Australian group Pond has been at the forefront of the booming neo-psychedelica seen, since the release of their debut album Psychedelic Mango in 2009. In the years since, they’ve continued to be an eclectic group, often associated with Kevin Parker/Tame Impala, with several of Pond’s members acting as Tame Impala’s live band and Parker involved as a musician/producer on multiple Pond records. Pond returns with their 10th LP, Stung!, perfect to welcome in warmer weather and festival season.
Opener ‘Constant Panic’ has a warm summer glow to it, with Beatles-inspired/lifted lyrics in lines like, “Here comes the sun”. It’s perhaps not their most ambitious track, but there’s a gentle beauty to it, a shift towards more pop-oriented sounds. ‘I’m Stung’ opens with a psychedelic riff that helps move the sound towards more familiar ground, putting Nick Allbrook’s vocals front and centre. It has a soaring, anthemic feel and will surely be a staple of the group’s live shows.
‘Neon River’, meanwhile, has a slower, more acoustic opening segment before exploding into life, reminiscent of 70s rock acts; it is an unpredictable listen that tosses and turns between melodious and an all-out assault, a fascinating cocktail and showcasing Pond at their very best. ‘So Lo’ continues the shift in styles with an almost funk riff to open it. It is a welcome transition and shows their aptitude for different genres.
‘Black Lung’ is an epic, almost entirely instrumental number that again has shades of 70s acts like Black Sabbath or Led Zeppelin but still feels distinctly Pond. Shiny Joe Ryan’s guitar work is a particular standout.
‘Edge of The World Part III’ at eight minutes long is far and away the lengthiest track on the record. As listeners might expect, it’s among the more experimental points, interweaving electronic elements amongst its more psych-rock flavours. This is cleverly placed after ‘Elf Bar Blues’ which is only two minutes in duration and more dance-oriented.
‘Boy’s Don’t Crash’ is more of an out-and-out rock number, with a thunderous opening that doesn’t let up. ‘O, UV Ray’, on the other hand, is a more stripped-back, acoustically driven song, built around gorgeous harmonies that channel 60s acts like The Beach Boys. It might be an unexpected direction for Pond to go in but it is a successful shift that shows the diversity of their influences and their range.
‘Last Elvis’ has a chaotic, freewheeling energy to it, especially in its second half. ‘Elefant Gun’ balances some of the LP’s pop and electronic moments with a psychedelic twinge to it, retaining the luscious harmonies found elsewhere, an amalgamation of sounds found across the album.
Ten albums in this would act well as an introduction to a band’s sound and range. Most impressively, it offers plenty of promise for the future. For long-term fans, many of the tracks here seem tailor-made for a live arena.
At 15 tracks, this is a sizable record but it never outstays its welcome or drags, full of fresh sounds and directions, it is a thrill to see Pond challenging themselves and proving why they remain such an exciting act 15 years after their debut. It is a winning blend of Psychedelia, Funk, Rock and the perfect album to welcome in the summer months. Even after ten records, they show no sign of slowing down with no drop in quality. This layered record will likely reward multiple listens due to the range of sonic directions and length.
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