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Wyatt Moss-Wellington : Gen Y Irony Stole My Heart
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Challenging as many musical conventions as possible while remaining catchy, this album of progressive folk songs, experiments in sound, humour and pathos touches on subject matter including suicide bombing, financial crises and the gen y condition.
Genre: Folk: Progressive Folk
Release Date: 2010
Gen Y Irony Stole My Heart
Wyatt Moss-Wellington
Record Label: Wyatt Moss-Wellington
  • Buy CD - $12.97
  • Download Album (MP3) - $9.99

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Preview Song Name Time Buy
1. Intro 1:27 + MP3 $0.99
2. Coming Down 8:07 + MP3 $0.99
3. Spencer 3:48 + MP3 $0.99
4. PSA: Sour Visits Sonic Chemical Plant in Dark Castle 4:15 + MP3 $0.99
5. Arguments 8:12 + MP3 $0.99
6. Portnoy's Sanction (Sex is Pretty Good) 4:52 + MP3 $0.99
7. Hammond Song 6:38 + MP3 $0.99
8. Wyatt's Gangsta Rap Yea Pwned 3:01 + MP3 $0.99
9. Screaming for Some Peace 5:18 + MP3 $0.99
10. 40th Anniversary 3:40 + MP3 $0.99
11. Love Song Louise vol. 2 2:15 + MP3 $0.99
12. Prelude to a Sanitary Apocalypse 1:38 + MP3 $0.99
13. The Suicide Bomber 9:22 + MP3 $0.99
14. Alifib 4:56 + MP3 $0.99
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Album Notes

Wyatt Moss-Wellington's 2011 offering, Gen Y Irony Stole My Heart, is a cycle of 14 musically and thematically diverse songs featuring Sydney luminaries Hamish Stuart on drums, Abel Cross on double bass, Ian Watson on violin, with Louise Nutting and Nina Stamell on harmony vocals as well as Moss-Wellington's usual virtuosic shenanigans.

The album has been called, “sophisticated … touching … enchanting …. beautiful” (Sydney Morning Herald); “He can reach places with his writing that others can’t” (Alternative Media Group); and, “Wyatt has an inherent ability to incorporate catchy melodies amidst all the strangeness … The lyrics are absolutely heartwrenching” (Sea of Tranquility).

Moss-Wellington is a progressive folk musician, an idiosyncratic vocalist and guitarist, a composer of humanistic narratives in songform and a swell bloke. Based in Sydney, Australia, travel across five continents has broken down the borders of nationality in his music and stories, as the characters in his songs reflect a rapidly changing world.

The Sydney Morning Herald’s John Shand said of Moss-Wellington’s 2009 debut, The Supermarket and the Turncoat, “Challenging preconceptions of song structure, guitar and vocal techniques, subject matter and stylistic homogeneity … the listener is bounced between satire and aching tenderness, power chords and delicate finger-picking - sometimes all within one line! Moss-Wellington makes most of his peers sound like they have never fully considered the breadth of options open to them.”

Moss-Wellington has been playing piano for as long as he can remember, guitar since 13 years of age, mandolin since someone handed him one on his 21st birthday and voice since he learned to scream at his sister and parents almost immediately upon disembarking the womb.

He grew up picking out Loudon Wainwright III, Richard Thompson and Nanci Griffith folk songs on his guitar before being exposed to avant-progressive and Canterbury scene music. He was never the same person. If anyone can get through to him, please let us know.

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