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07

Given the ascension of Pond internationally,

it’s little wonder Allbrook left his old band:

Pond supported Arctic Monkeys on a sojourn

through UK arenas in 2014, and played major

festivals Primavera (Spain and Portugal) and

Field Day (UK). All this after the NME called

them ‘the hottest band in the world’, which is both

a blessing and a curse.

“The British music press is a fire-breathing

chimera,” he remonstrates, breathing out more

than just a little. “I didn’t even realise what was

stressing me out so much, when we went back.

I was feeling really nervous and scared. I didn’t

want people to see me, I’d got that in my head

that everyone had this sort of weird image of

Pond as that. We all changed pretty quickly

and, you know, I certainly am not the same

person who was in that band who got awarded

‘the hottest new band’.

Allbrook, while having grown up in Western

Australia, isn’t a Perth native and thus a city boy;

far from it. Allbrook grew up in Derby, in far flung

North-West climes of WA, closer to the Timor

Sea than the Indian Ocean; a scant and scabrous

collection of streets inland from the ocean, where

music was hard to come by. Allbrook grew up in

a headspace of the far away places of Australia

few in the world really know, and as he gets older,

despite his prolific work rate, he’s beginning to

wonder what it all means.

“I’ve lost that head-in-the-sand, balls-out-of

your-fly-confidence,“ he admits. “I’m thinking more

stupid old paranoid person things: you know, ‘what

it means’. What is my point as a homo sapien?

Should I be burrowing around naked in a forest? Or

should I be helping the world? Or is the world not

worth being helped? Have we cast ourselves into

the fire already?”

Don’t be fooled by Pond’s trippy visage and

space-trawling vibe: they’re hard workers – see

the six albums in seven years for starters. But

maybe that’s a sign of the times – everything is

faster, the media cycle amplified tenfold by social

media, the globalisation of information, not just

economies, cutting the 15 minutes of fame down

to 15 seconds.

Allbrook concurs. ”When the flow of thought

gets to such a speed that the hurricane of

information collapses in on itself, does it go

to some sort of singularity? Or does it all just

explode and scat

ter out again?”

Man It Feels Like Space Again

by

Pond is released January 23 via

EM

I/Universal. Pond play St Jerome’s

La

neway Festival 2015: more at

lan

ewayfestival.com

Does the cover of ‘Man it Feels Like Space

Again’ look vaguely familiar?

In 1968, Big Brother and the Holding Company (with one Janis Joplin

on vocals) released the album

Cheap Thrills

.The band had posed naked

in bed together for a cover, but it was rejected by their record company.

The solution lay in the underground comic art of Robert Crumb (Joplin

was an avid fan), whose graphic illustration went down in history as

one of the greatest album covers ever designed. In Ben Montero’s 2015

homage that graces the cover of

Man It Feels Like Space Again,

hair,

gurus and walking digits are replaced with space travellers, pollution,

radiation, stargazers …and Elvis, of course.

Waiting Around

for Grace

It’s only track one and we’re traversing

the galaxy in a clapped out cardboard

cut-out space cruiser, avoiding bad

trouble, but ensuring there’s plenty

of the good kind on offer. Kooky keys,

it’s shimmery in all the best places

and bright spots.

Elvis’ Flaming Star

Southern rock of the stratospheres,

this is fried chicken and beer for the

soul; stompin’ and ready to fly, it’s a

funked-up hop through a Presley solar

system. Bring back Elvis, indeed!

Heroic Shart

A woozy, phased out, shimmering

wobble that threatens to fall apart

completely at times, but always manages

to snake off in yet another fascinating

direction. Hits full propulsion by the end.

Man It Feels Like

Space Again

The album closer is a few songs in one:

it begins as a vaguely Beatle-esque

rummage around the basement, then

sprouts out of the ground for some

vaguely reflective, psychedelic whimsy

and exploration. Dispensing with a

vaguely Floydian sheen, it hits the

straps and slows again once it hits

the eight minute mark.