The Pons

Artist Information

Biography

Welcome to The Blackest Shine, the latest release from The Pons.

The Pons formed in late 2007 in Austin, Texas. We are Thomas Mazzi (Vocals & Guitar), Ruby Painter (Vocals & Bass) and Steve Sanders (Vocals & Drums). Joel Mullins (Piano & Organ) and Erik Wofford (Omnichord & Guitar) provide additional instrumentation in the studio and on stage. Both are considered to be part of our extended family.

Our influences are too vast to have any direct impact on how we write. References people have made about us that we can agree on: Low, Pixies, Talking Heads and Galaxy 500.

This is our second record together. We released our first record In the Belly of a Giant in 2008 - Coup d’état Publishing/ASCAP

About the Record:

The Blackest Shine was recorded between October 2009 and February 2011 at Cacophony Recorders in Austin, Texas. All songs are original compositions. Most of the tracks were recorded in one take. All overdubs were performed by the band.

The title suggests that you can still find yourself, and what you’re made of, even in the darkest of places.

See liner notes for more details about the record.

Available Formats:

Commercial CD
Limited Edition 12” white vinyl LP with digital download card
iTunes


Free downloads of our first record "In the Belly of a Giant" 2008 are available at our Bandcamp site (see link below). Enjoy!

Instrumentation

Thomas Mazzi - Vocals, Guitar, and Piano.
Steve Sanders - Drums & Vocals
Ruby Painter - Bass & Vocals.
Joel Mullins - Vocals, Guitar, & Keyboards

Discography

"The Blackest Shine" Coup d'etat 2011
"In the Belly of a Giant" Coup d'etat 2008
"Mix Tape" Compilation - KUT 90.5 Austin 2009
Almost There Records "Turns 5" Compilation 2009

Links

• Facebook
• MySpace
• Reverbnation
• Kickstarter - The Pons
• Bandcamp

Audio

• The Blackest Shine
  Listen  
• Someone Else's Voice
  Listen  
• Impossible Love
  Listen  
• Can't Get Through
  Listen  
• The Future's Past
  Listen  
• Sleep Soundly
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• Death of The Peacock
  Listen  
• Gene Hackman Dream
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• Black Twin
  Listen  

Lyrics

• The Blackest Shine
• Someone Else's Voice
• Impossible Love
• Can't Get Through
• The Future's Past
• Sleep Soundly
• Death of the Peacock
• The Gene Hackman Dream
• Black Twin

Video

Erik Wofford with The Pons

Photo Gallery

Press

• The Pons Release Their New Album “The Blackest Shine”
  

  "...throughout you’ll discover moments of vulnerability, clarity and triumph."

• Andy Langer's "The Next Big Thing"
  

  October 23rd Playlist - The Blackest Shine

• Austin’s The Pons new album ‘Blackest Shine’ is a smokey bluesy ride through self-discovery. [REVIEW + LISTEN]
  

  "This may be one of my favorite albums of the year. Get it. Love it. "

• Texas Music Matters - Local
  

  "This is a really great record!"

• Review - The Blackest Shine! [+ Show ]
  

  ...“The Blackest Shine,” has to be one of the great Austin singles of the year..." The record sta......“The Blackest Shine,” has to be one of the great Austin singles of the year..."
  
  The record starts off with the title track, “The Blackest Shine,” which has to be one of the great Austin singles of the year. It’s got a great haunting minor tone that is complemented well by a reverb-heavy piano line and some ethereal backing vocals. Yet, the song’s forward momentum is relentless. It rocks heavily from start to finish, carrying the listener along whether they want to come or not. It really does shock me that a station like 101X hasn’t picked up on this song yet since it fits so well alongside the Black Keys and the Toadies. “Someone Else’s Voice” follows it up with another propulsive minor-y song with one of my favorite lines of the year: “Even the hungriest artist can become full of himself.” Zing! They utilize dynamics perfectly here, and have a chorus that bucks traditional chorus structure ever so slightly. Then, “Impossible Love” shows that the Pons can do ballads too! The drums continue to be a huge factor in giving the song that head-bobbing feel, as lead singer Thomas Mazzi croons in the chorus like we haven’t heard yet on the album.

