Ashley Pond
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Ashley Pond

San Diego, California, United States

San Diego, California, United States
Band Folk Blues

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Press


"Best of '07"

Best New Solo Artist: Ashley Pond

"We'd like to say that Ashley Pond is the Capital Region's answer to Cat Power, but that wouldn;t be at all fair: The minimalist, blues-based guitar-and-vocal explorations on Pond's forthcoming debut disc Dala are far more outgoing. She claims to be influenced by Nick Drake and Led Zeppelin, and we can hear both: Her soulful voice sweeps from sassy purr to assured wail, and her guitar work is intricate and interesting (listen: There's nary a strum to be heard). A welcome addition to the area's already bustling singer- songwriter scene." - Metroland Magazine


"Aimee Mann Show Review- Opening slot...."

Aimee Mann subdues mood

By MICHAEL ECK, Special to the Times Union

First published: Wednesday, July 30, 2008

ALBANY — Aimee Mann’s not a happy camper.
In her opening number at Washington Park on Monday night, Stranger Into Starman,” Mann nodded to Anne Sexton. When that brief ditty was done, she launched into Looking for Nothing” and followed that with Freeway,” which boasts the sunny couplet everything I do is wrong, but at least I’m hanging on.”

Yeah, chipper gal. But Mann has made a long career of turning bleak matters into pop gold.

And her moods on Monday proved quite entertaining to a large crowd at Monday Nights in the Park.

Mann is touring behind her new album, @#%&*! Smilers,” and she drew heavily from its song list. She also echoed its keyboard-heavy sound, shifting older material into Smilers” mode as well.

The lack of a distinctive, edgy lead voice — like a lead guitar — did rob the band of some dynamics. Consequently, the entire show had a melancholy, percolating similarity.

It didn’t help that Paul Bryan’s bass was the dominant sound coming from the stage.

Smilers” is ripe with melody, even if few of its numbers hit with quite the Beatles bounce Mann is capable of producing.

The aforementioned Freeway” and 31 Today” both pushed the groove to its hardest edge of the night, without quite rocking.

On the other end, Little Tornado” was mesmerizing. It’s a haunting song on Smilers” but in Washington Park it seemed to float, its waft interrupted only by Bryan’s whistling (a rare sound at a rock show).

Borrowing Time” featured a keyboard break that mimicked a guitar solo, but it still lacked the right amount of teeth.

Older material occasionally sparked a cheer of recognition from the crowd, especially Saved,” a track featured in the film Magnolia.”

You’re With Stupid Now” found Mann passing her guitar to Bryan, while she tapped on a pair of bongos. And 4th of July,” from her debut solo album, Whatever,” asked for only a glimmer of keys behind her six-string.

Albany’s own Ashley Pond actually rocked a little harder than Mann, and maybe even out-mooded her.

Pond’s Dala” was one of the best local releases of last year, and he continues to grow as a live performer. Her band — drummer Scott Smith and bassist Sarah Clark — has jelled, and was taut and surprisingly funky in the park.

The Warning” even echoed Z.Z. Top, no mean feat when you’re wearing a light blue summer dress.

Monday Nights in the Park continues next week with Lez Zeppelin, an all-female Led Zeppelin tribute act.
- The Times Union


"Quote from Pat Pierson: Editor: Yeah Yeah Yeah, DJ; WRSU-FM"

Stuck outside of Albany with the Dead-end Thruway Blues Again: sounds of the not so silent night, echoing through barren NY from a semi-torn and frayed female 20something and her electric geetar. Yeah baby she's got it... - (Radio DJ quote, not press)


"Ashley Pond more than lives up to her buzz"

By David Malachowski , Reviewer

ARTIST: Ashley Pond
ALBUM: "Dala" (the Rev Records)

Albany's new sensation Ashley Pond checks in with a 10-song CD that more than lives up to her ever increasing buzz.

Starting with the evocative harmony laden "Too Low," Pond pushes the listener in front of the fireplace and throws on another log. This warm feeling continues with the dark low drone of "Shame," where she says, "You look at me like I'm self righteous."

The weight of her work is impressive and heavy, but at the same time threatens to break free from gravity at any second.

From the mysterious "Never Seen Your Own Face," to the urgent "Static Line," to the anxious "I Have No," a not so latent Celtic rock sounds emerges, and if she's not careful the levee will surely break.

