Jimmy Edgar Takes The Wombats' 'Give Me A Try' To The Clubs

The Wombats Jimmy Edgar

The Wombats are not the most likely of bands to hear in a club but this new Jimmy Edgar remix of Give Me A Try might change that. The legendary American producer has taken the track and given it some pulsating bass to make sure there's no skerrick of its original indie-rock bones left. He's more than successful with the track becoming an anthemic banger centring around the lyrics "we could be gigantic." We can see plenty more Wombats' remixes following this one because frontman Matthew Murphy's vocals actually suit the dance world to a tee. I never knew I was a techno fan.



REVIEW: The Wombats + Circa Waves | Margaret Court, Melbourne

Photo By Gwendolyn Lee / The AU Review

Photo By Gwendolyn Lee / The AU Review

New drinking game, stand in line for The Wombats and take a shot every time you hear the word ‘splendour’, you’ll be fucked before doors open. Obviously the crowd was still running on leftover festival vibes. A shameless eavesdropper, most of the conversations I listened in on consisted of comparisons between acts seen, and the quality of The Wombats own set. For an all ages gig, the drinks were aplenty and punters were perhaps too eager, with two medics being sent into the GA area before the show had even begun. It’s the kind of exhilaration you only catch at post-festival shows.

Support act Circa Waves mirrored the audience’s energy to a T the moment they took the stage. High energy feels like an understatement in describing their set, they had the arena thriving at less than quarter capacity.
Hits off their debut album, Young Chasers, were warmly received by the crowd, most notably So Long Fossils, which prompted an emotive sing along out of the audience. They eclipsed their set with T Shirt Weather, a song that had even myself, an avid winter fan longing for summer.

If there’s a better support act that The Wombats could have selected from the Splendour line-up, I certainly can’t think of them. The band was the ideal warm up, the audience even screaming ‘No!’, upon the closure of the bands short, but sweet set.

In the interim between the two sets, I was concerned that the switch over from The Palais Theatre to the considerably larger, and less intimate Margaret Court Arena bode bad news for The Wombats. The venue wasn’t empty, but there was plenty of space to be filled. My concerns were quashed as soon as I came back to my seat however, thousands of late arrivals had taken their place, and the show looked close to a sell out.

The last time I visited Margaret Court was for Demi Lovato (not by my own will, I assure you), and the audience tonight was triple the size it was for the Disney starlet. The feeling of ridiculous enthusiasm from punters was felt all through the arena, and the moment The Wombats took their place on the stage, a collective scream of joy ensued, and continued for the duration of their set. I had high expectations for the band, expectations that were met and exceeded within minutes.

Your Body Is a Weapon felt a fitting opener, picking right up from where Circa Waves left off. Their high pace and stupendous energy didn’t cease, not once, throughout the entire hour and a half. Creative interludes between songs allowed for not one boring moment, and as Matthew Murphy cried that ‘I’ve just had the craziest week’, in Moving To New York it was almost as though the crowd was nodding in agreement.

The love between artists and audience was felt by all, drummer Dan Haggis noted that Australia was like ‘a home away from home’, a statement Murphy later reiterated, ‘we should probably move here or something, it’s where brunch is the best meal of the day’.

The highlight of the night, at least for me, was surprisingly not the celebrated Joy Division, but Little Miss Pipedream. Fans held up their iPhone flashlights and lighters, while Murphy sung his heart out, it was a touching few minutes.
The time that we had with The Wombats felt like mere moments, an encore was inevitable. The band took off again with a cry of ‘why the fuck not’, and finishing off the night with a round of Emoticons, the never disappointing Joy Division and a surprising, but wholly enjoyable take on Killing in The Name Of.

If you missed out, there’s no need to stress, as Murphy proudly announced, ‘according to my inbox, we’re gonna be back a lot sooner than you think’. I know I’ll be there.

Photo by Gwendolyn Lee / The AU Review


Album Of The Week: The Wombats - Glitterbug


The Wombats have long divided fans since the release of two albums with such contrasting sounds, leaving many hoping that their latest offering, Glitterbug, would be a throw-back to the raw, indie sound of their 2007 album A Guide to Love, Loss and Depression. Whilst this newest LP doesn’t outwardly fit such a mould, it certainly incorporates some of the finest musical aspects of their last two albums in a way will please fans of both albums.

This Modern Glitch represented a more pop-oriented style of The Wombats that we hadn’t seen before, and it’s definitely true to say that they’ve stuck with a similar style for decent portion of Glitterbug. However, the use of synths and synthetic effects is outwardly more mature and measured. This maturity and polish can be seen in pop tracks like echo-heavy Be Your Shadow and the deep-synth oriented This Is Not A Party, which both have a much cleaner electronic feel.

Fear not though, if you loved The Wombats of old, as there are also clear and sentimental gestures back to their old style in the indie-rock style of tracks like the grungy The English Summer and the riff-based Sex And Question Marks. But even these contributions have a more refined feel to them.

Slow jams like Emoticons and Greek Tragedy are just so true to the sound that The Wombats made their own in 2007, creating a perfect mix of pop and indie-rock with a gorgeous balance between guitars and synthetically created sounds.

This album also tells a story not only about the band’s experiences but also of a band that has achieved an incredible level of diversity. Specifically the tracks played in order tell a story about an English boy and Californian girl, but I find the musical journey much more interesting. This story follows the development of diversity in instrumentation, in style, in tempo and in texture. There are banging radio hits like Be Your Shadow, ballads like the incredibly soulful and melodic Isabel, and raucous tunes like Pink Lemonade.

The point of all these comparisons is to show the thing that really stands out about Glitterbug, which is about how it perfectly unites two opposing styles that The Wombats have tinkered with throughout their time as a band. Unsurprising as this time, instead of using a number of producers as they did with their previous two releases, the Wombats recorded most of the tracks at the studio of Mark Crew; one of the key producers behind fellow UK rockers Bastille.