• Austin Chronicle Review [+ Show ]
  

  This local indie rock trio has been together barely a year, but you wouldn't guess it. They play tog...This local indie rock trio has been together barely a year, but you wouldn't guess it. They play together seamlessly, and with Erik Wofford, they've done a splendidly tasteful job with the production of their debut. Giant's stronger material illustrates guitarist/songwriter Thomas Mazzi's gift for hooks. "Blackhawk," with its tense, loping verses that break into urgent cries of "promises," suggests a friendlier, softer Fugazi, while "Wake Up Call" builds a simple yet clever two-chord groove into a beautiful extended chorus. The latter, like closer "Peace on Earth," is enriched by the vocal interplay Mazzi shares with bassist Ruby Painter. It's difficult to tell what, if anything in particular, they're singing about, so although the hooks stick fast, Mazzi doesn't have the lyrical sophistication just yet to make the songs themselves do the same. If this album is an indication, however, he'll get there

• 101x "The Next Big Thing"
  

  On Austin Powell's playlist for "The Next Big Thing" since October 12th.

• The Pons - Waterloo/Shiner's Top Ten List
  

  Top ten in record sales for the week of November 9th through November 15th at Waterloo Records.

• Austin Sound Review [+ Show ]
  

  Anyone who has ever heard songs written by The Pons’ Tommy Mazzi knows to expect infectious melod...
  Anyone who has ever heard songs written by The Pons’ Tommy Mazzi knows to expect infectious melodies complete with a little late 90s indie guitar rock and tight, witty lyrics. Beginning with Lalaland, the previous incarnation of The Pons, and 2004’s single “Let’s War”, Mazzi has always cocked a curious eyebrow towards our society’s ongoing emptiness – empty wars, empty consumerism, empty hearts. “Wherever You Are”, the lead off track from In the Belly of a Giant, is no exception. With Mazzi solemnly singing of “still fighting daddy’s wars/ still doing daddy’s chore/ turn your life upside down/ and everything falls out” right before he and bassist Ruby Painter gorgeously harmonize on a lonesome chorus of “Wherever you are/ Wherever you are”, the aching is perfectly captured in one of 2008’s best album openers. Not stopping there, The Pons then proceed to rip off a wonderful cathartic coda that shakes off the lingering sadness.
  Featuring Steve Sanders on drums along with the aforementioned Painter, The Pons are the same lineup that released 2006’s Mumbo Jumbo EP as Lalaland, but under the new identity the band sheds the cuteness of the old name and finally begins to embrace Mazzi’s full song writing potential. Layers of vocals shimmer through the 10 tracks on their debut album, leaving the listener feeling like they are standing in a cavern – or the stomach of a giant, right? - surrounded by Tommy and Ruby’s voices. Mazzi’s guitars, layered and piled thick, wrap their voices and Sanders’ drums in a sheen of arena friendly bliss. On “Wake Up Call” and “She’s the One”, voices, guitars, and organ twist and turn and blend in a way that is more Elvis Costello than Costello himself has been in a long time.
  
  If the Pons music requires Mazzi and his cohorts to continue to be a bit confused and unfulfilled, then let’s hope they are prolific and take advantage of these darker times. Nowhere is the Pons’ tug-of-war between anger and sadness, rage and loneliness, frustration and emptiness more evident than as their debut wraps up. Over churning guitar riffs as big as anything The Who put on “Tommy”, “Blackhawk” unloads and assaults the promises of wars, truths, and happiness before “Metal Heart” and “Peace on Earth” fade out. Over an acoustic guitar and a gently urgent drumbeat, Tommy Mazzi sings “peace on earth/ I’ve never known/ for what it’s worth/ I’d rather be shown”; As the band ratchets it up, Painter joins him to declare the fighting is over, and over a soaring outtro it’s hard not to feel like they both are singing for all of us.
  - Marc Perlman

• The Daily Dose - Dec 29, 2008 [+ Show ]
  

  Daily Dose is a three-song edition of the Next Big Thing that airs every weeknight at 9pm. * - l... Daily Dose is a three-song edition of the Next Big Thing that airs every weeknight at 9pm.
  
  * - local Austin band
  BOLD - new this week on the Next Big Thing
  
  The Dudes “Fist,” Brain. Heart. Guitar.
  
  * The Pons “Giant,” In the Belly of a Giant.
  
  Television Room “Coffee Houses,” demo
  

• Live show review - DC Rock.com [+ Show ]
  

  The Pons (formally Lalaland). They're led by Tommy Mazzi and are known for their stick-in-your-brai...The Pons (formally Lalaland). They're led by Tommy Mazzi and are known
  for their stick-in-your-brain melodies and big hooks. Mazzi's songs
  reminded me of alt-rockers from the late 80's and early 90's, like
  Paul Westerberg, Matthew Sweet, and Soul Asylum, but better. The
  lyrics are slightly dark but have a sense of redemption. The set
  included some noisy forays with Mazzi adopting a gunslinger mentality
  with his ax. Before I knew it they were announcing their last song. I
  was disappointed they didn't play longer since they were the best act
  of the night.
  
  from http://www.dcrockclub.com/2009/01/free-week.html
  

• Erik Wofford's 2008 List [+ Show ]
  

  The Pons In The Belly Of The Giant: The Pons recently changed their name from Lalaland, so this pret...The Pons In The Belly Of The Giant: The Pons recently changed their name from Lalaland, so this pretty much counts as their debut record. The breadth of this record is astounding. From dark moody numbers to blazing rock & roll to light hearted pop, The Pons never lose their emotional connection with the listener. Although not a concept album, the songs flow together with a cohesion that doesn't happen by accident. Not all is serious about The Pons, though. They usually come to the studio armed with practical jokes to unleash upon the unsuspecting, such as chattering teeth under your coat or a giant radio controlled spider under the equipment racks. Always fun to be had in the studio.

• Songwars Songwriting Award - "Peace On Earth"
  

  Honorable Mention Certificate.

• Hot Vox UTW's NewVo concert returns to expose Tulsa's ever-expanding music scene [+ Show ]
  

  Just because we've reeled it into one venue to make it more manageable doesn't mean we'd be content ...Just because we've reeled it into one venue to make it more manageable doesn't mean we'd be content with a single headliner, so we've doubled up to finish out the night. In fact, we're so sure of Tulsa's talent and our solid presence at SXSW that we're putting one of our best up against a very cool band from Austin.
  
  This may be the first stop in Tulsa for The Pons, but we were lucky enough to score a stop on the band's national tour to add a little flavor to the show. The trio may have only formed a couple of years ago, but its latest EP reveals a group that has matured quickly into a band that represents much of what Austin's contemporary music scene is all about.
  
  This indie rock power trio has tight musicianship, solid pop sensibilities and enough swagger to keep it all in check. Whether pulling out the sweet vocal harmonies and big pop hooks with "She's the One," a melancholy vibe on "Metal Heart," or rocking out with a huge backbeat on "Giant," The Pons set the bar high for our own indie bands.

• Review of "In the Belly of a Giant" - Space City Rock Houston [+ Show ]
  

  On In the Belly of a Giant, the appeal -- for me, anyway -- lies less in the music than in the overa...On In the Belly of a Giant, the appeal -- for me, anyway -- lies less in the music than in the overall feel of the thing. The music is good, don't worry, but it's the downbeat, serious moodiness that really gets me. Frontman (and principal songwriter) Thomas Mazzi is the culprit, I think; he sings songs that are big-S Serious, with Serious guys (and girls, too) rocking out Seriously about Serious things. No jokes, no goofiness, no half-assed attempts at being cute/clever; The Pons feel more like they play music because they need to, and not in a weepy, Emoboy way, but rather because they aim to shine a light on the struggles of everyday life.
  There's a strangely Up-era Peter Gabriel-esque thing going on here, partly thanks to Mazzi's rough-edged but vulnerable vocals, and that lends to the seriousness, too. Of course, the music doesn't follow that thread, instead ranging across pretty much any flavor of mid-'90s indie-rock you can think of. There's the swaying, somber "Wherever You Are," where Mazzi's voice drifts over gentle, Wallflowers-ish rootsy indie-rock 'til partway through, when The Pons shift gears abruptly to throw on "chunky," metallic-sounding guitars and hammering drums.
  Then there's the menacing, noisy, back-and-forth fire of "Giant," which makes me think of vintage Silkworm with its distorted-but-not-dirty guitars, and similarly loud tracks "Blackhawk" and "Brace Yourself." The latter is possibly the most head-up track on here, with a main riff that feels like the Beatles as covered by Hüsker Dü and vocals that sound at least okay with things, if not all-out cheerful.
  On the quieter side, "Wake Up Call" is gorgeously jangly and morose, with a driving backbeat and a pastoral feel like Fountains of Wayne's "Valley Winter Song." "She's the One" is bouncy and poppy but still heartbroken and down, while "Ripple To Wave" is light and atmospheric, riding some ridiculously splashy cymbals to fairly good effect. Closer "Peace On Earth," naturally, also falls into the quiet/gentle category, a sweet, possibly Christmas-themed track that makes a cozy night bundled up on a couch sound like a very good thing.
  It helps that Mazzi also knows his way around a hook -- the songs are immediately familiar, demanding that you sing along with the chorus wherever it appears, and the melodies are insanely catchy, to the point where I found myself humming 'em a week after I last listened to the CD.
  Throughout, Mazzi barely cracks a smile, but still, it works. Giant reminds me of all the indie-rock bands I loved and adored a decade and a half or so ago, partly because of the overall unselfconscious solemnity to the songs, and that's never a bad thing.

Setlist

45 minutes, typically.

Basic Requirements

Calendar