A confident, polished return from Jack Tatum's project...
'Indigo'

There’s a beauty to how Wild Nothing’s music is becoming more and more polished with each new release, without losing the dreamy pop that has made each album so lovable.

The slick and crisp sound of fourth album ‘Indigo’ is a far cry from Jack Tatum’s bedroom produced debut, ‘Gemini’ but in many ways his new release shares many similarities with his first. Both albums carry Tatum’s evocative haziness, of course. However, ‘Indigo’ has been given the Los Angeles treatment and was produced by Jorge Elbrecht, who has also produced the likes of Ariel Pink and Japanese Breakfast.

The heavy influence of the 80’s is ever present on ‘Indigo.’ Ironically, opening track ‘Letting Go’ never lets go of its 80’s new wave nostalgia. Similarly, the Fleetwood Mac inspired ‘Partners in Motion’ wouldn’t feel out of place in a John Hughes movie starring Molly Ringwald.

However, it’s Tatum’s versatility that stops this record becoming just homage to a past era. The dreamy synth and echoing vocals that have always been present in Wild Nothing’s music are sharp and perfected on ‘Indigo.’ Instrumental track, ‘Dollhouse’ floats the listener over waves of synth paradise before ‘Canyon Of Fire’ spirals into electric guitar riffs and lyrics repeating a reluctance to go home.

Closing track ‘Bend’ sees Tatum confessing, “I bend to keep myself in line,” but the evolution of Wild Nothing, from the ‘Gemini’ days to now, has evolved naturally, rather than being manipulated or bent into shape. While ‘Indigo’ is no groundbreaker, it’s exciting for an album with so much nostalgia to sound as fresh and pristine as this.

8/10

Words: Ashleigh Grady

- - -

- - -

Join us on Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks and a true view into our world as the fun and games unfold.

Buy Clash Magazine

-

Follow Clash: