Tag: POND Tasmania

Video by William Ruben Helms

New Video: JOVM Mainstays POND Releases a Mischievous Yet Bittersweet Visual for Slow-Burning “Take Me Avalon I’m Young”

Perth-based act and JOVM mainstays POND — currently, creative mastermind, songwriter and producer Jay Watson (vocals, guitar, keys, drums, synths and bass), who’s also a touring member of fellow Aussie JOVM mainstays Tame Impala; Nicholas Allbook (lead vocals, guitar, keys, bass, flute, slide guitar and drums); Joe Ryan (vocals, guitar, bass, 12 string guitar, slide guitar); Jamie Terry (keys, bass, synths, organs, guitar); and Jamie Ireland (drums, keys) — have released a handful of critically applauded albums that have seen the band’s sound gradually morph into increasingly synth-driven psych pop. 

2019’s Tasmania is POND’s most commercially successful and critically applauded album to date, with the album debuting at #15 on the ARIA album charts and #2 on the AIR Independent charts. Conceived as a sort of sister effort to its predecessor, 2017’s The Weather, Tasmania thematically is a dejected and heartbroken meditation on our current sociopolitical moment: planetary discord, water and its dearth in much of the world, machismo, shame, blame, responsibility, love, and the impact of colonial empires. While accurately capturing the restless, anxious dread that most of us have been feeling, the album doesn’t completely wallow in self-pity and fear. Rather, it encourages the listener to celebrate and enjoy the small things of life while we still can. 

The Perth-based JOVM mainstays ninth album, the aptly titled 9 was released earlier this year through Spinning Top Music. Produced by the band’s Watson and Ireland, 9 sees the band pushing the sound they’ve established and honed over the past few albums even further, while attempting to recapture anarchic sense of uncertainty. “We sort of gave ourselves permission to make something stuffed this time,” the band’s Nicholas Albrook says in press notes. “We’d settled into a pretty tight routine with the last few albums and wanted to shake a boat with this so we started off with filling a few tape reels with some absolutely heinous improvised sonic babble which, after much sifting, became the first few songs of the album. We also wanted to up the tempo. The last few albums have a neat little mantra or repetitive theme. If I was forced to find something like that in 9, I guess it would be ‘biography’ or ‘observation’ – a lot of the lyrics seem to focus on single people’s lives, or the lives of small moments or small things when you zoom real close up and they reveal something deeper. Stuff like my cheap Chinese slippers, or a soiled teddy bear, or Agnes Martin (not to put them in the same category, although maybe Agnes would’ve appreciated it). In the Rorschach test of re-reading lyrics, one thing that sticks out is a fixation on leaving behind a time of golden optimism and uncynical abandon. We can’t look at ourselves the same anymore, and the world we’ve built provides a scary lense [sic] for viewing our past.”

In the lead up to the album’s release, I managed to write about two of 9‘s previously released singles:

  • The Avalon era Roxy Music meets Quiet Storm R&B-like “Toast, a slow-burning and atmospheric song featuring shimmering synth arpeggios, squiggling blasts of guitar, a gorgeous string arrangement, some mellotron and a soaring hook paired with Allbrook’s plaintive vocals. Lyrically, the song addresses the bush fires that devastated much of the band’s homeland and the inequality gap in Allbrook’s Western Australian hometown.
  • “Human Touch,” an uptempo, DEVO-like thrasher centered around shimmering synth arpeggios, buzzing bass synths, scorching feedback and distortion, a relentless motorik groove, blown out beats and a rousingly anthemic hook.

9‘s latest single is the slow-burning and sprawling “Take Me Avalon I’m Young.” Centered around an arrangement that features twinkling keys, shimmering synths, a sinuous bass line an alternating pensive verses, soaring strings and an uptempo chorus and bridge with big breakbeats and squiggling guitar bursts and layered vocals, the song is world weary, bummed out and weighted by history — or more precisely, the recognition that history doesn’t repeat, but it certainly alludes, rhymes and references itself to the point that everything feels like deja vu.

“Turns out my medieval history degree is still lingering in the back streets of my mind,” Nicholas Allbrook says of the sprawling single. “The final resting place of Arthur, the mythic isles where we could go for peace and prosperity but which turns out to be an expensive grey grind. A sense of wonder becomes more and more slippery as the years go by. I’m actually really proud of this tune.”

