Following up a debut album must arguably be one of the biggest leaps a band has to make. Perhaps there is more freedom to the creativity, perhaps there is a shift in the themes and inspirations due to experience, or perhaps band members have changed thus leading to a tweak in sound or song creation. Or, as was the case for Newcastle’s Pit Pony, there is the opportunity to have more time to write and record. The 5-piece follow up 2022’s World To Me with Dead Stars, set for release on 7 February via Clue Records and EMI North.
Opener ‘At Dawn’ is a nod to vocalist Jackie Purver’s favourite film ‘Rebel Without A Cause’ in which Plato (Sal Mineo) asks Jim (James Dean) whether he thinks the world will end at nighttime and he responds “Nuh uh, at dawn“. It’s a track wide in scope reflecting its cinematic influence. It opens with the scuzzy guitars of Pit Pony but about a third in there is a quiet section dominated by just the vocals which hint at a folk origin before the power lifts again. The outro is given a full minute to fade out, the guitar riff allowed the space to breath. Previous single‘Well Well’ is an out and out banger. The energy is maintained throughout, its heartbeat the drums of Joey Morley thundering along at pace while the guitars provide the backbone with their twangy, echoey, edgy vibe.
‘This Love of Mine’ shifts the pace, and is the first indication that this is a band who have grown. A love song but one with a self-deprecating thread. The lyrics reflect how we can put ourselves under pressure to be the best version of ourselves for those we love. It has an ethereal aura throughout, prefect for its reflective theme. Pit Pony take inspiration for their songwriting from both the internal and external. “Is there something in the water?” asks Purver on the next track, citing the current appalling situation with water companies denying their actions in polluting our waterways. “You should keep your mouth closed tightly, don’t drink it in” continues Purver, delivered with the necessary sense of urgency and foreboding further emphasized by the guitars and drums. The pacing is divine, plodding and heavy towards the end.
‘Cut Open’ is a deeply personal track, reflecting imposter syndrome and the emotional struggles of self-doubt. The band share that the song was written during a period of introspection and its creation was a form of therapy. And yet this is not a track full of angst, rather it is track seeped in 1950’s doo wop. The tender atmosphere is aided by the delicate glockenspiel melodies and the dreamy vibe belies the tracks themes, however there is a recognition that creativity can play a part in overcoming such vulnerabilities. ‘Stagnant Pool’ immediately lifts the energy again, rattling along fast and frantic, the guitars of Garth Purves and Andrew Jones creating a wall of sound which envelope the listener. The galloping pace continues with ‘No Shame’ which adds a mystical eastern twang to the instrumentation, Purvers sliding vocals dancing alongside the guitars with their hypnotic rhythm. The instrumentation is let loose towards the end before the slow drop, tantalising playing with our ears.
‘Vacancy’ cuts straight into the absurdity of modern life, the overbearing influence of social media culture and its obsession with materialism. Just listen closely to the lyrics, the list of “instagrammable” experiences and products that supposedly define the perfect life – and yet have to then be shared online for the world to see demonstrates just how ridiculous it all is. This repetition and re-enforcement is reflected in the track. There is a static edge, a tension, perhaps a musical nod to doom-scrolling. A highlight on Dead Stars.
Pit Pony have shared that producing Dead Stars was a different process to their debut album. The desire to incorporate different soundscapes was assisted by working with producer Chris McManus. ‘Waves’ is a soaring song, with the thrilling bassline of Andrew Potter throughout creating an ethereal layer, the indie shoegaze element ebbing and flowing. Pit Pony have obviously delighted in stretching their musical muscles.
Dead Stars finishes with the title track. A slowburner which is nonetheless dense with texture and an earworm of a guitar riff. A track not loaded with vocals, there is a joy in artists recognising that lyrics are not always required to fill a song from start to finish. ‘Dead Stars’ does however seem to end too quickly, there is an expectation of more to come, but isn’t that the best way, leave your audience wanting more?
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