Wunderhorse Midas review: a patchwork of images of a society hurtling towards dystopia

In 2022, Wunderhorse, then the solo project for frontman Jacob Slater, released their debut album, Cub. Filled to the brim with catchy, energetic rock, Cub put Slater into a very comfortable spot in the current rock landscape, earning him support slots for the likes of Fontaines DC and Declan McKenna. Paired with a burgeoning fanbase, all eyes were now on Slater—now joined by a full band—for album two, wondering if this was the project that would propel them into the mainstream or keep them in the semi-underground. Not only does Midas meet any expectations Cub sets, but it surpasses them completely. 

Departing from Cub’s polished slickness, Wunderhorse breaks the mould of a band’s second album being poppier than their debut, instead swinging in the opposite direction. The result is an album that feels raw, unrefined, and more like a true debut than Cub. While the indie-rock riffs of ‘Arizona’ would not feel out of place on Cub, the industrial grind of guitars on ‘July’ or the full pelt chorus of ‘Rain’ prove the band have their sights set in the opposite direction of the sound that put them on the map. 

The subdued ‘Arizona’ provides a tentative moment of rest

Wunderhorse’s newfound grittier sound also brings to light Slater’s bleak lyricism, fuelling the sense of impending doom that penetrates the record. The album presents a range of grim scenarios, from the callous businessman that puts profits above human lives in ‘Midas’ to the dreary dead-end job in ‘Emily’ (“deadlines, no sleep, this job is killing me slowly”) to the regretful reflections in ‘Superman’, which portrays a regretful picture of a wasted life. Midas is a patchwork of images of a society hurtling towards dystopia. Scuzzy guitars and Slater’s raspy vocals also give the album a mechanical feel, dragging the listener straight into the heart of the industrial machines and capitalist societies to blame for this hellscape. 

‘Aeroplane’ is a hopeful sign of what will come from Wunderhorse in the future

Despite this, there are still moments of respite throughout the record. The subdued ‘Arizona’ provides a tentative moment of rest, with hazy guitars washing the track with bittersweet nostalgia for a bygone time and place. Similarly, the indie-rock-tinted ‘Girl’ beckons singalongs in its verses and choruses. And while ‘Superman’ is a grievous tale of the consequences of not following your passions, a more hopeful eye could interpret it as a cautionary tale, with its soaring guitar-led outro and grandiose cries of “Superman” scattered throughout the song serving as a call-to-arms to all the forgotten dreamers and artists of the world.

The album closes with ‘Aeroplane’, an epic near-nine-minute track blending echoes of country with Radiohead-esque production. Its cinematic, soaring choruses, stunning dream-like riffs and grandiose belts allow some of the pressure built during the rest of Midas to be released. However, like the rest of the album, its charm also comes from its rawness and imperfections, whether the distorted electric guitars in its instrumentals or the cracks in Slater’s voice. Succeeding in all its ambitions, ‘Aeroplane’ is a hopeful sign of what will come from Wunderhorse in the future.

Midas strives to both dissect contemporary society and offer an antidote to it. While its lyrics vividly portray the ills of modern life, its sound revives the essence of classic guitar music. In an era where some claim guitar music is dead, the rise of Wunderhorse is a powerful testament to its enduring relevance and a hopeful sign for its future.

Recommended Listening: ‘Aeroplane’

Words: Sophie Flint Vázquez

Images: Press