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Jones\u003c\/strong\u003e and was—and unlike previous Hooveriii releases—was recorded over an extended period of time and was both consciously and subconsciously inspired by the touring the band did in support of 2021’s \u003cem\u003eWater For The Frogs\u003c\/em\u003e and 2022’s \u003cem\u003eA Round Of Applause\u003c\/em\u003e. “I’m really grateful for all of the people who contributed to this album and it’s a long list of people but it’s important that they are all listed because we all really pulled together to make this album,” Hoover adds.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Every record is kind of a response to the last record and I like listening to people’s discographies like that,” Hoover explains. “When we finished \u003cem\u003eA Round Of Applause\u003c\/em\u003e we were in rock mode playing with a lot of rock and psych bands and I was really thinking about what do you do with a fourth record?” The answer turns out to be something more esoteric and less predictable than a guitar-driven album while retaining the core of the band’s sound, which has made the Los Angeles-based act such an exciting act to watch evolve. From the spacey groove of the opener “\u003cem\u003eProm\u003c\/em\u003e” to the expansive, synth-friendly ballad “\u003cem\u003eThis Rock\u003c\/em\u003e” and the epic future-folk experimentation of the album’s closer “Dreaming” (which features vocals by Wallace), \u003cem\u003ePointe\u003c\/em\u003e is an album that references the past while stretching toward an unknown future. “I think that our intuition going forward is to keep ourselves surprised and keep people who like us surprised, hopefully without isolating anyone,” he adds. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhen it comes to the lyrics for \u003cem\u003ePointe\u003c\/em\u003e, Hoover says that while some of these are more personal than his previous material, it’s important for him to leave the actual content up to each listener’s own interpretation. “I like songs where people can admit to being deadbeats even if it is more of a character or you’re reflecting on one aspect of your personality,” he explains. “It’s also a transitional record in a lot of ways because sonically we wanted to drift away for album number four.” Correspondingly, Hoover considers “\u003cem\u003eThis Rock\u003c\/em\u003e” to be a love song. 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Aronyk: “There's a lot of similarities between that sort of situation where somebody finds their significant other cheating on them, and the decision making process in that moment is similar to what happens when somebody is radicalized and pushed to do something crazy.” Opening track “\u003cem\u003eILL\u003c\/em\u003e”, with its rumbling piano melody and Skrillex inspired synth line, littered with samples and droning horns, “\u003cem\u003eILL\u003c\/em\u003e”, addresses a clash between mob and cult mentality on the rise.\u003cbr data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003eThe courting of themes like violence, imprisonment, and famine isn’t a voyeuristic act for Mock Media, but a deeper interrogation on where to unearth notions of triumph and empathy. 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Piano sprees and luscious string sections appear like low-hanging stars on a night-time drive, whilst plunging vocal distortions and humming brass loops resurrect heavy limbs in a bad dream. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“I usually have objects as kind of totems for ideas,” explains Burgess. “The album initially started out to do with performance… [the totem] was a head mic, one of the subtle skin-tone ones, discreet on the forehead of a West End star. A number of the first songs in their original forms were almost musical theatre piano ballads. I think that was really a device to write about my life as the ‘main character’ (pre internet-speak reframing): regrets about romance, relationships - unsustainable relationships with the self and others.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“However, once we started writing, the ideas about unsustainable personal relationships, loving unevenly and heartbreak conflated with a more expressly ecological regret. Like contending with big feelings of loss, endings, beauty, desolation, and with how much joy the earth contains in it. Feeling so much gratitude bound up in waves of sadness. Maybe witnessing a slow-motion goodbye to all that, or its last gasps. I love the earth and the life it supports so much. I love how ecosystems fit together - even the brutal stuff. It may be basic to say, but now is the time to be laser focused on that love. I was thinking about human centrality on earth, us as the ‘main character’, the way that is served by faith and romanticism, and the subsequent disingenuous understandings of our position in the ecosystem, as only stewards somehow, rather than subjects. The totems at this point: a herald’s horn, lorry inner tubes, archaeological tools. I guess from doom, industry, history respectively.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Now I would say the record is about gripping. Totems being: crampons, rope, drips, desalination equipment, accruing various survival tech. I think gripping sums up both of the threads. There’s the emotionally correct clinging to the earth that is the substrate of everything we value, or the delusional clinging to our imagined dominant position. But also the practical, technological aspects of creating a sustainable relationship, of remaining here. 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They make their gathered wisdom of the ages sing like something new every time. It renews. 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