Andy Bell has always been an artist in motion, whether pushing sonic boundaries with Ride, crafting intricate solo work, or lending his talents to various collaborations. His latest album, Pinball Wanderer, marks a bold new chapter—one defined by groove-heavy rhythms and spontaneous creativity. Unlike his previous solo records, which drew from decades of accumulated material, this collection was conceived and completed in a near-miraculous overnight recording session, sparked by the energy of working with Neu! legend Michael Rother and Dot Allison on his recent single. The result is a hypnotic, nocturnal journey through pulsing synths, dreamlike melodies, and expansive, exploratory soundscapes. We spoke with Andy to find out more
Your new album, Pinball Wanderer, is described as marking a new sonic chapter for you. How would you say it differs from your previous solo releases, The View From Halfway Down and Flicker?
The first two albums were recorded as one big session in 2016 at Gem Archer’s studio in between Ride stuff. The session represented me basically going through as much as I could of my unused material. After all that recording, I got busy again and it was all just gathering dust then until Covid. I curated the first album to follow up a one-off single I’d made for Sonic Cathedral in 2019. It started life as a 12”. During the first lockdown I thought I could follow up my single with an EP of music from those 2016 sessions. The EP became an album because I couldn’t decide which songs to put on, and that was The View From Halfway Down. Then Flicker, which came out a year or so later, was basically the rest. I still think Flicker works very well, but I do think that one double album in my solo catalogue is enough. I prefer shorter albums and I’ve gone back to that for pinball wanderer, but with new material, which is the main difference. Another difference is that this time everything was written from the drums up.
The lead single is a cover of The Passions’ post-punk classic and features Dot Allison and Michael Rother. What drew you to this song, and how did these collaborations come about?
For a while I wanted Ride to cover the song, and we did almost try it during the sessions for This Is Not A Safe Place but it never ended up happening except it got played at a couple of soundchecks. When I gave up on that idea, I thought I might record my own version, so I made a demo. When I had the idea of asking Dot to sing on it, that’s when it became more of a definite thing. Dot sang on the demo, and I ended up scrapping everything except the vocals, then for a while it became a GLOK track, I was playing it live (using Dot’s vocal) as GLOK in 2022 and 2023, and then finally I got that “proper” recording for this record. Michael’s involvement came as a result of me asking him to remix it. We had met at his gig at the Barbican, I gave him a 7″ of the cover of ‘Hallogallo’ I made with Masal, and we kept in touch. He decided in the end he didn’t want to remix it but instead play guitar on it! And what he gave me was some absolutely incendiary Michael Rother guitars! Much better than a remix!
You’ve mentioned that Erol Alkan referred to the original as proto-shoegaze. Do you see the connection between post-punk and the shoegaze sound that you’ve been such a key part of?
Yes. From post punk – for example Joy Division and The Cure – there’s a line that carries on through Cocteau Twins, The Jesus And Mary Chain, New Order… before you know it you have My Bloody Valentine, Spacemen 3. It’s all connected for sure. The genres bleed into one really.
The album went from half-finished to fully recorded and mixed in one intense all-night session. What inspired that creative burst, and how did it shape the final result?
I had to mix Michael’s guitars into the single so that it could be mastered, and I had to leave for a long tour the following day. I had a full day of normal dad stuff, family life, so didn’t get started until about 10pm. I was so buzzed about the way it was sounding, I decided to stay up late and do one or two more mixes. The next thing you know it’s about 6.30am and I’ve mixed the whole album! I sent the mixes off with the single one, thinking that I’d change my mind later, but I just never changed my mind. The mixes stand up and I think sometimes it’s good to go with that energy.
Several tracks on Pinball Wanderer have unique backstories, like â Madder Lake Deep – inspired by a dream and Apple Green UFO– influenced by Serge Gainsbourg. How do these personal moments and references shape your songwriting process?
It may have something to do with the way I wrote the album starting with drum parts. There are no “SONG” songs, it’s just me being stupid, imagining lists of stuff I’d like to show aliens, or trying to describe mad dreams. It’s a very light-hearted record, lyrically.
You’ve mentioned your dog, Dexy, making appearances on two tracks. Can you tell us more about how that happened and the atmosphere it added to the album?
She barks whenever someone comes to the door and I do vocals at home sometimes, so she ended up on lots of stuff in the background. This time I decided to keep her there! She plays synth on the last Ride album as well. She loves to be involved, she loves music. I love hearing her on those tracks, it makes me laugh.
The title track is an instrumental and acts as a turning point in the album. What inspired the idea of creating a ‘theme tune’ for yourself?
The title is a phrase which describes me quite well. I bounce like a pinball between stuff I’m into, when I get interested in something it takes over for a while and then I shoot off onto another thing, but there’s not a definite plan, so much as just wandering off, getting distracted. Some of the things I start never get finished, but part of the way I like to work is to leave things for so long that I’ve forgotten what they were even for, then I have the perspective you need to evaluate if they were any good or not. As far as the track was concerned, I thought at first it should have vocals, but then once I decided to keep it instrumental it started to take on this them tune energy – especially as a title track for the record. I guess it’s inevitable that if I go on a proper solo tour it will be the intro music!
The album features a mix of influences, from krautrock and psychedelia to Arthur Russell and The Byrds. Were there specific artists or albums you found yourself listening to while making Pinball Wanderer?
These artists and styles are all favourites of mine and maybe references for particular sounds or production things along the way. I wear my influences on my sleeve, as I always have, but I hope the album comes across as more me an anybody else.
You worked with Gem Archer on the rhythm tracks for the album, starting from the drums up. How important was that foundation in creating the grooves and textures of the record?
I’m just really comfortable working with Gem. There’s no explanation necessary about what I’m trying to do, he understands the sounds I like and is really, really great at getting them. He’s worked on all three of my solo albums.
The album’s closing track, Space Station Mantra, is inspired by the La Monte Young Dream House and the concept of Anahata Nada. How does this cosmic theme tie into the overall feel of the album?
After my visit to the Dream House, I came home with some books and CDs I’d bought there, and had a book open the night I ended up finishing the album. I loved the concept of the universe having its own version of tape hiss – the sound it makes when there’s nothing else making any sound. And it’s called the Anahata Nada. I did all those vocals that night – very quietly as everyone was asleep! There’s no overall theme or connection with the rest of the record, I just thought it would be a nice way to end it, in effect saying, ‘The next sound you’ll hear after the record finishes, if only everyone could just shut up, is that!’.
Across its eight tracks, Pinball Wanderer showcases Andy Bell at his most instinctive and free-flowing, from the jangling immediacy of “Panic Attack” to the dreamy introspection of “Madder Lake Deep” and the sprawling, groove-led “Apple Green UFO.” Built from the rhythm up with help from former Oasis bandmate Gem Archer, the album embraces everything from Cocteau Twins-style atmospherics to Turnstile-inspired brevity, culminating in the cosmic drift of “Space Station Mantra.” It’s a record that captures the thrill of late-night inspiration—unexpected, immersive, and effortlessly transportive.
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