Norwegian quartet Pom Poko make intense music, marked by jagged, unpredictable grooves and structural switch-ups. Guitarist Martin Tonne is a jazz-schooled shredder whose -laden leads and wild use of effect pedals strafe their art rock songs. Previously influenced by the multitude of ideas found in K-pop and hyperpop songs, Tonne says his band decided to base latest album around the sound of four people playing together in a room.
“We thought a lot about rock bands that sound natural,” he says. “We wanted to keep things a bit less cluttered, idea-wise and production-wise.” The music hasn’t been simplified, though, and Tonne’s playing hasn’t been defanged – instead, it’s been distilled, so we see a sharper focus on what makes Pom Poko such an intriguing prospect.
It means there’s little reliance on traditional drum beats or off-the-peg chord progressions. Meanwhile, Tonne’s playing is eruptive, with a barrage of atonality, and a focus on dynamics, from spindly, quicksilver licks to roaring chords. His technique delivers buzzes, metallic rattles, squeals and moans, utilising deadened strings and harmonics as often as traditional notes.
At times, such as on his excellent solo album, , his guitar can sound more like a trumpet ( while on it sometimes feels like it has more in common with a keyboard ( . All of which is to say that Tonne has a uniquely diverse ear as a player. Like the other members of Pom Poko, he has a jazz background and, while you might not.