Introducing: Pynch

With Beautiful Noise, Pynch return with a record that dives inward—trading the outward social disaffection of Howling at a Concrete Moon for something more intimate, existential, and emotionally expansive. Written and produced almost entirely in frontman Spencer Enock’s Brixton bedroom setup—with drums tracked by Stereolab’s Andy Ramsay—the album marries glitchy electronics, slacker-pop looseness, poetic sincerity, and a distinctly DIY warmth.

It’s a project shaped by evolution: new member Myles Gammon brings a fresh synth palette, drummer/vocalist Julianna Hopkins adds new textures, and Spencer’s brother Scott creates the hand-developed 35mm artwork that completes the album’s tactile world.

Across the record, Pynch find profundity in the everyday—searching for meaning in supermarkets, cheap beer, half-remembered dreams, and late-night trains. It’s a celebration of making art for its own sake, full of humour, melancholy, and the strange joy of simply being alive. Below, the band dive deeper into the making of Beautiful Noise, its themes, and the DIY ethos that continues to define their identity.

1. Beautiful Noise takes a deeply personal, inward-looking approach compared to your debut. How did this shift in focus shape the songwriting and production of the album?

It was a really natural progression to be honest but our approach to both albums was to write songs that would work together and be a part of their own world. Once we had the first few songs written for the album, they sort of told us what the core themes of the album were going to be and informed where we would go with the rest of the record. Overall, this album is about love, death and what it means to be alive and we wanted the songs to take the listener on a journey through those thoughts and ideas.

2. You recorded much of the album in your Brixton bedroom studio, embracing a DIY ethos. How did that intimate, lo-fi environment influence the sound and feel of the record?

I think it’s a core part of the identity and feel of the album. Nearly all of the guitar and vocal parts were recorded in my bedroom so in a way you can actually hear the room in each of the tracks. It was mostly recorded in the evening after work and with a real spirit of experimenting and having fun with the production of the tracks. We always try to make production choices that emphasise the meaning and intention of the song and put in things that listeners might only notice after a few listens.

3. The album blends glitchy electronics, breakbeats, and slacker pop with lyrical reflections on love, death, and meaning. How do you balance this mix of playfulness and existential weight in your music?

I think that’s a key part of who we are as a band and as people. We’re all really serious about making music but also about having a good time while doing it. I think the contrast between irony and sincerity or the existential and the everyday helps to emphasise the truth of what we’re saying in the songs. Things are never really completely one thing or the other, and life will often come at you in the most unexpected ways - you might end up having your most profound realisations in the supermarket or while on the train to work. That’s how it seems to be for us at least and so these juxtapositions come through in the music we make. I think it’s something about our music that our fans really hold onto as they will often comment on how relatable the lyrics are to their own lives.

4. With new member Myles Gammon on synths and Julianna Hopkins contributing vocals and drums, how did the dynamic of the band evolve during the creation of Beautiful Noise?

It’s been so great having Myles join the band - he brings a lot musically and has become a part of the family! We’re all best friends outside of the band and I think that comes through in the album. Up until now, I’ve written the songs and then we’ve worked on refining them in the rehearsal studio but I’d love for us to be able to work more collaboratively on the music earlier in the process going forward. We’re working on getting our own studio space for the band and to hopefully be able to work with other artists on Chillburn Recordings in the future so I think that’s going to be an exciting development for us.

5. The album pairs poetic, intimate lyrics with DIY visuals from your brother Scott. How important is the visual element in communicating the ethos and personality of Pynch alongside your music?

The visuals have always been really important to us as band and we try to be intentional with how they connect with the music. We're proud of our DIY ethos and want what we put out to reflect how much love and effort went into making it. We shot all of the last album’s videos on our Super 8 camera and have collaborated with some of our brilliant friends for the Beautiful Noise visuals - Our housemate Milo Matthews took all of the press shots of the band for the album and my childhood best friend Macgregor Marshfield directed the music videos for the singles. Scott has also directed a really beautiful video for ‘Revolve Around You’ which we’re excited to share soon. We’re super happy with how everything has come out and feel like each element helps to bring the music to life!