Pozi come steeped in the lineage of the very best weirdo British indie pop. The trio of
drummer/vocalist Burroughs, violinist/vocalist Rosa Brook and bassist/vocalist Tom Jones have a
skittish, restless energy.
Despite drawing on influences such as Devo, Wire and Television, there are no guitars in POZI and
the space afforded by the lack of this potentially domineering component is refreshing. Instead,
there’s Brook’s violin that by turn swells and stresses, either buoying proceedings along or collapsing
them into discord. Jones’ rough, scruffy basslines hold each song tightly together as all great bassists
should do. Then there’s Burroughs’ sparsely-filled but frantically driven rhythmic repetition and his
capital city yelp, words tumbling out as though desperately trying to get out of the way of the ones
In addition to gambling addiction and debt, lyrical subjects on POZI’s 2019 debut album ‘PZ1’ range
from the Grenfell Tower tragedy of 2017 to Chinese human rights transgressions to smartphone
addition and poor mental health provision, Each are unpacked vividly. Burroughs is a colourful orator
yet also direct and raw in his response to such sensitive issues. Although they share little in common
musically, POZI unwittingly chime with current politicised UK indie acts du jour Idles and Sleaford
Mods in distilling their anger into impactful mantra.
The band are cutting in their criticism but Burroughs is loath to posit the group as social preachers.
“Our songs mostly have an observational standpoint,” he says, “just reflecting some current social and
political situations. I don’t think they have a direct impact, but maybe ask a few questions.”
2020 saw the band tour with Dry Cleaning and the release of ‘176’ EP boasting five new tracks
written and recorded over a fruitful five days at PRAH Studios, Margate. The band took a more
expansive approach to the composition process, taking inspiration from the spatial and rhythmic
sonics of electronic music and blending it with their existing unique sonic palette of drums, bass,
violin, vocals…and as ever, no guitars.
Taking its title from the eponymous London bus route that runs from Penge to Tottenham Court Road,
‘176’ contains themes of paranoia, social anxiety, jealousy and the accompanying nightmares these
can create. As Toby explains: “All five songs have quite grim, dark subject matter. Once we’d started
exploring that paranoid, angsty kind of path, the floodgates seemed to open and we ran with it”