matt pond PA Albums (5)
What The Critics Say
"Night comes in and takes our light as we turn once again in the sun; we don't have to drift out of sight, as the shadows will fall and run." From the first lyric forward, matt pond PA's Last Light is firmly focused on twilight, that hazy period where scattered sunbeams separate night from day and dark from light. Perhaps the prolific Matt Pond has come to a crossroads of sorts, having spent the decade peppering his audience with almost as many releases as fellow indie icon Ryan Adams (who, like Pond, also works with a revolving cast of bandmates). Is this Pond's artistic twilight? Is he preparing for musical hibernation? Such questions are certainly warranted -- if anyone deserves a break, it's the songwriter who has issued ten albums/EPs since 2000's Measure -- but Pond shows no signs of slowing down. Last Light finds him sitting in the producer's seat for the first time, bolstering his emotive track list with an indie rock sheen not heard on previous albums, and using twilight to explore the theme of contrast. Much like Neko Case's Fox Confessor Brings the Flood, whose elegiac beauty was one of Light's chief inspirations, Pond's newest songs mix melancholy with hope, reality with memory, lonely guitars with chamber pop string sections. Case even makes a cameo here, lending her slow-smoked alto to the Monday morning blues of "Taught to Look Away." She's one of many surprise visitors, actually; having lost the lineup from Several Arrows Later, Pond has assembled another competent group -- including a replacement cellist, although the instrument isn't used as often -- and dotted the guest list with Isobel Sollenberger (Bardo Pond), John O'Mahoney (Metric), guest producer Rob Schnapf (Beck), and Rooney guitarist Taylor Locke (who, although his specific credits aren't listed, is likely the person behind the tastefully raucous solo in "The Crush"). Often, the music is wistful and introspective, with Pond annunciating his lyrics carefully, articulately, slowly -- almost as if he's afraid to let the words leave his lips. Elsewhere, he embraces the sweeping guitar-led sounds of Blur, Pulp, and other British heavyweights, whose influence culminates on the outstanding "Basement Parties." Last Light is an altogether different album from what we've heard before, as Matt Pond has rarely put himself in such close contact with his idols. Nevertheless, it's a leap forward for an artist who rarely, if ever, heads in the wrong direction. ~ Andrew Leahey, All Music Guide
'Several Arrows Later'
Release Date 1/1/2005
Tracks 12
Label Altitude
See Album Tracklist and Review
What The Critics Say
Several Arrows Later, Matt Pond PA's fifth album in five years, is another strong, emotionally charged, and melodically pleasing outing that just could be their best yet. It is packed with hooks, fine performances by the group, and tender and expressive vocals from Mr. Pond himself. The only thing it is lacking is the one or two songs that cause you to bolt upright in stunned appreciation; instead, the record flows past like a gentle river of melancholy and world-weary beauty. The songs have a subtle blend of styles (the classic chamber pop of '60s bands like the Kinks and the Zombies, the poppy side of emo, the insistent and epic feel of early post-punk/alt-rock groups like the Cure and New Order, and the gentle indie rock of groups like Yo La Tengo and Red House Painters) with plenty of strings, pedal steel, vibes, and piano to cushion the ache of Matt Pond's vocals and lyrics. Songs like the loping "Brooklyn Stars," "Halloween," "Several Arrows Later," and "Devil in the Water" are Matt Pond PA at their finest, intimate yet somehow epic with a heart-on-sleeve approach that is tempered by the restraint of the music. There aren't many bands around that manage to create music as good as this out of such familiar and somewhat obvious sources. That the group is able to come up with an album as musically and emotionally satisfying as Several Arrows Later is like a dream come true. ~ Tim Sendra, All Music Guide
What The Critics Say
A lush, richly textured affair made unique by Matt Pond's expressive vocal and an unerring knack for crafting memorable songs, matt pond PA's first record for Altitude is much in the same vein as the group's last record for Polyvinyl. A notch or two better than The Nature of Maps, Emblems doesn't emphasize hook-filled pop tunes, but rather the kind of songs that creep into your heart and reside there like warm memories. Pond sounds rejuvenated here. The music is livelier and almost exuberant at times, and certainly more varied that on the last album, which at times seemed to collapse into a melancholic torpor. The band has a meatier sound; tracks like "Closest (Look Out)" and "Claire" work up a rocking head of steam, the melodies are sharper and there are a bunch of really catchy choruses. It sounds like the work of a man in love, still sad at times but able to express a wider range of emotion. That's not to say the record forsakes the fragile beauty of previous albums as tracks like the achingly pristine "Summer (Butcher Two)" and the lilting "Lily Two" show that Pond's chamber pop standard mastery of arrangement and dynamics is still intact. Don't call it a comeback; call it a triumphant return to the glory of The Green Fury. And call it some of the finest emotionally charged chamber pop you are liable to hear in 2004. ~ Tim Sendra, All Music Guide
'The Nature of Maps'
Release Date 10/15/2002
Tracks 12
Label Polyvinyl
See Album Tracklist and Review
What The Critics Say
This opus by matt pond PA is the band's second for Polyvinyl Records. Entitled The Nature of Maps, it contains 12 songs and clocks in at about 38 minutes. Matt Pond has a recognizable voice, one that is no doubt capable of surviving, if not flourishing, on "alternative" radio. In many aspects, Pond and company aren't too far removed from the full sound of, say, Jackson Browne or modern-day comrades Koufax. Tunes like "Close Map" declare a liking for rich textures, filled with strings and jolly upbeats on guitar and drums. Other tunes showcase a more morose attitude, yet the strings are still prevalent, as are other backing instruments including vibraphone, keyboards, piano, and banjo. At times the album comes off as quite triumphant, yet never self-righteous. On other occasions it is in the delicacy that the whispering instruments prove that Pond's formula for what some may think as an archaic sound is actually noble and relevant. These 12 tracks are compositions to the fullest extent, filling the listener up with the realization of the power of music in its richest form. The only minor complaint here is the poor layout, which hardly comes close to matching the intelligence of the sound located within. Nevertheless, while the music may be hard for some to grasp, those who consider themselves mature, serious music listeners should find The Nature of Maps a gratifying, lavish album. ~ Kurt Morris, All Music Guide
What The Critics Say
The former frontman for Mel's Rockpile here steps out with his own highly unusual band: a shifting agglomeration of acoustic guitar, cello, violin, French horn, flute, bass, and drums. Let's get the painful comparison out of the way upfront: There's simply no denying the fact that Matt Pond sings an awful lot like Robert Smith, and that he and his band sometimes sound uncannily like an unplugged version of the middle-period Cure (note particularly "The Hollows" and "New Fall"). But more frequently they sound pretty unique. Rare is the songwriter who can make non-embarrassing use of cello and French horn in a pop context, and Pond does so consistently throughout this subtly seductive album. At first listen, you'll think these songs are gloomy, but gradually you realize that they're really just slow; there's a quiet optimism at their core that gradually wears through to the surface with repeated listenings. What will convince you to listen repeatedly are the melodies: "Flying Through the Scenery" and "The Hollows" are pretty much irresistible, and most of the other songs aren't far behind them. Give it a chance, and this album will slowly take complete control of your brain. ~ Rick Anderson, All Music Guide
