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Lomboy ‘Warped Caress’

I went to the last ever Wild Beasts gig on Saturday and it was phenomenal. I’ve seen them four or five times already, and this was easily the best they have ever played, and by far the best gig I’ve been to in a long time. The set list couldn’t have been better, crafted nearly entirely from their first four albums, with a couple obligatory nods to their final release – which actually, fit into the set really well despite my reservations about the album.  It was of course, bittersweet, and I am not ashamed to admit I pretty much bawled through the last two songs; a breathtaking performance of ‘End Come Too Soon’, followed by a choral rendition of ‘Cheerio Chaps’, a cheeky salute to everything ridiculous about Wild Beasts, showing that despite the poignancy of the evening, they still like to take the piss a bit. Wild Beasts have been with me for the last ten years, guiding me through fumbling teen relationships, break ups, swaggering leaps into the adult world, and crushing defeats. It was these moments in my life I thought about as the band hugged each other on stage and bounded unafraid into the unknown, jointly together as friends, and apart for the first time in a decade. I danced, I swayed, I cried, I pushed ‘Boy King’ Johnny-come-lately’s out of the way to jump to the very best of ‘Limbo Panto’. It was emotionally draining to say the least, and who knows if another band will occupy such a special place in my heart again? Could it be Lomboy with her latest release ‘Warped Caress’? Formed by frontwoman Tanja Fritta, Lomboy began as a solo project, and now has two different full band line ups; one for Paris, one for Japan. What’s clear from the start of this EP is that Lomboy does not allow herself to be defined by any one genre – with tinges of 80’s pop, vaporwave nostalgia, and French ingenue vocals, first track ‘Alien Lady’ is a vibrant, achingly-cool intro to the release. ‘Worth To You’ takes the EP to more sensual plains, with 70’s funk inspired bass lines, Karen Carpenter style ballad vocals, and so-naff-they’re-great programmed keys and sampled string and flute melodies. Previously released single ‘Loverboy’ makes a return to the surfey Serge Gainsbourg vibe we saw in ‘Worth To You’, but this time the sound world is elevated by digital interference, glitchy pitched and sampled vocals, and lazy guitar licks. Aptly named ‘Love Ain’t Got The Groove’ is slightly more up-tempo, with eclectic roving percussion, whilst final track ‘Director’s Paralysis’ is chock full of luscious vocal harmony, catchy hooks, and elevator music keys. If you’re a fan of intelligently crafted songs and interesting sonic textures, this is the EP for you. Enjoy.

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