The kind of music Pinback play — lonely, complex indie pop — is not the kind of music one would expect to come from San Diego. Decidedly on the opposite side of the musical spectrum from the aggressive hard rock (or adolescent pop-punk) that has, for better or worse, come to represent San Diego music, Pinback combine the classical elements of the indie-pop canon with a melodic and satisfying — if somewhat homogenous — brand of modern rock.
A collaboration of the creative energies of Armistead Burwell Smith IV and Rob Crowe, Pinback began as a part-time recording project, then grew into a larger commitment when both members put their other bands (including 3 Mile Pilot and Thingy) on hold. Following recording sessions, a bidding war and subsequent legal battle, Pinback’s self-titled debut was finally released in 1998.
The band’s debut finds Smith and Crowe picking and choosing from sounds previously placed on the indie-pop shelf by bands like Sunny Day Real Estate and Modest Mouse. Exploring the artier side of emo, Pinback beautifully defined the group’s signature drone-like guitar tone and the lush, two-voice chorus that’s the most consistently captivating aspect of the group’s sound. Meandering through classical pop structures, and occasionally spiced with experimental elements (turntables, ambient noise), Pinback feels at once progressive and traditional, evoking all the simple/complex dualities that good indie rock — hell, good music — should.
But the most interesting facet of the Pinback sound, as exemplified by the group’s 1998 debut, is its ability to seem at once joyous and melancholy. Vocalist Crowe is largely responsible for this, crafting unique, beautiful and sometimes haunting vocal melodies, overdubbing layer upon layer of harmony into warm, fluttering phrases that revel in the sublime, never stooping to brusqueness.
This juxtaposition of melancholy (sad would be the wrong word) and joy has continued to shape the band’s work. Their second release, 2001’s Blue Screen Life, recalls the sweet, delicate feel of the band’s earlier work. Featuring the semi-hit “Penelope,” Blue Screen Life honed Pinback’s sound the way only recording in a studio can, tightening up arrangements and giving the instruments a very controlled, precise sound.
Whether or not Pinback have succeeded in developing their music meaningfully is open for debate. Blue Screen Life was released to mixed reviews, and Offcell, the band’s latest five-song EP, was of typical Pinback style and quality, but broke no new ground.
Yet the music of Pinback retains its undeniable appeal. For their warmth, experimentalism and harmony, Pinback have proven hard to beat — and that’s something few other San Diego bands can claim.
Pinback will end their 2004 U.S. tour with a show at Porter’s Pub April 29. The show starts at 8 p.m. Tickets are $14 for students and $15 for general admission.