One of the best CDs to come out of the Capital Region in years, Pond is poised for big things.
- Daily Freeman


"Uncovered"

Uncovered

Albany’s slowcore sweetheart Ashley Pond does things her own blue-tinted way

By Mike Hotter



‘When the depraved are in the ground/I’ll be happy.”

Twenty-three-year-old Ashley Pond slips that attention-getter into “Instrumental,” the fourth track on her debut CD, Dala, almost as if it’s a secret she doesn’t know is being overheard. Confessional in their own encoded way, Pond’s songs keep their mystery because, to paraphrase the Emily Dickinson adage, they tell the truth, but tell it slant. While mainstream media titillates with constant news about the shallow, the vapid and the vulgar, an ever-growing group of young underground artists are forging what I like to call the “new authenticity,” tales of the unsung lived beyond the scope of the big cities and bright lights. As Pond puts it in her song “Too Low”: “My guess is to lay low/And avoid the puppet show.”

Born and raised in Malone, an Eastern-Central New York town of 15,000 that has “a lot of barns, and a lot of used-to-be barns,” Pond has been singing since, as she puts it, “as soon as I could talk and recognize that notes were going on.”

“To me, an influence is someone you learned something from,” Pond says. “The Sound of Music—as a kid I thought [that] was pretty great. I learned a lot about how to sing from that movie. Julie Andrews had an amazing voice. I think it just came along at a really crucial point in life.”

Since her parents weren’t big music consumers, the young Pond found herself studying and singing along to whatever music was close at hand. “I didn’t have access to much music as a child. I used to sing along to this Sherwin Williams promotional tape that my dad got on a business trip. There was an E.L.O. tape hanging around for the longest time. I just took what I could get.”

Her parents were reluctant to buy their daughter a guitar, so, in true DIY fashion, Pond scraped up enough money on her own—by winning a karaoke contest—and walked out of a country store in Churubusco, N.Y., with a hard-won acoustic grasped in her 10-year-old hands. The start of high school coincided with her first attempts at songwriting, as well as the consummation of an unrequited musical love for a certain world-famous, but until then still-mysterious, rock band.

“I felt like I wasn’t cool enough to like them, but I got my courage up, listened to an album—I claimed Led Zeppelin for myself!”

Deciphering the sorcery of some of Jimmy Page’s acoustic tunings inspired Pond to incorporate increasingly sophisticated tunings into her own music. Delving deeper into the esoteric British folk music of the 1970s, Pond later found kindred muses in the likes of Nick Drake’s Pink Moon and Roy Harper’s Stormcock. Regarding Drake’s often coveted tunings, Pond reverently says, “I don’t touch them—I leave them to Nick.” Harper’s influence can be heard all over the middle section of Dala, specifically in the expansiveness “Never Seen Your Face” and the aforementioned “Instrumental,” where Pond is not afraid to change moods and rhythmic cadences mid-tune, employing chord progressions that venture way past the circle of three or four chords many other singer- songwriters (including many famous ones) like to stick to.

After high school, Pond moved to Albany to pursue a degree in music education at the College of Saint Rose. As someone who had been working intensively on her own music for quite some time, she found some of the classes a tad bit constricting.

“We had a songwriting class, but it was extremely basic—very specific guidelines per project. I guess if you’re going to be writing for hire, it would be valuable. I’m very rebellious, kind of ‘do your own thing.’ ”

“But,” she adds with a laugh, “going to class to write a song is pretty cool!”

Soon after arriving in Albany, Pond started hitting the local club scene, first with appearances at the Paddy Kilrain-hosted open mic at the now-defunct Larkin Restaurant, then at one-off gigs like the annual Caffe Lena benefit show, where she started to rethink her self-imposed policy pertaining to cover tunes. Of course, she chose to hit for the bleachers with a version of the Beatles’ “A Day in the Life.”

“Yeah, that whole orchestral part, where it kind of crumbles? That was difficult,” she laughs. “But I’m beginning to appreciate covers. I used to be hardcore, like ‘Why don’t you just write your own songs,’ you know? But I’ve been learning that you can channel it and still make it your own.”

