The Liverpudlian trio scored their first UK Number 1 album with their new record, solidifying their well-earnt status as British indie icons.

★★★★☆

For most bands, especially those who originated as part of a now-defunct “scene”, the cracks start to show after ten years. Maybe twenty, if they’re still going by then. The Wombats are not one of these bands.

Their consistency of quality is remarkable. Fifteen years on from their heart-breaking-yet-hilarious iconic debut A Guide to Love, Loss & Desperation, the trio are back with their fifth album, Fix Yourself, Not the World; a record which just solidifies why The Wombats are still so well-loved two decades after their formation, and why they never became a static piece of history stuck in the 2000s “indie landfill” – they’re very much alive, standing on their own feet and avoiding reliance on playing the nostalgia card — this album proves it.

The opening track, Flip Me Upside Down, is an instant toe-tapper and sets the tone for what is to follow; we’re instantly treated to a dose of that signature Wombats sound, all guided by Murph’s instantly recognisable vocals and a funky, energetic guitar riff. This Car Drives All by Itself, where the fast-paced chaos of the previous song is contrasted by a less urgent sound, acts as a perfect moment of slight calm, leading perfectly into If You Ever Leave, I’m Coming With You. 

There are classic, jangly indie guitars on here which we all associate with the trio’s first album, but the track, along with much of the record, shows the band’s evolution of sound, and how they’ve really grown into themselves. While synthesisers weren’t something which really made an appearance on A Guide to Love, Loss & Desperation all those years ago, subsequent Wombats albums have heavily featured electronic sounds and synths, which have helped to contribute to the band’s unique sound; I’d hazard a guess that there’s definitely been some inspiration from LCD Soundsystem at Wombats HQ.

Ready for the High experiments with a few different sounds, combining head-banging, distorted riffs with a falsetto vocal from Murph, and even featuring a brass ensemble in lieu of a guitar solo. It kind of reminds me of the sound Two Door Cinema Club tried to create on their third album Gameshow, but I think The Wombats manage to pull it off better, changing up their sound with no detriment to the overall quality of the music (no disrespect meant to Two Door – they do have a special place in my heart!). 

Method to the Madness incorporates mellow, electronic influences with a climactic build-up, as the song concludes with a frantic burst of Murph’s declaration to ditch his attempts at trying to navigate every area of his life so rigidly, and deciding not to dwell on the past, simply taking each moment as it comes (“Fuck our options and fuck the life plan / No more worry, I’ve killed it with both hands”).

Speaking to The Mancunion, drummer Dan Haggis described the track as “a sonic journey”, proclaiming the record overall as being the furthest the band have ever pushed themselves musically.

People Don’t Change People, Time Does, which, to me, is one of the record’s strongest moments, has a dark, dance-y vibe, and reminds me very much of the band’s third album Glitterbug. This sound continues in Everything I Love Is Going to Die, where the lyrics are essentially a realisation that nothing is permanent (hence the song title) and stresses the importance of just appreciating the moment and not dedicating too much time to worrying about what you don’t have. Wildfire also channels this kind of ‘80s atmosphere with the funk-inspired guitars and bass. 

There’s an evident theme throughout many of the lyrics on Fix Yourself, Not the World that seems to be rather reflective of the thoughts many of us experienced during the pandemic lockdowns, and the awareness we gained that so much that we take for granted is subject to change at any time. It’s interesting to see that, as we begin to come out of the other side of the COVID-19 crisis, how much the pandemic has had an effect on popular culture, and things like music; of course, none of us will forget the last few years in too much of a hurry, but those feelings we experienced during those months of uncertainty have been immortalised in songs like these, and it really hammers home how significant a moment of history we’re living in right now.

The record closes with the title track, which, at under two minutes, is very much a conclusion to the album as a whole, wrapping up the “sonic journey” of Fix Yourself, Not the World.

The record feels like a well-thought-out, complete body of work, not just a few songs that were thrown together. I like that the album is a bit of a slow-burner; it feels like a natural progression of sound and has a sort of maturity to it that hasn’t shown itself as much on their previous records.

I remember eagerly awaiting the release of This Modern Glitch back in 2011 and being delighted upon finally hearing it; and that’s how I felt listening to Fix Yourself, Not the World. The record may not include as many obvious or instant indie-disco classics, such as the likes of Techno Fan or Moving to New York, but each song is a carefully crafted tale, all packed with humour, emotion, and a little bit of magic.

Bands like The Wombats are rare, and are deserving of so much love and credit for never failing to deliver quality records; it’s rewarding for veteran fans and exciting for those discovering them for the first time. Long live The Wombats!

Fix Yourself, Not the World is out now via AWAL.