Wunderhorse’s Golden Touch: Midas Review
Plunging into devastating ballad tracks and blistering singles, the main takeaway I have from Midas, Wunderhorse’s second album, is that this is their cementation of brilliance. After debut album, Cub (2022), which is undoubtedly polished and sprawling with lyrics that even the loudest critics (middle aged britpop dads) cannot fault – it is truly refreshing to see the rest of the band’s personality soak through into Midas, as they have now naturally become a fully-formed band.
Opening with titular single Midas sets the tone with an immediate punch to the gut. The long anticipation of the album, with already 5 singles out before release, has given fans high expectations. Interestingly by releasing the screamer earworm tracks first. One of these is Rain, a track which has spiralling guitar riffs that won’t leave your mind for days. Standing out is the direct, piercing sound of Slater’s voice punctuating the album. He’s speaking to us, with his drawling vocals and Pete Woodin’s menacing bassline, it’s clear Wunderhorse are not here to mess around. The sharp edges of this album mimic their raucous live sound and you can almost feel them looming behind you as you listen.
Emily is a song that finally shows off that Wunderhorse have successfully created a distinctive sound, albeit a cacophony of vulnerability, it has Jamie Staples’ incisive drums taking the lead. Yet Emily holds a feeling of Slater’s exposed self, seen in his previous solo album, Pinky I Love You (2023). Another single to be released was Silver, a lighter, catchier number, likely released to combat the miserably grey summer. The melodic guitar really comes through here, and it caters to a more generic indie-pop audience. Wunderhorse’s fanbase has massively grown since their debut, with them pulling huge crowds at Leeds Festival this weekend, with 7000 people coming to their last-minute performance on the BBC Introducing stage, as well as an intimate gig at Jumbo Records on Monday. I’m certain that the excitement surrounding Midas will only explode in the coming weeks, especially as their autumn tour looms.
Today, the final, and fifth single, Arizona was released. A song that I think really demonstrates the band’s growth since Cub, with added depth from backing vocals, with a reverberating rhythm that builds and crashes down. Arizona feels like a track that is built to play live, strong drums and a welcome instrumental solo that we can feel the band losing themselves in, and taking us down with them. Similarly, single July mimics the same feeling in Arizona, there are definitely lessons learnt from touring being felt, and a yearning, chasing feeling to both these songs, with feelings of Nirvana and Pixies’ influence leaking through. The extended intro of July has been added to many of their live performances, along with Slater’s slightly odd behaviour, including general screaming, choking himself and gagging on stage before July begins. Potentially reflecting on the energy that must be mustered through long touring and night after night of putting his whole self out on stage.
Standout track, and my personal favourite, is Superman. A slower, acoustic number, that has a crawling anticipation that leaves goosebumps on your skin. The depth of the softer drums is gorgeous and the universal theme of being misunderstood is translated from Slater’s mind into what genuinely feels like poetry. It’s raw, personal and it hits you like a slap. There’s a feeling of desperation that isn’t out of place for a band like Wunderhorse. One which isn’t trying to be cool, or to mimic bands of the past, or prove something to its audience. The cyclical sound scales all the way back by the end, and we breathe through the track with the band in a way that makes Wunderhorse feel closer than ever before.
The band’s work with producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) along with their organic, unpolished recording process is what really captured this closeness and the visceral atmosphere that they have already become well-known for. Cathedrals is a track that masters this; with a slower start that spirals into a heavier track. While feeling somewhat simple, built in elements of the song bring forth a bigger picture of a devoted love song that becomes increasingly raspy and raucous. Slater’s spacey vocals have quite simply never been better and the intensity of the song makes it feel almost like we’re intruding on Slater as he descends into a screaming cry that commands all the attention it begs for.
Penultimate track Girl leans into a more alternative sound, echoing cheery vocals and a summery melody give it a more 90s nostalgic vibe. It’s light, it’s catchy, it’s a spiralling singalong that will undoubtedly go down a treat live. On a complete contrast is final song Aeroplane, a mammoth 8+ minute number, opening with acoustic and snares that softly seems to be convincing us, or perhaps Slater himself, of his capacity to love. It’s a drawn out track of inner turmoil and clawing to be lifted out of this pit. Half way through, we get a well-awaited building, with the crackling of electric guitar coming through, becoming prominent and overpowering. There’s a hesitant feeling, until the guitar rips through and we feel the two sides of this album fighting against each other. Scattered, and losing all structure, it slows down into a repetitive sync, of tight-fast moments into long, technical notes. Aeroplane tackles the aggressive , fast-paced tracks of the album that demand to be heard, and pits them against the vulnerability that comes with sore, and unhealed exposure.
Wunderhorse had a laborious task, to follow such a clean debut album. Midas is a response which has stark edges and carefully placed tenderness. It lacks all the restraint of Cub and has all the power of not just Slater, but 4 musicians forcing their way through victorious. Midas is available on all streaming platforms on Friday, and even better, Wunderhorse are playing in Leeds on 18th October.
