Pontiak
Echo Ono

THE REVIEW

"Power is nothing without control" declared almost menacingly a Pirelli tires advertisement a few years ago. In the specific context of the advertisement, the effect was, as often happens, almost amusing. But it fits perfectly to describe the latest effort by the Pontiak, prolific rockers from Virginia.

It may be their geographic origin (Virginia is not exactly America's musical center), or simply their unique artistic sensibility, but the three brothers after 6 years and 6 albums (plus an EP), have reached a probable maturity with this "Echo Ono." Although fitting within the current heavy rock scene (sometimes with noise tendencies, sometimes acidic), they manage to be concise and recognizable, rare qualities for many bands in that circuit.

This is why power and control are two things that "Echo Ono" is full of: perfect riffs, almost math crescendos, limited duration. A track like the opener "Lion Of Least" in the hands of any other current heavy psych group would become at least a 6-minute hypnotic track trying to capitalize on the granitic riff that opens it. But no. After just over 2 minutes and almost at the best part, it stops abruptly. Take it or leave it, they seem to say.

And so on for almost all the heavy tracks of the album: the explosive mid-tempo of "The North Coast", the bombastic rhythm section of "Left With Lights", and the swaying "Across The Steppe." A separate discussion for the beautiful tracks between acoustic, younghian ballad, and psychedelia. "The Expanding Sky," "Silver Shadow," and "Stay Out What a Sight," strike at the heart, synthesizing and giving form to the same semi-acoustic parentheses present in their previous albums.

The only weak track, the apocalyptic assault of the final 6 minutes of "Panoptica," somewhat unfocused and which sounds a bit out of tune in the economy of an otherwise superbly balanced and calibrated album in every note and atmosphere. Not least the choice of a totally analog recording, thanks to a 24-track mixer found in Arkansas and used in the '60s by Herbie Hancock, vintage tube amplifiers, and rejection of overdrive and distortions.

A handcrafted work like few others, from a group that is now forging its own path in its field.