The weird world of Wombo is a kaleidoscopic journey of sharp turns and surprising visions, a melting pot of influences with a cheeky cheshire-cat grin that coalesce into a trippy but infinite universe, a portal into their unique vantage point without limitation. Already committed to living outside the traditionally-heralded country sound of the music scene in their hometown of Louisville Kentucky, Sydney Chadwick (vocals) and Cameron Lowe (guitar) had previously played in punk pop band the Debauchees, and with the addition of Joel Taylor (drums) in 2016 they found a winning combination of more straightforward indie rock combined with Chadwick’s pitched up, oscillating vocals and unpredictable shifts in melody that see the band moving forward at an impressive pace. Their 2018 album Blossomlooksdownuponus is a snapshot of Wombo’s wide-ranging aspirations that careen across avant pop, psych and wonky post punk interludes with a sky’s-the-limit approach to translating the mundanity of regular life into their own high-frequency language. In a generation where pop has come to be defined as anything but, Wombo have spearheaded their own definitive sound that avoids genre classification but is impossible not to tap your foot along to. “Usually if the babies like it, we like it”, admits Chadwick, and it speaks to the band’s bass-driven song structures that pivot through a whirlwind of instrumentation at rapid speeds that they are still able to land on a winning formula that strikes the sweet spot between effervescent overload and razor sharp intention. In 2019, the band toured with White Reaper, Dehd and The Nude Party, bands whose affinity and dedication to strange experimentation have won them fans across a wider audience, and Wombo are poised to follow suit. In a careful balance where no one instrument overwhelms, Chadwick’s vocals are the cherry on top of a decadent dessert that explodes with personality and ingenuity.