The perfect genre-straddling record edgy enough to be grunge and catchy enough for indie kids
I’m by no means a music ‘expert’, rather a seasoned listener with a bulging record collection, but it’s evident the most successful independent acts tend to be the ones that attract a cult following in one genre while straddling another. Wunderhorse are a band that do just that and their sophomore record, Midas will propel that further.
Since Cub, we’ve been treated to a healthy selection of releases from the second album, to the point I was slightly concerned I’d have little left to discover upon tearing open the LP – which I was delighted to receive a day before it officially dropped.
I set side A spinning, which I had to take an educated guess at having ordered the white label numbered vinyl with no track listing. The familiar title tracks kicks in with a punchy energy, to reassure me it’s the correct side, which I’m pleased to report seems sonically brighter and more defined than Cub. Don’t get my wrong, Cub is fantastic album, but the quality of the audio or production I feel does the album an injustice. There’s just something missing, that boldness, that is present at their live shows that Cub fails to replicate.
Back to the Midas album – another familiar track, Rain, which starts off brooding before building to a frustrated crescendo of the chorus ‘do you feel the rain?” which offers listeners a release to the build-up never quite achieved on a Cub track.
Next up Emily, a new track. I have to get over the fact that one of my best friends is called Emily and I’m irrationally jealous that Wunderhorse haven’t named a track after me. Oh well, maybe album three? Emily is yet another track that will certainly appeal to (us) Nirvana fans, and what starts as a quiet, intimate tune bursts into the signature, raw Wunderhorse guitars that make you feel like you’re jamming in the studio with them. Everything about it feels authentic.
Silver follows, and of all the released tracks so far I admittedly haven’t gelled with this one like the others. Although I’m sure many will find it accessible and it’s by no means a bad song at all – there is nothing less than good on this album – it’s the one track I feel is perhaps a safer play. Edit – since watching this live again at Jacaranda Baltic in Liverpool on 2nd September, I have indeed warmed up to this track live.
Despite only being released very recently, I feel really drawn to the subsequent Arizona. The Cobain-esque drawling chorus ‘where do you go to my love?’ is desperately dark yet catchy.
Superman, the next track, caught me off guard, in a good way, because there’s nothing worse than an album of indistinguishable tracks. This slow build-up number is the type of song that would fit an emotional moment in a tv show or film. And those are the best kind of songs, the emotive ones. Jacob’s vocals easily transition from soft tender moments to something that embodies some of life’s worse pains in a beautiful way. I find that very unique. Edit – the album launch gig at Jacaranda Baltic in Liverpool saw this song requested by desperate shouts from the crowd. The band obliged. This is going to be a new fan favourite.
July follows, and I was surprised to see this not sitting at the end of the album. But after seeing them close the gig with it at Reading I can also see why – it has a very abrupt ending and it suits the closing of a live performance better than an album. This track is one of my favorites to date (how many have I said that about now?) is there anything more cathartic than howling ‘i’m ready to diiiiie’ while headbanging your way to whiplash under your greasy fringe to that deep yet jangly riff? I think not.
Cathedrals next and what a track. If this isn’t released as a single… It’s their accessible, anthemic hit in my humble opinion; Midas’ Purple perhaps? Maybe. Something about it reminded me of a cross between Feeder and Radiohead The Bends era. Ok this one’s my favourite!!
Strange thing – I was looking at the track listing on Spotify while writing this 11.59pm the day before release and as the clock struck midnight the album all came on. So now I’m hoping to be the first person to play the album on Spotify! Do I win a prize?
Anyway, after Cathedrals is Girl. This track feels almost cheery. It’s the lightest and bubbliest start to any track on the album with a nice singalong ‘badabum’ and ‘aaaah’ hook, something we’ve not really seen from this band but which I think will work really well at any acoustic shows. Of course there’s plenty of chunky guitar riffs and a satisfying solo, this is Wunderhorse after all.
Closing track Aeroplane is so atmospheric it sent a shiver right the way up my spine. That rattling guitar reminiscent of Portishead… It’ll get you. You’ve been warned. I can’t wait to see this one live.
So what’s Midas like as an album? A masterpiece. Maybe I’m too obsessed you say? Well, personally it hits some really significant elements that are crucial for me to love an album: it’s true to the band’s live performances, intimate yet raw; it doesn’t try to ‘be’ anything; the album feels like a journey, rather than a collection of similar-sounding songs; finally, it feels like a release of emotion and to me, that’s what music should be.
For fans of: Fontaine’s DC, Nirvana, Feeder, Deftones, The Amazon’s, Mysterines, Drenge, Foals.