Pony
by Orville Peck
  • Record Label: Sub Pop
  • Release Date: Mar 22, 2019
Metascore
77

Generally favorable reviews - based on 8 Critic Reviews

Critic score distribution:
  1. Positive: 7 out of 8
  2. Mixed: 1 out of 8
  3. Negative: 0 out of 8
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  1. The 405
    Mar 22, 2019
    90
    Whether it be pushing past the anxieties of sitting still with no particular sense of home, both in a figurative and literal sense, or even the bittersweet memories of failed relationships, Peck’s desires are timeless and unveiled for all to cherish and cry to.
  2. The Line of Best Fit
    Mar 21, 2019
    85
    Some tracks sound like Elvis ballads drowned out by faulty styluses and retro sound systems. Others are breathy song-cycles of gospel folk. For all the rich breeze and slinking Tarantino guitars in "Hope To Die", the track more resembles an ‘80s Mazzy Star-era shoegaze piece for the country purists to languish on. With Pony, Orville Peck has put himself in the boxing ring for his own ’68 Comeback Special.
  3. Clash Music
    Apr 1, 2019
    80
    What Peck provides on Pony is music framed in that mould, and in doing so offers a brilliant palate cleanser to the vast majority of overblown, raucous and vapid compositions that have taken over the genre over the course of the last three decades or so.
  5. AllMusic
    Mar 22, 2019
    80
    With Pony, Orville Peck could probably get over on sheer audacity, but his talent is as impressive as his ideas are smart and unexpected, and this is one of the best and most fascinating debuts from an alt-country adjacent artist in a very long time.
  6. Uncut
    Mar 21, 2019
    80
    The familiar tropes of nomadic wrangler life are present--trusty steed, blood-red sunsets--but, refreshingly, the masculine cliches are not. Instead, the country-rocker concentrates on intimacy, tenderness and ambiguity. [May 2019, p.33]
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  7. Exclaim
    Mar 21, 2019
    70
    Tracks like "Roses Are Falling" and "Take You Back (The Iron Hoof Cattle Call)" are solid entries to the classic country canon of Glen Campbell and Loretta Lynn, while his impressive vocal range helps keep the album varied. His breathy croon drives erotic lovers' ballad "Big Sky," while his formidable belted falsetto elevates "Winds Change" beyond mere Smiths pastiche.
  8. Austin Chronicle
    Oct 10, 2019
    67
    Armed with a gorgeous warble that sounds like a gothic Chris Isaak, Peck soars over the sparse arrangements, which prove a natural complement to all the reverb, tremolo, and twang.

User Reviews

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User Score
8.2

Universal acclaim- based on 30 Ratings

User score distribution:
  1. Positive: 24 out of 30
  2. Mixed: 4 out of 30
  3. Negative: 2 out of 30
  1. loserphilly
    May 31, 2019
    9
    Probably the most interesting album I’ve listened to in a while. An interesting but effective mashup of Johnny Cash style ballads and 80s eraProbably the most interesting album I’ve listened to in a while. An interesting but effective mashup of Johnny Cash style ballads and 80s era alternative pop, with a splash of modern dream pop. “Turn to Hate,” for example, reminds me of Hoodoo Gurus. Guitar riffs on many songs echo Chromatics. Beautiful album.… Full Review »
  2. brockcheese
    Aug 19, 2020
    8
    Orville Peck brings a sensitivity to country music that seems to have been long gone. He hearkens back to earlier days of Country like Cash and Elvis.
  3. mrhardusstan
    Aug 13, 2020
    10
    Mr. Peck gives us an album with Norman F****** Rockwell level songs. I am saluting.
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