Directed by award-winning filmmaker and creative director Bunny Kinney, the recently released video for “Take Me Avalon I’m Young” was shot in Hastings, UK and follows the band’s Allbrook running, swimming, shooting, fencing and playing basketball — terribly. There’s also some morning yoga in what looks very cold conditions and some freak the fuck out dancing. The visual continues a run of visuals that are fun but kind of bittersweet, as it captures a feeling of things being lost or impossible to recreate.

“This was, no joke, the most fun video I’ve ever been a part of. I spent two days rushing around Hastings with my dear friend Bunny and the lovely George, Joe and James Beatty, running, swimming, shooting, fencing and playing terrible basketball,” Allbrook says of the video. “It was a dream come true. The freezing sunrise yoga was magical in retrospect, even if I was a brat at the time (sorry Bunny). A perfect seaside weekend; I got to play, and Bunny got to create an ode to his favorite sport, the modern pentathlon. Massive thanks to Lewis and Steph for their patience and kindness as my instructors.”

Video by William Ruben Helms

New Video: Aussie JOVM Mainstays POND release a DEVO-like Ripper

Perth-based act and JOVM mainstays POND — currently, creative mastermind, songwriter and producer Jay Watson (vocals, guitar, keys, drums, synths and bass), who’s also a touring member of fellow Aussie JOVM mainstays Tame Impala; Nicholas Allbook (lead vocals, guitar, keys, bass, flute, slide guitar and drums); Joe Ryan (vocals, guitar, bass, 12 string guitar, slide guitar); Jamie Terry (keys, bass, synths, organs, guitar); and Jamie Ireland (drums, keys) — have released a handful of critically applauded albums that have seen the band’s sound gradually morph into increasingly synth-driven psych pop.

2019’s Tasmania is POND’s most commercially successful and critically applauded album to date, with the album debuting at #15 on the ARIA album charts and #2 on the AIR Independent charts. Conceived as a sort of sister effort to its predecessor, 2017’s The Weather, Tasmania thematically is a dejected and heartbroken meditation on our current sociopolitical moment: planetary discord, water and its dearth in much of the world, machismo, shame, blame, responsibility, love, and the impact of colonial empires. While accurately capturing the restless, anxious dread that most of us have been feeling, the album doesn’t completely wallow in self-pity and fear. Rather, it encourages the listener to celebrate and enjoy the small things of life while we still can.

The Perth-based JOVM mainstays ninth album, the aptly titled 9 is slated for an October 1, 2021 release through Spinning Top Music. Produced by the band’s Watson and Ireland, 9 reportedly sees the band pushing the sound they’ve established and honed over the past few albums even further while attempting to recapture an anarchic sense of uncertainty. “We sort of gave ourselves permission to make something stuffed this time,” the band’s Nicholas Albrook says in press notes. “We’d settled into a pretty tight routine with the last few albums and wanted to shake a boat with this so we started off with filling a few tape reels with some absolutely heinous improvised sonic babble which, after much sifting, became the first few songs of the album. We also wanted to up the tempo. The last few albums have a neat little mantra or repetitive theme. If I was forced to find something like that in 9, I guess it would be ‘biography’ or ‘observation’ – a lot of the lyrics seem to focus on single people’s lives, or the lives of small moments or small things when you zoom real close up and they reveal something deeper. Stuff like my cheap Chinese slippers, or a soiled teddy bear, or Agnes Martin (not to put them in the same category, although maybe Agnes would’ve appreciated it). In the Rorschach test of re-reading lyrics, one thing that sticks out is a fixation on leaving behind a time of golden optimism and uncynical abandon. We can’t look at ourselves the same anymore, and the world we’ve built provides a scary lense [sic] for viewing our past.”

Earlier this year, I wrote about album single “Toast, a slow-burning and atmospheric song featuring shimmering synth arpeggios, squiggling blasts of guitar, a gorgeous string arrangement, some mellotron and a soaring hook paired with Allbrook’s plaintive vocals. The end result is a song that seems equally indebted to Avalon era Roxy Music and Quiet Storm R&B. But lyrically, the song addresses the massive bush fires that devastated much of Australia and the inequality gap in Allbrook’s Western Australian hometown. 

