I was excited to see what the ever-evolving band had in store for us with their fourth studio album — spoiler: it didn’t disappoint

★★★★★

The album starts off with purpose in the form of opening track Song For Agnes. The track has an operatic edge to it, a feeling of high intensity and drama throughout that keeps you gripped until the very last note. The multilayered sound expertly incorporates everything from drums, synths and saxophones to create a euphoric synth-pop curtain-raiser. 

With the high bar set by the opening track, it’s safe to say the rest of the album doesn’t disappoint one bit. Human Touch packs a punch with edgier sounding vocals and an overall darker feel in contrast to Song For Agnes. The hair-raising guitar and synth work on this track makes it feel particularly expansive and adds to the overall intergalactic image that the sounds on this album evokes. 

The next two tracks show a different side: with America’s Cup comes a fun, funky number with a remarkably catchy chorus and ‘bouncy’ beat that makes you feel like you should be letting loose on the dancefloor to enjoy it properly and, in comparison, Take Me Avalon I’m Young is a slightly slower paced tune but by no means less interesting than any others on the album. It builds up in the end with some powerful harmonies as it draws to a close, and still features some incredible instrumental moments whilst being led by the experimental drumming that lies beneath the multitude of layers. 

The fifth track and lead single, Pink Lunettes, picks up the pace with synth pop and EDM-infused rhythm that thumps along at a thunderous pace until letting up and ending on a surprisingly soft, gentle note. The band describe it as “abstract messiness” which perfectly sums up the genre-blending spine-tingling madness to the song and indeed the album as a whole. 

Czech Locomotive is another track that creeps up on you, starting off on a rather peaceful note with the vocals taking centre stage, before building up and ending with another blissful instrumental, something the band have mastered over the years. This is followed by the seventh track Rambo, similar in that it also brings the vocals to the forefront with in-your-face lyrics that are almost shouted at you and what seems (and sounds) like a phone call conversation featuring midway through the track. That’s not to take away from the incredible musical artistry that is a hallmark of every song on this album — it adds an element of intrigue: why a phone call? Was it purposely recorded for the track?

The long, drawn out synth and guitar notes in Gold Cup / Plastic Soul make it particularly notable, a slower but equally as remarkable track; a breath of fresh air one might say.

The album draws to a close with Toast, a song about last year’s Australian bushfires and the shocking wealth divide in Allbrook’s childhood neighbourhood in Western Australia. This song is gentler, more reflective and a fitting note to end the album on, showcasing their unbelievable musical talent whilst making important points on something they’re passionate about. 

Overall there’s so much to digest with this album — it’s a journey and a half to listen to and quite possibly my album of the year so far. Pond are masters of their instruments, and letting go and having fun with their sound has paid off with mesmerising results. I thoroughly recommend sitting down, putting this album on and letting yourself be taken on a magical ride. 

‘9’ is out now via Spinning Top Records.