Matt Mac Haffie, a local music devotee who was working at Saint Rose at the time, remembers a Pond performance from those days. “I first saw Ashley Pond on stage in the Saint Rose dining hall,” says Mac Haffie. “The only thing that shone brighter than the hateful fluorescent lighting was Ashley’s brilliant vocals, and illuminating lyrics. What I saw was a young artist brimming with potential.”

After several such performances, a rolling buzz started to circulate about the petite young lady - Metroland Magazine


"Top 10 Local CDs of 2007"

by Greg Haymes, Reviewer

Ashley Pond's "Dala" (The Rev): Brimming over with moody mystery, singer-songwriter Pond's glistening debut mixes folk, blues and rock. Captivating stuff. - Times Union


"Ashley Pond Band's The Warning a brave step forward"

Dark and foreboding, The Warning is less of departure for Albany-based singer-songwriter Ashley Pond, but more of a diving headfirst in to a pool of blues. Pond and her bandmates Sarah Clark (bass/keyboards) and Scott Smith (drums) have an intriguing CD on their hands here.

A gritty guitar announces “No More West To Be Won,” a bleak tale of nothing left to lose. Pond’s aching voice is sultry and seductive, but at the same time there’s an outstretched hand is blocking you from coming closer.

“The Warning” is boogie blues of the John Lee Hooker-hypnotic one-chord drone verse variety, and it’s done to near perfection, Pond’s sweet voice is in the shadows of “There You Are,” making it even more poignant. “Born On A Full Moon” sounds like a cover, classic and true. “Wolf Man” is slinky and sassy, while “Current Race” uses spare use of space, guitar and bass — and is dazzling. They loose focus a bit with “Meet Me,” but it returns with the dreamy “The River,” its primitive guitar floating in space. - Daily Freeman by David Malachowski


"Ashley Pond Band's The Warning a brave step forward"

Dark and foreboding, The Warning is less of departure for Albany-based singer-songwriter Ashley Pond, but more of a diving headfirst in to a pool of blues. Pond and her bandmates Sarah Clark (bass/keyboards) and Scott Smith (drums) have an intriguing CD on their hands here.

A gritty guitar announces “No More West To Be Won,” a bleak tale of nothing left to lose. Pond’s aching voice is sultry and seductive, but at the same time there’s an outstretched hand is blocking you from coming closer.

“The Warning” is boogie blues of the John Lee Hooker-hypnotic one-chord drone verse variety, and it’s done to near perfection, Pond’s sweet voice is in the shadows of “There You Are,” making it even more poignant. “Born On A Full Moon” sounds like a cover, classic and true. “Wolf Man” is slinky and sassy, while “Current Race” uses spare use of space, guitar and bass — and is dazzling. They loose focus a bit with “Meet Me,” but it returns with the dreamy “The River,” its primitive guitar floating in space. - Daily Freeman by David Malachowski


"by Saby Reyse-Kulkarni"

The evening opened with a quintessential example of subdued power in the form of the Ashley Pond Band. Bandleader Pond's combination of jangly, heavily-reverb'd electric guitar and husky, quavering voice projected a haunted, bluesy quality that offset her bandmates' indie chops for a striking contrast. Bassist Sarah Clark and drummer Scott Smith made perfect use of dynamics, growing even more powerful and absorbing when they brought the volume down. And the crawling pace of the songs created a pocket for Pond's voice, which seemed to hang in the air and linger in your ears long after the band was done. - Rochester City News Paper


"by Saby Reyse-Kulkarni"

The evening opened with a quintessential example of subdued power in the form of the Ashley Pond Band. Bandleader Pond's combination of jangly, heavily-reverb'd electric guitar and husky, quavering voice projected a haunted, bluesy quality that offset her bandmates' indie chops for a striking contrast. Bassist Sarah Clark and drummer Scott Smith made perfect use of dynamics, growing even more powerful and absorbing when they brought the volume down. And the crawling pace of the songs created a pocket for Pond's voice, which seemed to hang in the air and linger in your ears long after the band was done. - Rochester City News Paper


"by Matt MacHaffie"

Ashley Pond - Dala

Released prior to the formation of her band, Dala is a beautifully sparse CD that showcases both Ashley Pond’s haunting yet powerful vocals and songwriting prowess. She further distances herself from the pack of female singer/songwriters with her sophisticated finger style guitar technique, unlike the army of three cord strummers that has become the norm. Dala does not employ a hooky pop driven songwriting style; hers is more linear and dark which holds up well under repeated listening. The contribution of Ryan Slowey’s stand-out production and Tiffanny Barkevitch’s stunning illustrations can not be overlooked in the success of this impressive debut CD for Ashley Pond. Is it any wonder that this talented artist earned the local opening slot in support of Aimee Mann’s summer show in Washington Park.

