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The St. Petersburg quintet continue to create works that perfectly encapsulate their surroundings; Like the backdrop of the Russian Baltic tundra, their music has a palatial, crisp and chilling feel to it. With ‘Grandfeathered’, it appears they have extended their sonic cathedral.

The aptly titled ‘Initial’ opens this sophomore full length. The clinical sound still intact from where they left off with ‘Everything Else Matters’ (a mere 12 months or so before), they commence with their familiar hybrid of electronic, math and dream pop. It’s not a million miles from anything else they’ve done, but they are a band that has crafted a particular recognisable sound – something which they can afford to stay with for now, without needing to expand. It works.

Amid the shimmer and glisten of the production throughout the album, something darker begins to ebb from the polished noise. ‘Comet Marbles’ astonishes with its relentless and unceasing barrage of immense guitars, which play as a backdrop behind the wistful sweeps of vocals. The range within their underlying layers is a constant change – dynamically strong and complex, meticulously crafted and projected.

‘The Cherry Pit’ is a subtle change alongside the heavier tracks, with a more fundamental songwriting approach. There seems to be a noticeable vocal melody and traditional structure that reoccur, giving it the illusion of a pop song. But all Pinkshinyultrablast tracks are illusions – so densely packed that they become mirages of themselves.

Successfully breaking the sonic barrier yet again, Pinkshinyultrablast transcend their previous output and their peers with this well-knit collection of music. The Russians continue to eclipse with their monumentally elevated forces, with something audibly stimulating.

‘Grandfeathered’ is out February 26th

Words by Jack Stevens