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WILD NOTHING

Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic—but perhaps never as distinctly as on Indigo, the fourth Wild Nothing album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini , and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause . Indigo finds Tatum at his most efficient, calculated, and confident—resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses.

To make Indigo , Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the album was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Tatum built out the rest of the album’s sound by adding new parts and repurposing sounds from Tatum’s demos. The resulting Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.


STAFF COMMENTS

Andy says: From glowing jangly guitars and Tatum's soaring vox, Wild Nothing present a more cohesive and slick outing than 2016's shop favourite, 'Life Of Pause'. A superb progression in dynamics whilst still retaining the superb melodicism that made them so appealing in the first place. Ace.

Wild Nothing, aka Brooklyn-based musician Jake Tatum, released his debut album ‘Gemini’ in 2010 to critical acclaim. Five years on, with an equally impressive sophomore release and a series of EPs under his belt, Tatum is pleased to announce his third-studio album and self-proclaimed most “mature and honest” work to date, ‘Life Of Pause’.

When Jack Tatum began work on ‘Life Of Pause’ he had fascinating ambitions. “I desperately wanted for this to be the kind of record that would displace me,” he says. “I’m terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn’t need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before.”

‘Life Of Pause’ is an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. “I allowed myself to go down every route I could imagine even if it ended up not working for me,” he says. “I owe it to myself to take as many risks as possible. Songs are songs you have to allow yourself to be open to everything.”

After a prolonged period of writing and experimentation recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn & John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran TK to contribute drums and marimba. In California, at Monahan’s home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists.

From the hypnotic polyrhythms of ‘Reichpop’ to the sugary howl of ‘Japanese Alice’ to the hallucinogenic R&B of ‘A Woman’s Wisdom’, the result is a complete, fully immersive listening environment. “I just kept things really simple, writing as ideas came to me,” he says. “There’s definitely a different kind of ‘self’ in the picture this time around. There’s no real love lost, it’s much more a record of coming to terms and defining what it is that you have - your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new.”


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