Longtime British indie band Panchiko, which has gained newfound popularity in recent years, ventures into many different genres in their newest album “Ginkgo.” Released on April 4, this is Panchiko’s second studio album release since their underground masterpiece “D>E>A>T>H>M>E>T>A>L,” which came out in 2000 and was rediscovered by an internet user in 2016.
The fame from this discovery led to the band regrouping to release new tracks and perform songs created over 20 years ago. The album “Ginkgo” embraces the calming, spring-like feel of the East Asian tree it is named after, leaving Panchiko’s usual mysterious grungy instrumentality in the past. Featuring 13 songs, “Ginkgo” offers 39 minutes of heartfelt psychedelic ambiance.
“Ginkgo,” the second track on this album, heavily resembles Radiohead with a whiny-singing style and breathy falsetto climax in the song. An almost movie-like piano sequence along with the haiku lyric style set the tone for this album. The lyrics, “You command the leaves to fall / The Ginkgo bends at will,” references the tree the record is based on, introducing the nature emanation “Ginkgo” brings to the table.
“Shady in the Graveyard,” the third track on this album, begins similari to digital aspects and guitar chords similar to the band’s “Kicking Cars” and “CUT.” The track digs into a sense of nostalgia as it is filled with sublime spoken-singing. The vocalist, Owain Davies, gently reminisces about the past and is suddenly interrupted by the featured artist, Billy Woods. The transition between Davies’ angelic tributes to Woods’ unexpected key change of hip-hop beats and aggressive rapping style highlights the different ways sentimentality is dealt with.
The fourth song, “Honeycomb,” depicts a couple tending to each other even if they are not on good terms. This song is based on a pure psychedelic soundscape, following the theme of minimalist poetic lyrics. The sound and brightness of “Honeycomb” are similar to the fun tunes and stories by Tally Hall, another rock band that incorporates inanimate objects into the story of the song.
“Lifestyle Trainers,” the sixth song on this album, dives into melancholic, straightforward lyrics. This song is louder and far more outspoken vocally, following a steady drumbeat and guitar duo with occasional digital glitch effects. Resembling a bitter note to a significant other, this song specifically references one person using “you” throughout the whole song. As Davies’ vocals grow louder through the song, he incorporates common thoughts during breakups like “Did you regret?” “Did you want to love some more?” “If I take you back.” The raw emotion in this song is fascinating and real.
“Formula,” the eleventh track on this album, is a rerecording of the demo “Formula” from Panchiko’s album of demos, “Ferric Oxide.” Contrary to the demo’s original muffled garage-band sound, this version of “Formula” is much more in tune with Panchiko’s electronic staple sound. The beauty of the original demo is still held close in this song, and being accompanied by an electric guitar solo and futuristic touch to usual indie stereotypes, this recording is a wondrous addition.
“Ginkgo” finishes off strong with the thirteenth and final track of the record “Innocent.” Starting with a quirky beat in tune with Brit-pop culture, the track is another message to a loved one in response to their hurtful lifestyle. Switching from sweet to demanding vocals, the acrostic poetic style in this song allows these ideas to flow undoubtedly. The track’s vivid atmosphere is beautifully crafted, so Panchikos’ aggression can be seen without hardcore beats.
Although some tracks on this album are less memorable than others, “Ginkgo” is a powerful testament to Panchiko’s evolution as a band — bridging their indie rock, grunge-tinged roots with a newfound sense of clarity, emotional maturity and sonic reincarnation. This album showcases the band’s ability to craft immersive soundscapes that blend dream pop, neo-psychedelia and electronic textures while maintaining lyrical subtlety and poetic depth. “Ginkgo” is not just a return — it is a reinvention, and one that firmly places Panchiko in the conversation as a compelling act in modern indie music
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