THE WOMBATS PLAY IT SAFE WITH INDIE FLOORFILLING SIXTH ALBUM ‘OH! THE OCEAN’
ALBUM REVIEW | THE WOMBATS – OH! THE OCEAN by Gigi Daniels
The Wombats return with ‘Oh! The Ocean’, their sixth studio album, following 2022’s Fix Yourself, Not the World. Known for their infectious hooks and witty lyricism, the band kicks things off strong with three straight bangers that immediately pull you in. Tracks like ‘Sorry I’m Late, I Didn’t Want To Come‘ feel honest and unflinching, balancing humor with a Gen Z-friendly relatability that taps into the stay-at-home culture; someone needs to mix this with Prince’s ‘Raspberry Beret’ ASAP. The title itself exemplifies conversational titling— where song names feel like snippets of real-life dialogue —giving the album an intimate, relatable vibe, like overhearing someone’s unfiltered thoughts. Matthew Murphy’s light falsetto floats over synth-heavy arrangements, making it sound like he’s teetering on the edge of wellbeing, a recurring theme throughout. Lines like “Am I insufferable? I can’t tell” echo the relatable, off-the-cuff style that today’s music fans are always on the lookout for.
‘Can’t Say No’ blends humor with recklessness in lines like “sign your mother up to a Ponzi scheme,” channeling absurdity into lyrics that highlight the chaotic energy of trying to feel something. The lead guitar mirroring the vocals adds a classic indie charm. ‘Blood on the Hospital Floor‘ is pure Wombats—the unhinged second cousin of ‘Let’s Dance to Joy Division.’ It shows the band’s reluctance to shake off that era of indie music that’d fit perfectly in an Angus, Thongs and Perfect Snogging-esque film. There’s a dark acceptance here, like the Marge Simpson meme: “Sometimes, all you can do is laugh.”
Tracks like ‘Kate Moss‘ reveal layers of social commentary, using a household name to explore the morality of leveraging one’s image for success. Lyrics like “She sells pictures from a phone” poke at influencer culture, but this focus feels misplaced. Why target individuals trying to make a living instead of the billionaires profiting off crises? It feels like The Wombats know their audience too well and avoid bigger political themes to sidestep being labeled a ‘political band.’ This makes their commentary feel palatable but ultimately misses the point. More anger at the real culprits wouldn’t hurt.
‘Gut Punch‘ is an upbeat indie belter that feels happy and sad simultaneously. ‘My Head Is Not My Friend‘ starts slow and reflective before launching into an all-band symphony. Lyrics like “Maybe they’ll cancel me” reflect awareness of society’s scrutiny of public figures, often letting actual bad actors off the hook. This theme of misplaced anger runs through the album, but Murphy’s candid delivery keeps it grounded.
‘I Love America And She Hates Me‘ is anthemic, with a slow build destined for tour highlights. The line “I love America till the bullet’s in my head” is brutally direct, anchoring the song in today’s socio-political landscape. Yet, juxtaposed with tracks like ‘Kate Moss‘, the album wavers between past and present. Nostalgia is baked into The Wombats’ DNA, and while this album draws on familiar influences—Vampire Weekend, Two Door Cinema Club, The Vaccines—it sometimes feels stuck in a bygone era.
‘The World’s Not Out To Get Me’ offers lyrical nostalgia with metaphors like “a snow globe in a storm,” wrapped in clean production and a fuzzy indie guitar solo. ‘Grim Reaper’ juxtaposes upbeat, drone-like hooks, which transitions into a surf-rock, dreamy and chilled out song, regardless of the darker title.
As the album winds down, ‘Reality is a Wild Ride’ states the obvious but with a focused punch. The synths here are the most colorful, yet the track falls flat. The band sounds more self-aware than ever as they are nearly 20 years since their debut, but the energy peters out toward the end.
‘Swerve (101)‘ marks a tonal shift with its minor key and built-up emotion. It’s a crowd-pleaser in the making, with Queen-inspired power chords, soaring vocals and repeating refrains like “TikTok models with their slippery morals.” The anguish is palpable, but the song still feels restrained.
The album closes with ‘Lobster‘— finally bringing some groove with a standout bass line. This groovy lick highlights how little groove occurs throughout the album. It’s casual, comforting, and feels like a natural studio jam. Lines like “I think I’m feeling better now” paired with lilting harmonies create a sense of acceptance, loosening the tension that’s been present throughout. It’s arguably the best track—unforced and atmospheric, the perfect way to end.
The Wombats’ latest effort offers infectious bangers and introspective slow burns. While their social commentary sometimes feels misdirected, there’s undeniable self-awareness that keeps things interesting. The band plays to their strengths, but more risk-taking—both lyrically and musically—could’ve elevated this album from good to great.
Oh! The Ocean drops February 14th and promises to be a staple at indie club nights for the foreseeable future.
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