PANCHIKO’S NEW ALBUM ‘GINKO’ IS BOTH EXPERIMENTAL AND TRANSCENDENT
Panchiko rose from the ashes of the internet’s depths, and their experimental indie sound restores faith in humanity. They’re a little Tyler, The Creator and a little Radiohead, which doesn’t make any sense on paper but it makes complete sense when you experience a full body of work by the Nottingham creatives. ‘Ginko’ traverses treacherous territory, making it out the other side greeted by sunshine and rainbows. Lead analog synthesizers complement a dreamy ambiance, eventually coming together as a full package. This LP pushes past potential, asserting Panchiko as fully realized musicians.
I thought I was tripping when I heard “Florida” for the first time, but I wasn’t! The glitchy introduction is perfectly positioned to scratch the nostalgic surface that carries throughout the rest of the LP. Lead vocals that don’t attempt to hide an accent are so satisfying, a subtle nod to authenticity that is found throughout the record. The track is slow and steady, but far from boring. The introductory track is uniquely formatted, requiring an open mind to enjoy it in its fullest potential. I believe the lead single “Shandy In The Graveyard (ft. Billy Woods)” is a sequel to “Florida,” rounding out sonic and lyrical themes. Also, “shards in shoeboxes still sharp” is killer alliteration.
The magic really begins in “Honeycomb,” where the Panchiko sonic world truly opens up like a spring flower. Appropriately attracting bees for the “Honeycomb,” this single has a little pep in its step. It’s undeniably catchy, with video game-y choices throughout. It’s especially reminiscent of the game “Pikmin,” at least aesthetically. That chorus is divine; lyrically witty, the repeated chorus tackles dating in the modern world perfectly. Long paragraphs in text messages, while simultaneously feeling disconnected from your partner IRL, are everyday experiences for those of us in the dating pool (raises hand sadly). The song’s bridge has some “umph” to it, giving some more emotion to an otherwise flighty song.
Panchiko is a master of aesthetic value that complements gorgeous composition. The meat of the record is packed full of goodies. “Shelled And Cooked” offers a stunning, clean-toned guitar solo that acts as a nice and neat transitional element. The idea of “rocks in her belly” is profound, adding empathy to Panchiko’s lyrical themes. They’re real storytellers, gracefully building characters and worlds with musical backgrounds to accompany them.
“Chapel of Salt” utilizes a similar glitchy technique to the intro track. This song reminds me of Radiohead if they were lighter and brighter. It’s similar to “No Surprises” with its dreamy aura and, again, with its composition. The build-into the chorus is so bold that it belongs on a Radiohead record. These Nottingham musicians know how to articulate themselves with sounds. They keep it within their realm, but it’s evident who their points of reference are. This is my favorite song on the record.
My second favorite track on the record is the follow-up to “Chapel of Salt, “Lifestyle Trainers.” The build at the song's end is incredible, an emotive performance worth celebrating. More video game elements are scattered throughout, affirming the symbolic digital world of the LP. I wonder if it’s a concept album; themes of being trapped in the digital age are found throughout the album’s duration. There is a striking contrast between these sounds and the live feeling of the instrumentation. The guitars and drums sound like they were recorded in a small room, the “old-fashioned way.” “Lifestyle Trainers” gets listeners curious about the record’s storyline.
“Vinegar” dives into The Strokes territory. This song could have fit within ‘Is This It’ or its sequel: ‘The New Abnormal.’ This number has a lot of irony, and the songwriting stands out among the rest. “Vinegar” and “Shandy In A Graveyard (ft. Billy Woods) are the most lyrically impressive songs on the record. They both indicate a knack for poetry, perhaps a time for Panchiko, who eventually found another medium to be heard in.
“Mac’s Omlette” and “Subtitles” slow things down. However, once again, strong instrumentation takes the forefront. A harmony in “Subtitles” reminds me of the most specific reference in “Science Fiction Double Feature” from ‘Rocky Horror Picture Show,’ I mean that in the best way possible as a superfan of the film and stage show. Panchiko tends to take the road less traveled, finding unique destinations from their creative journey. There are plenty of bands that you could compare Panchiko to. However, that would only scratch the surface, as they stand tall in a league of their own. Don’t skip these tracks because they’re slower and on the B-side. Sometimes, hidden gems are just that—tucked away.
“Formula” acts as the finale of “Florida” and “Shandy In A Graveyard (ft. Billy Woods). The glitchy production technique isn’t distracting. Instead, it adds depth to the lyrics. If your attention span can handle it, remember what he’s saying here. “You’re breaking it down,” he confesses. It’s like his system is shutting down after all of the fighting and turmoil from a relationship that didn’t work out. He can finally admit they’re not a good fit for each other.
Finally, “Rise & Fall” and “Innocent” conclude the storyline nicely, tying up all loose ends without leaving audiences on a cliffhanger. These songs do an excellent job of capturing the healing process. Never linear, healing from a breakup comes with multiple complex emotions. It’s hard to see a two-dimensional person that you spent so much time with as anything but nuanced. The former insinuates that their ex-partner still has good in them, while “Innocent” touches on the complexity of anger while the narrator is processing the breakup. This finale renders ‘Grinko’ a 5-star album, full of creative storytelling and worldbuilding with expertly crafted instrumentation defined by bold production choices.
The album drops tomorrow, April 4th! Preorder the album by clicking HERE!