THE SAND PEBBLES ATLANTIS REGRETS NOTHING Sensory Projects

Over the space of three albums, a few line-up mutations, a number of carefully-chosen collaborations and an all-too-rare smattering of mind-expanding, mood-enhancing live shows, Melbourne outfit The Sand Pebbles have staked their claim as Australia’s most switched-on and respected psych-rock troupe.

Maintaining families and full-time jobs restricts the musical activities members of The Sand Pebbles, but as one wise prince once said: “when they seldom come, they wish’d for come”. The scarcity of Pebbles’ shows and recordings makes them all the more valuable for the band-members and fans alike.

Which brings us to this fourth precious nugget, Atlantis Regrets Nothing. Fans of the band will recognise some of these tracks as highlights of Pebbles performances over the past year or so – at the mid-point of the track-listing Chris Hollow’s descending bass line of ‘Altered Images’ beats like the album’s heartbeat. The album’s longest track at six-and-a-half minutes, it is a perfect example of the band’s capabilities, melding solid, driving grooves with expansive, liquid melodic, harmonic and textural interaction.

But while The Pebbles enjoy pushing experimental envelopes, Atlantis Regrets Nothing also demonstrates their propensity for the power of pop. Andrew Tanner has an appealing and melodic singing style, which suits a more structured tune like Drop City or Genius (the latter seeing the band go to town with inventive studio wizardry).

Though The Pebbles’ tradition of recording at least one cover song has been abandoned on Atlantis Regrets Nothing, the band did enjoy some collaborative input. Dave Graney scores a co-writing credit on Natalie and Pebbles hero Dean Wareham of Galaxy 500, Luna, etc makes a guest appearance on the ingeniously titled Howard’s End.

And, introducing new member Tor Larson on whigged-out guitar freakout Elephant Gun is a perfect segue into the next chapter of The Sand Pebbles.

- Martin Jones