Pinky Pinky

Pinky Pinky's name is apparently named for a mythological demon that would harm toilet-bound girls if they wore pink. An unconventional form of malice it has to be said. However, this is an unconventional album full of style, substance and a variety of influences and moods populated by several ‘characters’.

City of Angels trio Anastasia Sanchez (vocalist/drummer), guitarist Isabelle Fields and bassist Eva Chambers channel Kristin Hersh’s muse throwing, Tanya Donnelly’s Belly-aching and Stevie Nicks’ ailing wailing.

The peek-a-boo voyeuristic ‘My friend Sean’ is a tale of unrequited love from afar, this cet obscur objet du désir so out of reach, if only he KNEW. The terror of ‘acquiring’ Sean throws up further problems, if the dream becomes the reality then what next? What will Sean SEE?

The synthesising inflected ‘Mystery Sedan’ celebrates the freedom granting properties of the automobile, the classic symbol of the American Dream down to a (Model) T. When the chips are down, you gotta leave town. ‘Floorboards’ is affectionate and charming doo-wop-pop, a harmonious cabaret chorus-line that ends as abruptly as its entrance en-trances. Tread carefully.

The jerky ‘If it didn’t hurt’ is a Luis Buñuel-esque retina-wrenching ode with the surreal line ‘here’s my eyeball, careful, it’s slippery, if you drop it, wash it off in the sink … dilate me, do anything’. An optical contusion wrapped within a love song: eye-see-you.

The standout ‘Loose Change’ is a superlative glam stomp that Noel Gallagher thinks he hears when he picks up his crayon. As bass attacks sax and the piano is all-go the end result is like a giddy cross between David Bowie’s ‘Suffragette City’ and The Rolling Stones’ ‘Happy’.

Feast your ears on this joyous album.