Perth-based JOVM mainstays POND — currently, Nicholas Allbrook (lead vocals, guitar, keys, bass, flute, slide guitar and drums); singer/songwriter and producer Jay Watson (vocals, guitar, keys, drums, synths and bass), who’s also the creative mastermind of acclaimed JOVM mainstay outfit GUM and a touring member of acclaimed, Grammy Award-nominated JOVM mainstays Tame Impala; Joe Ryan (vocals, guitar, bass, 12 string guitar, slide guitar); Jamie Terry (keys, bass, synths, organs, guitar); and Jamie Ireland (drums, keys) — will be releasing their 11th album Terrestrials on Friday through their newly-minted Mangovision/Secretly Distribution. 

The writing and recording process for Terrestrials was subject to a simple set of rules: No fuzz pedal. No ballads. No “Pink Floyd shit.” Conceived from a place of deep reverence for a particular potent era of Oz rock, the JOVM mainstays’ 11th album reportedly mines the sound of open sky melancholia, heat haze sizzling on the plains and jangly pub backrooms that will hit an eternally poignant nerve for those familiar with the sound, time and place. And from there, the album evolved with the idea of “Goths at the pub” becoming the record’s stylistic north star — with 80s Australiana being acid-washed with the post-punk of Sisters Of Mercy, Magazine and the like. Throughout the album’s creative and recording process, they’d ask themselves “Would Goths like it? Could you have a beer to this?” If the answers were yes, it was thrust into the mix. 

Like much of their catalog, Terrestrials is a record of people and place, of exploring the identity of each, as well as where and how they intersect and interact. Thematically, the album touches upon extractive capitalism, power dynamics., inequality, Indigenous incarceration, eccentric outcasts, fire and water, diesel and dust, unity and division, blood and bauxite, unborn tomorrows and dead yesterdays. And as a result, the album’s material twitches with the desperation of people and their planet on the brink, but while betting on the beauty of both to prevail. 

The album will feature the prevoouisly released, album title track “Terrestrials,” the Sisters of Mercy-meets-Diesel and Dust-era Midnight Oil-like “Two Hands,” the achingly yaerning “Through The Heather,” and the album’s latest single, album opener “Skyworks.” “Skyworks” feautres what may argaubly be Terrestrials‘ most rousingly anthemic hooks and choruses within a song that channels a syntheis of Diesel and Dust-era Midnight Oil, pub rock and post punk.

The song explores the complicated and uneasy history of Australia Day and the juxtaposition of public celebrations against the brural and painful history behind the day — and in turn, the country’s — origins. “The skyworks happen every year on the day Australia was invaded and claimed by the crown. They explode over the river in a gaudy display of drunkenness and patriotism, sponsored by the Lotto,” Nick Allbrook explains. “We love a flutter. The river is bejewelled with magical glittering lights, and loud bangs that remind some of canons and muskets. The river is ablaze, magic, filthy, like a Hieronymus Bosch picture, strewn with bottles and shit in the morning. It’s a confusing time for a confused people. Joe Ryan wrote the main chord progression for this one and then it grew in weird ways”

Directed by Stephanie Senior the accompanying video for “Skyworks” is a syltishly shot visual that employs the same colorful silhouettes reminiscent of the early iPod ad campaigns.