It is unusual to see musicians take from their own influences internal mechanics and pull from them with purpose, to see them take components retooled into new structures as though they are transmittable. Wombo does this.
Whereas, outside of general stylings and instruments, most bands attempt to replicate the feeling, a solipsistic slant drilling at a common reservoir. And I am one of them. I have misunderstood my influences, from an engineering perspective.
It is hard to remember, but you must play the game as it is, not as it appears to be.
Here are bands I love that Wombo reminds me of: The Strokes, Ought, Broadcast, Lower Dens, The Mallard, Television, and so on… That should be enough good things.
Here is a quote from Annie Dillard, promising alternate cores or reservoirs and the mechanisms to get there:
“We teach our children one thing only, as we were taught: to wake up. We teach our children to look alive there, to join by words and activities the life of human culture on this planet’s crust. As adults we are almost all adept at waking up. We have so mastered the transition we make a hundred times a day, as, like so many will-less dolphins, we plunge and surface, lapse and emerge. We live half our waking lives and all of our sleeping lives in some private, useless, and insensible waters we never mention or recall. Useless, I say. Valueless, I might add — until someone hauls their wealth up to the surface and into the wide-awake city, in a form that people can use.”
Plainly & Painfully 