With Echo Ono, say Pontiak, it was important that they created an album, to be thought of as analbum, rather than a collection of songs. Their previous approach, of recording reams of audio and then working backwards from it to form an LP, went out the window in favour of the construction of narrative.

Judged on those terms Echo Ono is a decent album. It definitely contains an audio narrative: it starts out loud and cohesive, it unwinds in its volume into loose threads, and returns to cohesion in its final track, a crescendo of a kind. And it has a theme: Pontiak’s belief in the "texture and color that loud music produces."

‘Lions of Least’, the album opener, sets that in stone, its abradant and jangling, overdriven guitar cutting a path for drums that feel too slow for the pace, creating room for a sludgy bassline that rumbles to the end.

That thread runs through Echo Ono’s nine tracks, with the bass seeming never to stop. It’s from there that the “color” of volume comes, with Pontiak’s approach to noise, mostly in choruses on the first half of the album, feeling expansive, dealing in space as well as time. ‘The North Coast’ and ‘Left With Lights’ are good examples of that feeling, the harmony of strings sounding less direct than on a lot of rock records, and a lot of that being achieved, presumably, by time spent on production, to which Pontiak aimed specifically to attend.

And it creates continuity. As far as narrative – well, it’s themed musically. The curt-feeling closer, ‘Panoptica’, on which harmony loosens to noise and drums roll, is the rest of the album boiled together. It’s a loose coda, nicely summarising that aim to bring dimension to volume.