Album Review: Wunderhorse-Midas
2 min read
Wunderhorse’s new album Midas truly showcases frontman Jacob Slater’s song writing potential and his ability to explore new realms. The group, formed by ex-Dead Pretties Slater in Newquay during the COVID-19 pandemic, released their first album Cub in 2022. It earned them widespread critical acclaim from the likes of Zane Lowe and was named NME’s Album of the Year.
Slater cites 90s artists such as Pixies and Elliott Smith as major influences, However, while their presence is evident throughout the new album, Slaters’ nostalgia stretches further back to Dylan, as seen in the opening track Midas, The bluesy guitar riff combined with narrative lyrics like “He said, ‘Come on, kid, you think we got a deal, yeah?’” evoke Dylan’s “Subterranean Homesick Blues.”. Despite being set in different historical contexts, both songs critique the machinery of corporate capitalism. The 60s influence continues with Silver which bears a near identical melody to Rodriguez’s Crucify Your Mind, though done in a minor key, with themes ranging from possession to self-loathing.
Rain, the second track on the album, builds off the momentum of its predecessor with a chaotic explosion of electric guitars and Slater’s vocal pyrotechnics, reminiscent of punk blues band The Gun Club. The use of dynamic progression, with heavy drum builds and disorderly guitar crescendos, also stands out on Emily, where Slater’s torment and vulnerability are palpable: “Deadlines, no sleep / This job is killing me slowly.” Arizona finishes this trio of songs, forming the album’s high point. It serves as an elegy to an unborn child, conveyed through beautifully naturalistic imagery that earns Slater a place among the most prolific songwriters.
There are, however, some weaker moments on the album. Aeroplane lacks the lyrical imagery or musical substance to justify its eight-minute length and much of the track is filled with an unremarkable and repetitive guitar solo. He seems to be trying to emulate Oh Comely from In the Aeroplane Over the Sea, but it’s a pathetic attempt considering his usual standards. Girls and Cathedral also fall short, both lyrically and musically, compared to the earlier tracks. The album’s conclusion weakens the overall quality.
While the debut album proved Slater’s potential as a songwriter, the follow-up enhances his powerful storytelling credentials. In this release, the frontman deepens his lyrics, blending them with a burst of chaotic energy from his bandmates, highlighting their collective synergy. Although it’s technically a second album, Midas feels like a fresh new chapter for a band that has truly come together as a cohesive unit which makes success in the future a foregone conclusion.