“Human Touch” is an uptempo banger centered around shimmering synth arpeggios, buzzing bass synths, scorching feedback and distortion, a relentless motorik groove, blown out beats and a rousingly anthemic hook. The end result is DEVO-like thrasher. POND’s Nicholas Allbrook describes the inspiration for the song, saying “one time a woman was smashing up a car outside my house, begging me to help her steal it. It was a lovely day. She was wired but sweet in a way. Her dog, Josie, was sitting in the passenger seat being very cute and fluffy. We talked for a good few hours in the sunny cul-de-sac and neither of us ended up committing grand theft auto. The music started with a grimey Casio loop Jay made, that we built the song around.” 

Directed by Duncan Wright, the recently released video for “Human Touch” stars the band’s Nicholas Allbrook in a 70s styled suit, high heel boots and headphones dancing in the middle of empty, morning streets. An old Panasonic cathode ray TV is almost nearby, playing footage of Allbrook putting a tape into a tape player and pushing play, rocking out in a studio and stock footage of a disastrous fire. “My original idea was to be dancing in the central business district of Perth, being thoroughly ignored by suits on their lunch break,” Allbrook explains. “Turns out me and Duncan Wright are both quivering Fremantle natives and terrified of the City. When Duncan saw a pretty sliver of morning sunlight in the West End we figured, stuff it, let’s do it there. Zero people is kind of the same thing as being ignored by lots of people, right? I need some human connection blah blah blah. It was super fun to make. We didn’t really have a strict plan and I overcame by anxiety about dancing in platform shoes to no music at 9am on a Tuesday morning like a kook”.

Video by William Ruben Helms

New Video: JOVM Mainstays POND Release a Trippy Visual for Slow-Burning “Toast”

amount of virtual ink covering the acclaimed Perth-based act and JOVM mainstays POND: Led by its creative mastermind, multi-instrumentalist, songwriter and producer Jay Watson, who also performs in JOVM mainstay act Tame Impala, the act which also features Nicholas Allbrook, Joe Ryan, Jamie Terry and James Ireland has released a handful of critically applauded albums that have found the act initially releasing work that was kind of like Royal Trux meets Cream and gradually morphing into progressively psych pop and synth pop territory.

nia is their most commercially successful and critically applauded album with the album debuting at #15 on the ARIA album charts and #2 on the AIR Independent charts. The album was conceived as a sort of sister effort to its immediate predecessor, 2017’s The Weather. Thematically, the album is a dejected and heartbroken meditation that touches upon our current moment: planetary discord, water and its dearth in much of the world, machismo. shame, blame, responsibility, love, blame and colonialism/empires. And while accurately capturing the undercurrent of the restless, anxious dread that most of us have felt for a while. But rather than wallowing in self-pity and fear, encourages the listener to celebrate and enjoy the small things of life — frolicking in the ocean, rolling around in the grass, the sweet feeling of being in love and so on while we still can.

The JOVM mainstays’ Watson and Ireland produced and mixed, ninth full-length album, the aptly titled 9 is slated for an October 1, 2021 release though Spinning Top Music. 9 reportedly finds the band pushing their sound even further while attempting to recapture an anarchic sense of uncertainty. “We sort of gave ourselves permission to make something stuffed this time,” the band’s Nicholas Albrook says in press notes. “We’d settled into a pretty tight routine with the last few albums and wanted to shake a boat with this so we started off with filling a few tape reels with some absolutely heinous improvised sonic babble which, after much sifting, became the first few songs of the album. We also wanted to up the tempo. The last few albums have a neat little mantra or repetitive theme. If I was forced to find something like that in 9, I guess it would be ‘biography’ or ‘observation’ – a lot of the lyrics seem to focus on single people’s lives, or the lives of small moments or small things when you zoom real close up and they reveal something deeper. Stuff like my cheap Chinese slippers, or a soiled teddy bear, or Agnes Martin (not to put them in the same category, although maybe Agnes would’ve appreciated it). In the Rorschach test of re-reading lyrics, one thing that sticks out is a fixation on leaving behind a time of golden optimism and uncynical abandon. We can’t look at ourselves the same anymore, and the world we’ve built provides a scary lense [sic] for viewing our past.”

cking in at a little over four minutes, 9’s latest single, the slow-burning and atmospheric “Toast” is centered around shimmering synth arpeggios, squiggling blasts of guitar, a sinuous bass line, a steady backbeat, a gorgeous string arrangement, some mellotron and a soaring hook paired with Allbook’s plaintive vocals. The end result is a song that sounds like a slick synthesis of Avalon-era Roxy Music and Quiet Storm R&B. But lyrically, the song addresses the massive bush fires that devastated much of Australia and the inequality gap in Allbrook’s Western Australian hometown.

