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Track List
01) Waiting Around for Grace
02) Elvis' Flaming Star
03) Holding Out for You
04) Zond
05) Heroic Shart
06) Sitting Up on Our Crane
07) Outside Is the Right Side
08) Medicine Hat
09) Man It Feels Like Space Again
01) Waiting Around for Grace
02) Elvis' Flaming Star
03) Holding Out for You
04) Zond
05) Heroic Shart
06) Sitting Up on Our Crane
07) Outside Is the Right Side
08) Medicine Hat
09) Man It Feels Like Space Again
5:09
3:25
4:43
4:04
4:04
6:00
5:09
4:07
8:21
Data Complete
30%
Total Rating
30%Total Rating
(2 users)
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First Released
2015
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On their sixth record in seven years, Pond takes on pop. Five-minute opener ‘Waiting Around For Grace’ sets high-pitched vocals about being “tired of being tired” to fiery synths, and the jittery groove of ‘Elvis’ Flaming Star’ owes as much to Michael Jackson and Prince as it does Bowie. The tracks are as out-there as the title (cooked up by Ryan while he was “high on some consumables”), and highlight the new ingredients Pond are working with for ‘Man It Feels Like Space Again’. There are significantly fewer vocal freakouts from Allbrook, more synths, and various examples of combining programmed and acoustic drum sounds. They sound cleaner than ever, even when they slow things down.
Like Procol Harum’s chart-topping 1967 single ‘A Whiter Shade Of Pale’, ‘Holding Out For You’ makes prog accessible, burying sombre vocals under the keyboards before a breakdown that screeches like nails on a blackboard. ‘Sitting Up On Our Crane’ is lullaby-slow, underpinned by gentle guitar that flutters beneath Allbrook’s lyrics which, when intelligible, are downcast: “It always feels the same when we’re up high/’Cos I feel like I fall and die”.
Then the pace shifts again. The irrepressible funk of ‘Zond’ locates the album’s initial groove with a surge of powerful electronics and Allbrook's urgent gasps of "Tell me what went wrong/What about Zond?”. With wah-wah licks and disco rhythms, ‘Outside Is The Right Side’ echoes Bowie’s ‘Let’s Dance’, before ‘Medicine Hat’ uses synths and sparkling guitar to create a syrupy, immersive sound.
This wouldn’t be a Pond album without an in-joke or two, so nestled in the middle of the record is ‘Heroic Shart’ (a reference to a slang word for shitting oneself). It’s a sprawling ballad, Allbrook asking “would it set me free?” before the song plummets into an echoing pit of noise.
It all adds up to an emphatic showcase of Pond’s personality, and their ability to inflict their eccentric spirit on any genre they fancy. Perhaps, for a band as strange as this, making a pop album is the ultimate experiment. The results are anything but clichéd.
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Available in:
On their sixth record in seven years, Pond takes on pop. Five-minute opener ‘Waiting Around For Grace’ sets high-pitched vocals about being “tired of being tired” to fiery synths, and the jittery groove of ‘Elvis’ Flaming Star’ owes as much to Michael Jackson and Prince as it does Bowie. The tracks are as out-there as the title (cooked up by Ryan while he was “high on some consumables”), and highlight the new ingredients Pond are working with for ‘Man It Feels Like Space Again’. There are significantly fewer vocal freakouts from Allbrook, more synths, and various examples of combining programmed and acoustic drum sounds. They sound cleaner than ever, even when they slow things down.
Like Procol Harum’s chart-topping 1967 single ‘A Whiter Shade Of Pale’, ‘Holding Out For You’ makes prog accessible, burying sombre vocals under the keyboards before a breakdown that screeches like nails on a blackboard. ‘Sitting Up On Our Crane’ is lullaby-slow, underpinned by gentle guitar that flutters beneath Allbrook’s lyrics which, when intelligible, are downcast: “It always feels the same when we’re up high/’Cos I feel like I fall and die”.
Then the pace shifts again. The irrepressible funk of ‘Zond’ locates the album’s initial groove with a surge of powerful electronics and Allbrook's urgent gasps of "Tell me what went wrong/What about Zond?”. With wah-wah licks and disco rhythms, ‘Outside Is The Right Side’ echoes Bowie’s ‘Let’s Dance’, before ‘Medicine Hat’ uses synths and sparkling guitar to create a syrupy, immersive sound.
This wouldn’t be a Pond album without an in-joke or two, so nestled in the middle of the record is ‘Heroic Shart’ (a reference to a slang word for shitting oneself). It’s a sprawling ballad, Allbrook asking “would it set me free?” before the song plummets into an echoing pit of noise.
It all adds up to an emphatic showcase of Pond’s personality, and their ability to inflict their eccentric spirit on any genre they fancy. Perhaps, for a band as strange as this, making a pop album is the ultimate experiment. The results are anything but clichéd.
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