove he could deliver the goods without making a spectacle of himself or collapsing into a drug-sodden heap on-stage. Unfortunately, anyone familiar with Iggy’s body of work knows the last thing you want from one of his live shows is a professional-sounding performance without a sense of danger, and unfortunately, that’s what the audience got during this March 21st, 1977 show in Cleveland, OH, part of a three-night stand Iggy and the band would perform at the Agora Ballroom. Iggy & Ziggy: Cleveland ’77 finds Iggy in fine voice, and at a time when he had a lot to prove, he leaves no doubt he was a solid musician and showman, singing with a sense of control and dynamics he couldn’t approach with the Raw Power-era Stooges. However, Iggy also seems clearly afraid to push this material too far, and the caution robs the songs (nine of which are drawn from the Stooges‘ songbook) of much of their life force. Even worse, guitarist Ricky Gardiner doesn’t seem to know what to do with the Stooges material — he’s at least as skillful as Ron Asheton or James Williamson, but his attack is so toothless and polite that he reduces some of the greatest rock songs ever to mush. (Bowie’s keyboards are not nearly as ill-advised but they don’t fit the old material very well, though Hunt Sales and Tony Sales are a great rhythm section who do what they can to give Iggy the energy he needs.) Some of the material from this show also appeared on Iggy’s lamentable live album TV Eye Live.

HERE COME TROUBLE… Side 1 -Trouble, Side 2 – I’ll Get Mine & Trouble remix by @bernardvedith limited edition sexy red vinyl OUT 16th April #RSD16

“Trouble” is a slithering, skulking post-punk song with schlocky B-movie horror organs and riffs that feel like needles on nailbeds. Although its strange and sinister, this is intoxicating – with its reliance on bass and percussion and dirty licks, it’s a catalyst for lust.

Sarah Jenny Johnson and Olivier Richomme have directed the clip, which is shot in striking black and white and full of intense close ups, which only serve to heighten the song’s sultry nature.

“Trouble” was recorded at Strangeway Studios – where they recorded their debut EP four years ago – with Martin Hurley and Daniel Broomhall. The quintet’s Faith Vern says of the track’s creation: “There is a nice symmetry to it – we travelled to the other side of the earth to record our last album, toured here there and everywhere then ended up back at home in Manchester. It was weird to stand in the same spot to sing, thinking about everything that had happened between then and now. ‘Trouble’ was written quickly in our rehearsal room. Lois played this Cramps-esque guitar part and we built it up from there – I thought the music was filthy and deserved some sexy words.”

The limited edition red 10″ will also feature “I’ll Get Mine” (also brand new) and a Bernard + Edith edit of “Trouble”. It’s out tomorrow (16th April) at record stores across the UK.

Record Store Day 2016 Release. ‘Trouble‘ is a tale of infatuation, the story of a femme fatale, it’s a celebration of the power that only a woman can hold. 10″ red vinyl. Limited to 500 copies.

In their ongoing attempt to be the garage rock Greta Garbo, U.K. act Pins have just released a teaser trailer for the fact that they will have a new album out this summer. We do know it was recorded in Joshua Tree, CA, and will be released in June of this year. Their 2014 debut, Girls Like Us  released on Bella Union , was a solid, shadowy slice of grrrl-garage, and last fall’s appearances during CMJ festival showed them getting a bit darker even, so we shall see what the follow-up has in store. If you are in the U.K. at the end of February you’ll be able to get an early listen, but for now the rest of us will have to be content with this album tralier.

PINS – ” Got It Bad “

Posted: November 24, 2015 in MUSIC
Tags: , ,

Our Track today comes from our favourite Manchester gang, Pins . Built on a passion for punk and post-punk the band of brethren are a force to be reckoned with and ‘Got It Bad’ proves it.

Taken from their latest LP Wild Nights the follow up to 2013’s Girls Like Us ‘Got It Bad’ is a slowed down, melt-in-your-mouth track with guts and glory aplenty. It matches the video with focus dipping in and out and transcends the video with every heavy slam of the strings to accompany the softly tousled vocals.

The band’s sound is steeped in their hometown and the inevitable grey colour comparisons are in fact compliments to their ability to depict their own reality. ‘Got It Bad’ does this with that eternal favourite theme of the songwriter; love. The juxtaposition of sounds marries perfectly with this topic adding a harsh reality to every sweet and tender note. Pins are still one of the hottest acts in the country.