Zombic Hunch by Wiggy: A Leftfield Joyride That’ll Funk Up Your Soul
Alright, let’s get one thing straight—Wiggy’s Zombic Hunch isn’t your run-of-the-mill electronic album. Released in 2012 under the UK-based GasmanMusic label, this little gem blends breakbeat chaos with a funky soul vibe that feels like someone threw a disco ball into a blender and hit "puree." And honestly? It works. Like, really works.
First off, kudos to Chris Reeves for the cover art—it’s got that “I-don’t-know-what-it-is-but-I-like-it” charm. But let’s talk about the tunes because, well, that’s why we’re here. With tracks like Jimslip, Jerk, Beep, and the titular Zombic Hunch, Wiggy takes you on an auditory rollercoaster ride that somehow manages to feel both chaotic and calculated. You know those albums where every track just kinda melts together? Yeah, not this one. Each song has its own personality, like they’re all vying for your attention at a party.
Now, I gotta shout out two tracks that stuck in my brain like gum on a hot sidewalk: Hobnob and Zombic Hunch.
Hobnob is this groovy, wonky masterpiece that sounds like what would happen if funk had a love child with a malfunctioning robot. The beat grabs you by the shoulders and shakes you until you can’t help but move. It’s impossible to listen to this without bobbing your head or accidentally breaking into some sort of interpretive dance (trust me, I tried resisting). There’s something about the way it builds and drops that feels like Wiggy’s messing with you—but in the best way possible.
Then there’s Zombic Hunch, the title track, which feels like the centerpiece of the whole shebang. It starts off slow, almost eerie, like you’ve wandered into a haunted house staffed by overly enthusiastic DJs. But then BAM! The bassline kicks in, and suddenly you’re not scared anymore—you’re too busy getting down. It’s dark, it’s playful, and it’s weirdly addictive. By the time it ends, you’re left wondering if you just survived a rave or a horror movie. Either way, it’s a trip worth taking.
The rest of the album keeps up the quirky energy. Tracks like Jerk and Knobs bring their own flavors to the table, ensuring no two listens are ever quite the same. Wiggy clearly didn’t set out to make background music; this is stuff that demands your attention, whether you want to give it or not.
So yeah, Zombic Hunch might not be everyone’s cup of tea—or maybe it’s more like a shot of espresso mixed with neon paint—but that’s exactly what makes it so special. In a world full of cookie-cutter beats and predictable drops, Wiggy reminds us that music can still be messy, fun, and utterly unforgettable.
Final thought? Listening to this album feels like finding $20 in an old jacket pocket—it’s unexpected, kinda wild, and leaves you grinning like an idiot. Now go press play before I start waxing poetic about Hamstring.
