As Aymen Sals and Ryan Hurley sit at either end of the table, a pint of ale perched in-front of each, they speak of bands, magazines and websites that have helped forge their musical obsession. Forming the core of Canterbury based outfit Holy Pinto, each demonstrates substantial knowledge of the international scene, both clearly indebted to stateside indie labels and publications. The Format’s 2006 release ‘Dog Problems’ celebrates repeated references, and as it transpires, not only in terms of their interests. There’s a nod to the record on ‘Matches’, the opening track on Holy Pinto’s debut full-length, ‘Congratulations’.
This affinity to the independent scene in the United States runs throughout the record’s veins. There’s something distinctly cross-continental in their sound, which in turn has led to a close friendship with the likes of The Front Bottoms. It has also led Holy Pinto towards Soft Speak Records for the release of ‘Congratulations’, denoting a long-awaited milestone in the band’s career having recorded the eleven tracks (twelve including the hidden ‘Hospital Pt 2’) two years prior.
“We didn’t want to release the record into nothing,” Ryan justifies the delay, although admitting he didn’t expect it to be quite this long. ‘Congratulations’ was mixed and mastered within eight months of being a band, they explain, but the moment was never quite right. Hoping to give their work the exposure it deserves, they sent the record to various labels only to find themselves back at square one following some unsuccessful negotiations. Opting to release their ‘Stenography’ EP in the meantime on Get It Right Records, they have ended up with Soft Speak, whom Ryan describes as a “good fit.” “Their roster is awesome,” Aymen agrees, “there’s a lot of labels we were interested in but we couldn’t praise their roster as much as Soft Speak.”
Although Holy Pinto have substantially developed in those two years, ‘Congratulations’ still remains representative of the band. The delay has allowed the pair to begin their search for a full-time bassist, currently using friends from other bands as dictated by availability and location. Aymen has also spent a portion of that time touring independently under the Holy Pinto moniker. “It’s just when I can’t make it,” Ryan explains, “Aymen just goes out with his guitar and does his thing.” Seconds later he turns to Aymen with a quizzical expression. “Do you say on stage that we’re normally a full band?” he asks. “Obviously I am not there.”
“It’s great because I get to paint Ryan in whatever way I feel like at the time,” Aymen responds with a loud laugh, “sometimes I tell the crowd he’s a dickhead, sometimes that I miss him.” He composes himself for a more serious response. “I think I’m better on stage since doing the solo shows. You’re really in the deep end,” he reflects before confirming Holy Pinto’s structure. “Obviously I wish Ryan was there, but it’s more a necessity really. Sometimes we tour with more people, but at the core it’s just the two of us.”
Both bring their own individual styles to Holy Pinto. Ryan praises the bigger sounds on the record, citing opener ‘Matches’ as a personal favourite despite the complexities of playing the song live. “It gets the record off on the right foot,” he says, before referencing his drumming. “I don’t even do anything for the first half of the track either, but then I get to really kick off.”
The grandiose sounds of the opener, complete with trumpets and keys, are offset against the closing moments of ‘Hospital Part 2’, the final track on the record and Ayman’s most personal. “I got a real connection with the song,” he notes, expressing his concern that his explanation might sound sentimental. “I’d never sung it out loud, and Ryan only heard it five minutes before we recorded. It was the last thing we recorded and we did it in one take. Before that I wouldn’t play it to Ryan, or really to myself.”
Together the two tracks showcase the Holy Pinto extremes, ‘Congratulations’ bookended by their biggest sound and their most reserved. The half way point is dominated by fan-favourite ‘Floripa’, an upbeat sound with brutally self-deprecating and introspective lyrics, an amalgamation of both Holy Pinto’s states. The consistent juxtaposition stems from their writing technique, one which sees lyricist Aymen kick things off before Ryan gives it their distinctive character.
“I usually send a track over to marinate with Ryan,” Aymen explains, “then it normally comes back quite different.” “It’s normally quite sparse when I get it,” Ryan expands. “Sometimes I can’t even really picture it. It’s always very slow.” Ryan then reworks the track before both get together in a room to jam it out. “I don’t get anything cheery into my inbox,” he laughs to Aymen’s agreement.
Ryan and Aymen are clearly an accomplished team. From their earlier musings on music to their song-writing technique, their time together has forged them into a cohesive unit. Each brings something to the table, an ingredient which helps to form the core of Holy Pinto. That core is evident throughout ‘Congratulations’, the upbeat positivity in their sound never jarring with the lyrical honesty. They are both comfortable enough with each other to build on their sound through constructive criticism and reflection. The way they bounce ideas off each other is similar to the way they interact, their jovial nature mirrored in their sound.
Having sat on the album for two full years, ‘Congratulations’ looks set to spring Holy Pinto forward. Its intricate blend of sincere storytelling and often whimsical musicianship, plus the occasional experimentation in bigger sounds, stamps its own identity on a style reminiscent of The Front Bottoms, Allison Weiss and their ilk. Holy Pinto’s unfaltering dedication to their art shines through in person as much as it does on record, their personalities intertwined throughout ‘Congratulations’.