- Vinyl (5 Aug. 2013)
- Number of Discs: 1
- Format: Explicit Lyrics
- Label: MODULAR
- ASIN: B00CUHMJNW
- Other Editions: Audio CD | Vinyl | MP3 Download
- Average Customer Review: 4.5 out of 5 stars See all reviews (4 customer reviews)
- Amazon Bestsellers Rank: 155,527 in Music (See Top 100 in Music)
Other Sellers on Amazon
Hobo Rocket [VINYL] Explicit Lyrics
|Price:||£23.55 & FREE Delivery in the UK. Details|
Fulfilment by Amazon (FBA) is a service Amazon offers sellers that lets them store their products in Amazon's warehouses, and Amazon directly does the picking, packing, shipping and customer service on these items. Something Amazon hopes you'll especially enjoy: FBA items are eligible for and for Amazon Prime just as if they were Amazon items.
If you're a seller, you can increase your sales significantly by using Fulfilment by Amazon. We invite you to learn more about this programme .
Frequently Bought Together
Customers Who Bought This Item Also Bought
Top Customer Reviews
Most Helpful Customer Reviews on Amazon.com (beta)
Most of the songs here contain multi-parted, almost prog-like song structures. Opener "Whatever Happened to the Million Head Collide?" begins with a couple minutes of swirling atmospherics, shuffling rhythms, and mystical lyrics before erupting with head-banging, "Kashmir"-like guitar riffs that are both heavy and transportive, with Nick Allbrook perfectly capturing Jimmy Page's patented fuzzed-out guitar tone. The intertwining piano, horn-like sounds, and hallucinatory effects keep it from ever sounding like a mere homage, however. "Xanman" and "Giant Tortoise" follow similar Led Zeppelin-on-hallucinogens-type formulas, and to great effect, the latter perhaps being the best all-out rock song in Pond's five year history, filled with classic rock guitar solo wizardry and flanger effects galore, to the point that it may send you off into a euphoric, hypnotized state even though you can't keep from bobbing your head up and down.
The album switches things up with "O Dharma," a languid, beautiful folk ballad that slowly introduces more and more tripped-out effects and intertwining melodies until the song becomes an entirely different musical experience by the end, much more prog than folk, proving Pond aren't just a one trick pony. Closer "Midnight Mass (At the Market Street Payphone)" begins with two minutes of heavy Sabbath riffs before morphing into an ambient, Floyd-ian soundscape, ending 'Hobo Rocket' much as it began, and providing an excellent coda to this psych-rock gem of an album, an album that proves that Pond aren't just "a Tame Impala side-project," but are their own band, one that's every bit as adventurous. They somehow are able to make the old and dated sound entirely new, and entirely excellent.
(Originally written by me for Earbuddy.net)
I've watched and read many interviews from these guys and they have all confessed that Hobo Rocket was just something
they put out to keep their fans wanting more!
Though at first I was slightly skeptical about the newer heavy riffs from "Midnight Mass" & "Aloneaflameaflower", these guys
won me over within a few listens.
Pond never seem to disappoint. Don't confuse this LP for an actual full length album. Pond has already announced that
they have a full tour and album on the way for next year!
It's only 6 "real" songs if you think about it - and two were already released as singles. Left a little bit to be desired. I dig the jams of course, but ideally you would take the highlights from Beard, Wives, Denim and Hobo Rocket and create the equivalent of an Innerspeaker/Lonerism.
I don't mean to be overly critical or purposefully lump the two bands together. They just exist this way. Everything all of these Perth guys do in all of these bands turns into Gold.
cohesive & fun, psychedelic indie rock with no splatter control! Melodies explode in a
kaleidoscopic turmoil, painting the planet with random fuzz-glam patterns, like God-dropped
Easter eggs bombing down helter-skelter from the heavens. Sometimes, beautiful & charming
songs float by on a river of bliss. Other times, heavy prog-rock chords or maximum-distortion
bluesy riffs rule the soundwaves. There's lot of Tame Impala influence here, plus bits of
Flaming Lips, Bubble Puppy, Variety Lights, Led Zeppelin meets MGMT and maybe King
Crimson as stoned teenagers. Every moment is brightly colored with tingling, acid-licked
splendor-rays of pure psychedelic sparkle.