“The intro chords came from a Joe Ryan demo mysteriously titled ‘Toast’. I’ve never asked Joe why he landed on that name, and I probably never will, but it pointed toward the image of fat-headed gobblers touching flutes of bubbles, watching the End of Days gallop over the horizon. I often wonder about those people — the money hoarders, climate change deniers, earth-pilferers and adventure capitalists. Are they nihilists or anarchists or do they really believe they are to be saved by some Rock Opera Jesus? We may never know, but here is ‘Toast,’ which is hopefully as smooth as the smooth, smooth sailing of our glorious leaders fat old white lives,” Allbrook says.

Directed and edited by the members of POND and Alex Haygarth, dine, drink champagne and relentlessly toast each other in the sky — with little concern to anything down on earth. “We filmed the clip on a green screen in an abandoned garden centre in one continuous take. It cost us $300 to make (the price of four takes worth of champagne). I ate five fried eggs over the course of it. Another installment in a long series of homemade Pond videos,” Jay Watson says of of the video.

Video by William Ruben Helms

New Video: JOVM Mainstays Pond’s Bittersweet Ode to Small Pleasures When the World is Ending

Over the past handful of years of this site’s almost nine-year history, I’ve written quite a bit about the acclaimed psych pop act POND fronted by its Perth, Australia-based mastermind, multi-instrumentalist, singer/songwriter and producer Jay Watson, along with Nicholas Allbrook, Shiny Joe Ryan, Jamie Terry and Jamie Ireland. With the project’s first three albums —  2009’s Psychedelic Mango, 2010’s Frond and 2012’s Beard, Wives, Denim found POND’s sound moving from straightforward psych rock to a decidedly pop leaning sound.

Since then, Watson and company have released a series of critically applauded albums include 2017’s The Weather, which both continued the project’s ongoing collaboration with Tame Impala’s Kevin Parker and further cemented the band’s reputation for crafting trippy yet accessible pop. Now, as you may recall, Watson and company released “Burnt Out Star,” the first bit of new material from the Perth Australia-based psych pop act in some time and the expansive track managed to nod a bit at at Pink Floyd’s “Shine on You Crazy Diamond Parts I-V and VI-IX” but centered around the aforementioned shimmering synths and propulsive beats, making it deceptively arena rock friendly. Interestingly, that track was informally, the first single off POND’s forthcoming album Tasmania, an album conceived as a sort of sister missive to its predecessor. 

Slated for a March 1, 2019 release through Interscope Records, the new album is reportedly a dejected and heartbroken meditation on planetary discord, water, machismo, shame, blame and responsibility, love, blame and empire. And while coasting on an undercurrent of the restless, anxious dread we’re all desperately feeling, the material instead of wallowing in self-pity also reportedly encourages the reader to celebrate the small things — frolicking in the ocean, rolling around in the grass, the sweet feeling of being in love and so on, while we still can. “Daisy,” the album’s latest single and opening track beings with a mournful string-led introduction, before the curtain is opened, and the track turns into a shimmering, synth pop-based, power ballad centered around a sinuous and propulsive bass line and Allbrook’s ethereal falsetto. The track sees Allbrook imagining his childhood friends and family in the Kimberly region in chains — whether rightfully so or not, is up to the listener; but the track toys with the idea of bitterly retreating to Tasmania to lick their wounds. But there’s also the recognition of retreating just before everything gets fucked up beyond recognition. 

Directed by Jesse Taylor Smith and featuring aerial cinematography by Joseph Ryan, the recently released video for “Daisy” was shot in the lands of the Kulin and Nyoongar Nations — but it suggests the ruins of a country and civilization from its hubris and greed with the bandmembers enjoying some small pleasures — playing with a beloved dog, daydreaming on a lazy summer day. Sometimes small pleasures are the only thing we can cling to when everything is on fire.