Growth comes in many forms, and the increasingly clued-in lyrical trajectory isn’t the only way in which Pond are changing. Performing sold out shows in London, Europe, North America, Canada and Asia, in the past year, POND has also taken the stage at Reading and Leeds, End of the Road, Primavera Sound, St Jerome's Laneway, Boston Calling, Bonnaroo and The Govenors Ballfestivals.The band described their latest-which also marks their international major-label debut, on the perpetually alt-friendly Interscope-as a “sister album” to 2017’s zonked-out The Weather, an album that Allbrook described to NME as “laying out all the dark things underneath the shimmering exterior of cranes, development, money and white privilege.” This demonstration of social awareness is relatively new to Pond, a fact that Allbrook self-reflexively addresses over the oscillating synths of “Hand Mouth Dancer”: “So you got political, can you speak on that?/I didn’t get political, I just faced the facts.” Ideologically, it’s heavy stuff from a band who once wrote a song called “ Heroic Shart.”
In 2017,'The Weather' became the bands most rapturously received album to date, with rave reviews from The Guardian, Pitchfork, MOJO, Uncut, DIY, Q and more. Tasmania coats an undercurrent of restless, anxious dread in a sheen of light, apathetic content - both real and parody - rather than wallowing in self-pity, encouraging us to celebrate the fruits of our planet, frolic in the ocean, kick up the dust, roll in the grass and enjoy the feeling of being in love - while we still can. Tasmania is POND's dejected meditation on planetary discord, water, machismo, shame, blame and responsibility, love, blood and empire, all wrapped in luxurious, funky prog-pop, produced and mixed by Kevin Parker and POND and another essential instalment in their always expanding canon.įeaturing the singles Daisy, Sixteen Days and lead track Burnt Out Star, their eighth LP is some kind of sister missive to their 2017 opus The Weather.
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