Anthems of debauchery and the type of disorderly conduct you’ll only find in the late hours of a boozy Saturday night, The Wombats’ latest album THIS MODERN GLITCH serves as a fun, rat-bag-esque, collection of tracks fit to pump life into any boring weeknight.
THIS MODERN GLITCH, similar to The Wombats’ previous album TALES OF GIRLS, BOYS AND MARSUPIALS, lyrically balances heavily British tones, paired with a brat-like notoriety, whilst being harmless, clever and thoughtful. However, The Wombats’ lead singer Matt ‘Murph’ Murphy believes their newest album certainly differs from the last, as the band discovered during its production.
“I felt like I was rebelling against what we were as a band,” says Murph. “Somehow we’ve come back round and amalgamated bits of that into the newer stuff and it’ll hopefully make it better. There are elements that are so different from what people will think. There’s songs that are akin to the first album but it feels like we’ve escalated,” he said.
Despite constantly repeating tracks like Jump Into The Fog, 1996 and Tokyo, this album, at times, sounds oddly too familiar to distinguish itself as a never-heard-of-before type of record It seems The Wombats may have (inadvertently) borrowed some disco-grunge, electro-rock from Bloc Party – who successfully twisted each of these genres into CDs like A WEEKEND IN THE CITY and SILENT ALARM – without stamping a degree of their own uniqueness to it. Uniqueness, I think, has been confused with out-there weirdness; songs like Anti-D and Last Night I Dreamt … are questionable – in a freakishly-morbid sort of a way.
Generally, THIS MODERN GLITCH is alive with exciting, dance-y tracks, pumping out enough energy and enthusiasm to get any disinterested designated driver up off their seat – a must-have record for fans of all-things British-rogue. Note: best played irritatingly loud.