Formed in 2003 and with five albums to their name, The Wombats have firmly established themselves as one of the most consistent bands on the UK indie scene. Their sixth album, Oh! The Ocean, only further solidifies their status. Following Fix Yourself, Not the World, which marked the Liverpudlian trio’s first No. 1 album, Oh! The Ocean had big shoes to fill. However, with the release of its lead single, ‘Sorry I’m Late, I Didn’t Want to Come’, it quickly became clear that this would be no challenge at all.
‘Sorry I’m Late, I Didn’t Want to Come’ isn’t just a standout lead single; it also serves as the album’s compelling opener. Next up is ‘Can’t Say No’, followed by ‘Blood on the Hospital Floor’. Both tracks feature the catchy pop hooks that have become their signature, but the lyrics are anything but simplistic. The former delves into self-destructive behavior, while the latter sees frontman Matthew Murphy (aka Murph) grappling with erratic decisions and mood swings.
With its gritty intro that resurfaces throughout, ‘Kate Moss’ presents a fresh vibe from the band. Its slower tempo and raw, emotive vocals mark a departure from their signature indie pop sound. This is followed by the synth-infused ‘Gut Punch’, which brings things back to familiar territory. With its infectious melody and reflective lyrics, it’s bound to be a crowd favorite at the band’s upcoming live shows.
Murph has long been open about his mental health struggles, courageously sharing them through both The Wombats and his solo project, Love Fame Tragedy. In the slow-tempo ‘My Head Is Not My Friend’, he bares his most vulnerable side, with lyrics that delve into his internal battles, all set to a gentle bassline by Tord Øverland Knudsen. This emotional journey is followed by ‘I Love America And She Hates Me’, a track that explores Murph’s complex love/hate relationship with the country, driven by a funky bassline.
Both ‘The World’s Not Out to Get Me, I Am’ and ‘Grim Reaper’ further highlight the trio’s experimental side, with Murph’s guitar work and introspective lyrics enhanced by Dan Haggis’ dynamic drumming. The keyboard mastery of both Murph and Tord adds depth, their atmospheric layers creating a rich, textured soundscape that elevates the overall mood of each track. These captivating soundscapes continue to dominate in the next track, ‘Reality Is a Wild Ride’. The repetitive guitar riff blends seamlessly with shimmering synths, while Murph’s steady, unvaried vocals establish a laid-back, chilled vibe that flows effortlessly throughout the song.
As we approach the penultimate track of the album, the band continues to build on their momentum. One of the strongest moments is the Los Angeles-inspired ‘Swerve (101)’, which kicks off with a menacing bassline, soon joined by a steady beat. These elements gradually build, culminating in Murph’s powerful vocals, which soar into a massive chorus about obsession – a hook sure to be sung back to him by fans when the band takes the stage on tour. The album reaches a triumphant conclusion with ‘Lobster’. Stripped back and intimate, it serves as the perfect closer, leaving listeners with a hopeful farewell as Murph sings, “I think I’m feeling better now.”
While Oh! The Ocean preserves the infectious energy and charm that have defined The Wombats for nearly two decades, it also signals a clear evolution in their sound and songwriting. This progression highlights a band that has not only gained experience but has also mastered the art of blending playful vitality with deeper emotional resonance.