Brings to mind: Cowboy Junkies
- Troy Record


"by Matt MacHaffie"

Ashley Pond - Dala

Released prior to the formation of her band, Dala is a beautifully sparse CD that showcases both Ashley Pond’s haunting yet powerful vocals and songwriting prowess. She further distances herself from the pack of female singer/songwriters with her sophisticated finger style guitar technique, unlike the army of three cord strummers that has become the norm. Dala does not employ a hooky pop driven songwriting style; hers is more linear and dark which holds up well under repeated listening. The contribution of Ryan Slowey’s stand-out production and Tiffanny Barkevitch’s stunning illustrations can not be overlooked in the success of this impressive debut CD for Ashley Pond. Is it any wonder that this talented artist earned the local opening slot in support of Aimee Mann’s summer show in Washington Park.

Brings to mind: Cowboy Junkies
- Troy Record


Discography

2007 - Dala
2009 - The Warning Ashley Pond Band

Photos

Bio

My music is characterized by soulful vocals, honest poetic lyricism, and bluesy folk guitar.
My earliest memory of singing goes back to the days when my parents had this old brown Ford Escort, called Bessie. One fall day we were out for a drive, leaf peeping in the Adirondack Mountains of Upstate New York. All of 5 years old, I sat in the back singing along to all of the songs on the radio. My parents’ surprised and excited reaction resonated with me so much that I still remember it twenty some years later.
Music became my number one pastime while growing up in a desolate, small town. Most of my afternoons were spent singing along to my favorite albums. Playing the french horn and singing in the chorus in school helped provide a musical foundation for me, but I got more enjoyment creating music on my own. I was writing songs and needed an instrument to accompany myself with.
I first got my hands on a guitar one day while helping paint the outside of my uncle’s cabin on Mountain View Lake, NY. Having just moved in, there were random furnishings left behind by the previous inhabitants. There in the small dark living room, behind an armchair in the corner, stood a guitar case. I quickly finished my painting endeavors and went for a walk, taking the guitar with me. I played it all day, and put it back when it was time to go.
I was finally able to buy my first guitar the following summer with the money I won in a singing contest at the county fair. My mother used to bring me to weekly guitar lessons with an “old hippie” in town by the name of Jeremy Drake. I would stay up all hours of the night practicing exercises and writing songs.
After high school, I moved to Albany, NY where I studied music in college. I had a growing collection of original songs that I was performing at open mics and small shows. I was in an out of college for a few years, taking time off to focus on recording and performing.
My first solo record, Dala was entirely self produced and released in 2007. I had a hand in all aspects including recording, mixing, and design. A week or so before I sent everything for press, I hooked up with local record label. I had my graphic designer add the label’s logo my album artwork. That ended up being the extent of their involvement in that release.
I started a band to fill in my sound around that time, adding a drummer and bassist. With a whole new set of original songs I was eager to begin recording again. Sticking to the independent route, Ashley Pond Band released The Warning in 2009. The band gigged in support of the album, but dissolved by year’s end due to differences in vision and circumstance.
I had some good times in Albany. I played some higher profile shows opening for Aimee Mann, Grace Potter, and Kenny Wayne Shepherd. I played all different types of smaller venues, like art galleries, cafes, bars, clubs, campuses, street festivals, and basements.
Ultimately I wanted to experience life in a new place, so I moved to Brooklyn, NY. I was isolated, yet constantly surrounded by people. I spent my days writing and reading and sitting in coffee shops. After a few months I found myself completely broke and back in my hometown in northern New York. I lived in Chasm Falls, about a mile from the local ski mountain where I tended bar.
There was very little opportunity to perform in the area so I would make videos in my apartment, and occasionally share them on social networks. A co-worker at the mountain approached me one day and started a conversation about playing music. He had seen my videos and liked the songs. As it turns out we started a band called T&A, and are now living in San Diego together.