Album Review: Pond - Tasmania

Pond have hit the studio once again to deliver a powerful new album in Tasmania. It’s a cinematic experience, and the standard to which all artists should strive when creating their album.

Nick Allbrook’s Daisy, describing childhood friends, family and memories in the Kimberley region, opens the album and envelops listeners in an aura of beauty. We’re then exposed to the colourfulness of Sixteen Days, which, with its French pre-chorus of “Je ne travaillez jamais travaillez” – English translation: “I never work” – conjures images of dancing under an array of lights. 

We’re carried on into Tasmania, which explores issues around Australian identity and the looming impact of climate change. Throughout the track, Allbrook and band show there’s still a flicker of hope left, shouting that they “might go and shack up in Tasmania before the ozone goes”. 

The Boys Are Killing Me combines the band’s continuing interest in synth sounds with the romping bass lines reminiscent of their earlier work on albums like Man It Feels Like Space Again and Beard, Wives, Denim. The lyrics feel personal and deeply relatable, delving into issues of colonialism and lost youth. The song draws to a satisfying climax as Allbrook sings “By the boys, the boys are killing me” before the track finishes with a brief guitar solo utilising the same Harmonist pedal effect as the band used on The Weather’s Sweep Me Off My Feet. 

The repetitive synths on Hand Mouth Dancer place listeners in the peak of 1980s glam-rock, and as the album moves along to Goodnight, PCC, the music seems tailored for rhythmic dancing or to a moment of reflection, as acoustic guitar brilliantly fades into the accompanying instrumental section. The mix of guitars, synths and drum sample pads begin to blend together with the lyrics: “Sleep, you can sleep my friend, now that you’ve seen the end, how does it feel?” The track ends with more drum samples, as it transitions blissfully into Burnt Out Star. Jay Watson and Allbrook balance harmonies together, capturing the intensity of their live shows in-studio.

Selene brings back the romping bass, with an additional subtle acoustic guitar in the background. It’s another groove-worthy addition to the album, another brilliant track. It’s safe to say that Shame feels like the final scene to a heartbreaking film, with the vast majority of the song sporting only Allbrook's poetic vocals accompanied by different samples, and finally ends with a subtle synth.

Joe Ryan finishes the album with Doctor’s In, an ode to ‘The Doctor’, a WA term for the cooling afternoon sea breeze in summer. Ryan’s track is so loud and enigmatic it may as well have been taken right from the score of classic film Blade Runner. With its array of synths, acoustic guitar and overall ambience, it incorporates sonic elements from across the album, while drawing it to a close. All together, Tasmania is an intimidating work of art – and one of the finest additions to Pond’s discography.