Starting off, "What Ever Happened to the Million Head Collide?" will please fans of Black Rebel Motorcycle Club. With a vrooming, whooshing production, it takes off and sustains its progressive rock-meets-garage style with aplomb. "Xan Man" compresses the panoramic view into a smaller sonic space, with Cam Avery's drums bashing away under Nick "Paisley Adams" Allbrook with vocals (also credited for flute, keys, guitar) who offers a dreamy, detached presence. It swings from the loud to soft in passages that distort and wobble even as the song tries to stand tall in the crash.
John Lennon's woozy, morning-after hesitancy returns in "O Dharma" with Allbrook's voice, trackes over Jay "Wesley Goldtouch/Wirey B. Buddah" Watson – guitar, keys, bass & backing vocals; Joseph "Shoseph Orion McJam" Ryan – guitar, bass & backing vocals; and Jamie Terry – keys & bass. It's hard from an MP3 file to make out who's who and what's what, but Pond and label-mates Tame Impala favor a lush, rich ambiance, with acoustic and keyboard-dominant quiet interludes within the more aggressive or trippier passages. Burbling electronics work well to bring out the nuances of this song, and sitar effects end this with an appropriate reference to the East.
Songs take different directions in their four or five minutes. Today's neo-psychedelic explorers appear to bifurcate into jam bands and those raised on indie rock who prefer shorter duration for adventures. "Aloneaflameaflowe" could have been recorded by the Portland predecessor Pond, at least in its stumbling opening, where guitar effects hit turbulence. Then, the voice emerges, and it's back to the early '70s with a thicker mood of processed voice and uncertain foundations of melody. Harder guitars battle out of this until Allbrook's voice whines. As if Robert Plant returns and Led Zeppelin struts. The band, however, lacks one overwhelming guitar presence such as a Jimmy Page, and with three players credited, Pond dives into a tropical, murkier atmosphere rather than a crystalline clarity.
"Giant Tortoise" swims up from the seasick segue. I was waiting for a track similar to Pink Floyd's earlier phase, and this passed through that spacy stage before moving into more overdrive, if less interstellar than Lennonesque. The vocals keep nodding back to a post-Beatles lassitude, and the instrumental energy dissipates into restless directions. Pond, for all the relative brevity of each track, makes Hobo Rocket sound as long as a double-album of old, and its model rests on gatefolds and Hipgnosis icons.
To jolt us from one period of the '70s to another, that makes the mumbled vocals on the title track sound almost as if Mark E. Smith of The Fall staggers into the studio. More spoken than sung, gargled and casual, Perth local character Cowboy John's turn at the mic takes a dramatic detour from the previous vocal turns on this album. Overlapping and raw, as if found-sound dialogue more than a lead lyric, this shuffles Pond's influences closer to a more punk or post-punk experimental snippet.
This closes with even more tape distortion before jumping into "Midnight Mass (At the Mission Street Payphone)"; it starts in Lennonesque tones yet again. This may appeal to those who worship the Smart Beatle, but I found this languid stance wearying, as I have the same touches on Tame Impala's albums. I prefer the more propulsive sections of both bands' dense thicket of a gnarly guitar attack, but Pond won't stay with one groove.
That they do so for more than a minute on the first and final tracks displays them at their best, recalling The Who or Pink Floyd in their more pastoral moments (or counterparts today The Soundtrack Of Our Lives), but this refusal to ape their influences for too long proves an admirable tenacity. Pond manages like TSOOL to freshen trippy classic rock tropes with a calm command of the genre, not for twenty-minute drum solos or stadium-ready riffs, but with a sense of the unexpected. You don't know what will follow in the next minute of any of their songs. That's a recommendation.