Unabashedly catchy with actual emotional substance behind the music, they could have come straight from the eighties if not for singer/guitarist/keyboardist Matthew Murphy’s genuinely modern sense of humour. Songs like ‘Tokyo (Vampires & Wolves)’ and ‘Our Perfect Disease’ shamelessly drop almost all guitars and revel in the joys of synths – and what joys they are. ![]() It was the perfect ruse: pretend you’re shit then reveal that you’re actually quite good. ![]() Three of them in fact, armed with their brilliant second album This Modern Glitch.Ĭast off by many as indie-disco stalwarts and nothing else, this new wave-indebted sugar rush of an album shocked me as much as anyone else. Out of this nightmarish scene however, battle-scarred and weary, emerges the pluckiest of creatures. Denizens must adapt or die a slow, obscure death. The indie rock scene has become a desolate wasteland filled with grotesque creatures who still think it’s 1994, or worse… 2008. The year is 2011 on a barren landscape known by many as Earth. By Jon Gunter On Second Thought, the wombats, This Modern GlitchĮach week, we’ll take a retrospective look on albums which we think are either criminally underrated or woefully overrated, and why they actually rock/suck.
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