It invigorates Naked and Famous-esque synth-pop with jubilant harmonic whoops and trills on 1996 and Tokyo (Vampires and Wolves). It revitalises the 80s electro-funk-pop revival on the stunning likes of Our Perfect Disease (hyperactive Hurts) and Walking Disasters (morose Marina). Leaning more heavily on synth blares and funk-disco beats than their guitar-orientated debut A Guide to Love, Loss and Desperation, it’s like a blast of musical Optrex to the face of 2011. Because, for its genre – polished, uplifting, chart-bound electro indie-pop – This Modern Glitch is a flawless modern classic to file alongside Free All Angels by Ash, Franz Ferdinand’s debut and Hard-Fi’s Stars of CCTV. On the contrary, that scraping sound you can hear is the widespread music media dragging their shovels towards This Modern Glitch intending to bury – largely unheard and with extreme prejudice – the leading exponents of what the trolls have deemed "landfill indie".Īnd what a travesty that burial would be.
They cross too many boxes – they’re shamelessly radio-friendly and insanely melodic, they have a ‘wacky’ name and they’re simply too popular/ist to garner much of a credible critical vote. Just as comedy actors, no matter how massive their crowd-draw or how enjoyable their movies, stand a popsicle-in-Hell’s chance of ever winning an Oscar, it’s virtually unthinkable that the second album from Liverpool’s The Wombats will grace the higher echelons of any end-of-year polls or the Mercury shortlist.
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