Pinact recently released this second LP The Part That No One Knows on Kanine showing a hunger to make their mark.
Trickling into soft waltzing chord patterns The Part That No One Knows is a beautiful exposition in the face of the very gutsy and ‘groany’ Bring You Down: more classic pop-rock than its slightly classical predecessor.
Rolling tom drums set the frame for an angst-full story of growth and self-reflection; the addition of the Scottish accent adds to the already raw vocals.
Time to pick things up a bit with ‘Oh’, you feel like you’ve heard this one before, and there’s something really comforting about the familiarity of this reminiscence of early 90s skater-rock.
I can almost feel the wind rushing by my ears as I drop into the bowl, rocking and pulsing over the concrete wonderland; this one’s for anyone who likes to feel nostalgic.
The character of Pinact starts to evolve in the next couple of songs with ‘Seams’ presenting a distinctly indie experience and ‘Regrettable Thrill’ slowing the pace a little, getting heavy in the dynamics between chord progressions and thrashing guitar patters.
Minor key changes darken the tone, all the while maintaining Corrie Gillies’ wickedly coarse vocals.
Jon Arbutthnott gets a chance to shine with an addictive bassline that features in the opening of ‘Separate Ways’, a bouncy little feature that gives you the permission to jump around, while the sweet little acoustic bridge leading to the end is a smart addition to an already solid track; these guys know what works and know how to make it work.
‘Bughouse’ is another example of the spectrum across which Pinact like to span: crunchy power chords are bold and brazen, why stick to one sub-genre of rock when you can cover them all? It appeals to those with a need for variety and helps to keep things interesting.
Growing in intensity ‘Against the World’ is more optimistic, an emotive piece of interdependence that speaks of comradery and brotherhood, of growth and wisdom.
Similar philosophical questioning follows in ‘Glitter’; the meaning is a little ominous but the style remains true to form.
On show here is a wicked guitar solo bending the parameters between the bridge and the chorus.
Pining appears to be the feature of ‘Everybody Says’, a discussion of disillusion and “stuckness”; this is reflected in the repetition of the descending guitar patterns, propelled by rhythms thrusting against the current of the pensive vocals.
An unexpected finish is delivered through ‘Forever’ in which the tempo slows to offer a contemplative take on introspection.
The final build up is a gloriously intense resistance to ‘what is’: a desire filled need to escape their present feelings.
Starry accordion like synths drift outward in the wake of this climax, mimicking the peaceful beginning that we heard at the opening of the album.
Words: Rachel Cunningham