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It became such a cliché to describe any band who flirted with dream-pop and shoegaze as ethereal that that adjective effectively lost its meaning. Pinkshinyultrablast are a band that do actually sound ethereal. This is mainly due to female singer Lyubov's overpowering, heavily-reverbed vocals which claim centre stage here, yet their music isn't all sweetness and light, and the huge washes of guitars and synths, not to mention the propulsive bass and drums, balance the heavenly aspirations with some raucous and earthy noise.

Pinkshinyultrablast hail from St Petersburg in Russia and although they have been sporadically issuing the odd track on bandcamp over the last few years Everything Else Matters is their debut album. It is a record which wears its influences proudly but has enough twists and turns to make it an interesting listen in its own right. This isn't an indie-shoegaze "paint-by-numbers", instead it's a useful addition to the genre and is more refreshing and imaginative than many of the garage-rock bands trying to do a similar thing.

The thing about shoegaze, dream-pop, fuzz-haze, or whichever buzzy term you like to use, is that it has the knack of appearing beautiful yet utterly unnerving and strange, as evidenced in the ground-breaking music of My Bloody Valentine and the Cocteau Twins. Pinkshinyultrablast are without the shock of the new that those bands had, but there is certainly much to admire about their debut.

Firstly, they have a knack for making some great uptempo songs. Some expect this kind of band to just focus on dreamy, slower tunes, but Pinkshinyultrablast kick against this. Tracks like 'Ravestar Supreme' and the pretty indie-pop of 'Holy Forest' are both joyous blurs of sound, whilst 'Lands End' is propelled along by a minimalist Reich/Glass pulse towards a thrillingly noisy climax.

Those influences return for the pulsing opening on 'Metamorphosis' and they battle with the walls of guitars as the band weave it all together, just as they do on 'Wish We Were' which starts of the album with a delicate vocal and a simple keyboard melody before it explodes into a noisy overload.

'Glitter' is another tune driven along by the rhythm, though this time it is an insistent bass line, whilst the vocals really soar - and will no doubt remind many of Elizabeth Frazer.

The single 'Umi' is one of the more subtle tunes here, relatively mid-tempo with a mix of delicate melodies. It is not a straight forward pop song, as it floats and twists and reveals something new on each listen.

'Marigold', the longest and most varied track, closes the album in fine style. The pace varies to keep your attention - the mid section is fast and bright but there is a lovely bliss-out at the end. Lyubov's vocals are drawn out and hanging in the air throughout this song like an extra instrument. It is unclear whether she is singing in English or Russian or any language in between, as the voice is all part of the overall sound.

Everything Else Matters is an inventive, often genuinely exciting blend of noise and pop sensibilities not really heard since the early days of Lush. Even at this early stage Pinkshinyultrablast have a great understanding of how to harness their noise and work them around the song, and their willingness to use rhythm to give those older shoegaze elements a good kick, means that this debut is not a homage but a fresh step into the future.

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