Archive | Wombats / The RSS feed for this section

Day 307: The Wombats – This Modern Glitch

1 Jan

Jump Into The Fog

Well, it’s the new year.  In my opinion, there’s no better way to ring it in on Swole Ear than with The Wombats.

I’ve listened to these guys before, and instantly, as well as rather embarrassingly, I fell in love with their oh-so-sweet heart-on-sleeve lyrics.  How is a teenager not supposed to like relevant (if somewhat formulaic) stories paired with ultra-catchy indie rockness?  Yeah, I hate myself for loving the last Wombats album, but there’s not much I can do.  Maybe I’ll grow out of it.

Anyway, The Wombats decided to change things up a little bit on this record.  But don’t fret, adolescents, there’s still plenty of naivete within for your enjoyment.  For some reason, The Wombats decided to take a huge leap—from whiney indie rock, to whiney indie pop.  While the differences are small, those equipped with good ears can definitely hear them.

Yes, the irresistible guitar riffs can still be found on this album, but they are occur with much less frequency.  Instead, you’re more likely to find some synthesizers, a chopped up guitar section, or some violin samples.  Vocals on the last record were predominantly straightforward and un-altered, but here, you’ll find some pretty clear vocal alterations.

While there may be some haters of The Wombats’ genre-switch out there, I don’t see any problems with it.  Why does anyone like The Wombats? They make catchy and relatable music. Seriously, I’m pretty sure that no one listens to them for their innovative and influential guitar work.

Day 217: The Wombats – A Guide to Love, Loss & Desperation

3 Oct

Kill the Director

I’ve been thinking a bit about yesterday’s post.  I ragged on politically charged records, maintaining that artist’s opinions, no matter how revolutionary, just aren’t that interesting when articulated in their music.  That’s all well and good, but today, I heard The Wombats’ A Guide to Love, Loss, & Desperation—another post-Camp! indie-pop record about love, love, and love.  I thoroughly enjoyed it.  That got me questioning most of the music that I listen to.  What’s it all about? Love.  Why do I place a high value on homogenous music that revolves around a topic that’s been already beaten to death, and at the same time disregard music that might actually have something interesting to say?  In yesterday’s post, I chalked this phenomenon up to the artists that care more about their political ideals than the actual music, but I’m not sure that this is always true.  I’m going to try to convince myself that it is true for the moment, instead of facing what may actually be reality—at this point in life, I’m more interested in angsty, love-centric music than that boring political stuff.

The Wombats’ front man Matthew Murphy says it best in School Uniforms, “short skirts, long hair, my hormones flying everywhere.”  Or on the very next track, Here Comes the Anxiety, “I hope that no one leaves, because I don’t want to be alone with me.”

This is why I love me some whiny indie pop.  As much as I hate to admit it, I’m still an obnoxious teenager who responds well to vague, horoscope-ready lyrics and sunny, poppy synthesizers.  Maybe it’s just a phase that I’ll grow out of, but for now, haters gon’ hate.