Molly’s Yes: Wonderworld | PopMatters Music Review


By Chris Angotti

To start this review not so intelligently, mainstream ‘80s rock kinda sucks. It is pompous, irritating, and not particularly fun. Most of the bands in the genre have mercifully passed on, but some have stayed to further annoy the masses (i.e. U2, who no longer serve any valid purpose). So what can one think of a current group whose main influence is ‘80s rock? In the case of Tulsa, Oklahoma’s Molly’s Yes, not much. And Wonderworld, their major label debut, doesn’t help matters at all. It is too long, short on originality, and utterly boring.

The disc opens with bagpipes, an instrument often used to give credibility to an otherwise useless act. The track that follows, “Fall Down,” is pleasant enough, though, as is the second song, “Sugar.” But it’s all downhill from there. You see, Molly’s Yes seem to think that they’re doing something really great, and they don’t hold back on the listener. Their basic canvas is ‘80s rock, but they also incorporate more modern techniques such as sampling, drum machines, and scratching (absolutely pathetic scratching at that, on “Promises”). The concept could work, but Molly’s Yes are not the band to make it happen. Too often, they trip over their own pretensions and ruin otherwise decent songs. Their music is not dynamic at all; not enough time was spent on songcraft. Seemingly, they figured that they could get by on their paper-thin gimmick and fake Irish accents, rather than truly good music. Much of their material isn’t bad—it’s simply boring, mediocre, and pointless. Avoid Wonderworld.

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