Artist: The Wombats
Title: This Modern Glitch
Label: 14th Floor
Genre: Indie
Bitrate: 258kbit av.
Time: 00:48:15
Size: 93.76 mb
Rip Date: 2011-04-23
Str Date: 2011-04-25
01. Our Perfect Disease 3:44
02. Tokyo (Vampires And Wolves) 3:45
03. Jump Into The Fog 3:52
04. Anti-D 4:41
05. Last Night I Dreamt... 3:32
06. Techno Fan 3:59
07. 1996 4:20
08. Walking Disasters 4:17
09. Girls/Fast Cars 3:35
10. Schumacher The Champion 4:50
11. Tokyo (Vampires And Wolves) (Acoustic Version) 3:57
12. Jump Into The Fog (Acoustic Version) 3:43
Release Notes:
Just as comedy actors, no matter how massive their crowd-draw or how
enjoyable their movies, stand a popsicle-in-HellÆs chance of ever
winning an Oscar, itÆs virtually unthinkable that the second album from
LiverpoolÆs The Wombats will grace the higher echelons of any
end-of-year polls or the Mercury shortlist. They cross too many boxes û
theyÆre shamelessly radio-friendly and insanely melodic, they have a
æwackyÆ name and theyÆre simply too popular/ist to garner much of a
credible critical vote. On the contrary, that scraping sound you can
hear is the widespread music media dragging their shovels towards This
Modern Glitch intending to bury û largely unheard and with extreme
prejudice û the leading exponents of what the trolls have deemed
"landfill indie".
And what a travesty that burial would be. Because, for its genre û
polished, uplifting, chart-bound electro indie-pop û This Modern Glitch
is a flawless modern classic to file alongside Free All Angels by Ash,
Franz FerdinandÆs debut and Hard-FiÆs Stars of CCTV. Leaning more
heavily on synth blares and funk-disco beats than their
guitar-orientated debut A Guide to Love, Loss and Desperation, itÆs
like a blast of musical Optrex to the face of 2011. It revitalises the
80s electro-funk-pop revival on the stunning likes of Our Perfect
Disease (hyperactive Hurts) and Walking Disasters (morose Marina). It
invigorates Naked and Famous-esque synth-pop with jubilant harmonic
whoops and trills on 1996 and Tokyo (Vampires and Wolves). And it
re-imagines The VerveÆs Bittersweet Symphony as an anthem of defiance
against personal (rather than social) tribulations on the
string-swaddled ode to singer MurphÆs anti-depressant addiction,
Anti-D.
And thereÆs the kernel to The WombatsÆ popularity and (inevitable)
longevity. Sure, they sporadically live up to their cartoonish persona
by playing the ultimate Nuts readers on fuzz-punker Girls / Fast Cars,
or detailing a druggy night in a Hoxton trendster club on
single-of-the-decade contender Techno Fan, a song with a hook thatÆll
punch through you like a jack-hammer. Yet thereÆs dark, intriguing
depths to MurphÆs warts-and-all personal exposes that keep the songs
writhing like crawling creatures beneath the diamond dust. "Last night
I dreamt I died alone!" he wails over the Glasvegas space pomp of Last
Night I Dreamt; "We need some pop psychology to keep us upbeat," he
advocates on Walking Disasters, where two lovers find consolation in
mutual self-loathing. And when closer Schumacher the Champagne breaks
into the albumÆs all-out-metal crescendo, Murph bellows The WombatsÆ
defining, defiant statement: "Take me as I am, or not at all!"
And take them you most certainly should. Those with their tongue fast
to the perineum of the zeitgeist will balk at such brazen,
unpretentious pleasures as youÆll find here, and more fool them. The
Wombats will never have the cult kudos of a Sufjan, the culture buzz of
a Jessie J or the critical awe of an Arcade Fire or Radiohead. But for
the flagrant pop thrill-seeker û judging by this incredible,
irrepressible, ecstatic, brilliant record û neither will they ever
disappoint. DonÆt believe the anti-hype: pop album of the year, by at
least a dozen choruses.
Limited Edition that comes with two previously unheard acoustic tracks.
Enjoy!