First Listen: Wild Nothing "Nocturne"

Wild Nothing isn’t really in our spectrum of coverage here on Indie Bloops and Bleeps and probably wouldn’t fly in our room, as there is little electronica involved, little experiment and no dance – except slowdance perhaps. It is shoegaze, dream pop or chillwave, depending on which term you prefer. All those genres can be bloopy though and are often eletronic, either by origin or by outlook, or at least thats what I tell myself. But whatever my apology may be for reviewing it, the most important thing you need to know is that I liked Wild Nothing’s debut “Gemini” from 2010 and that I like the new LP “Nocture” even more. That’s why I am writing about it; so sue me.

Wild Nothing is Jack Tatum, Virginia now Brooklyn resident, and his second album is due out on Captured Tracks on August 28th. It isn’t cleared for preview yet, so I can’t link many songs for you. But it has been leaked some days ago, so it is out there for anyone who cares to search for it on his or her own or takes a look at what the blogoshere has sneakily published. The only track that has been officially pre-released is the opener “Shadow”, below.

“Gemini” had some beautiful tracks on it, like “Live in Dreams” or “Lilac”, but it was a DIY album that sometimes lacked focus or coherence. This time Tatum had some help from Brooklyn producer Nicolas Vernhes, and while a producer can sometimes disturb artistic expression or streamline too much, this obviously did not happen here. “Nocturne” greatly gained from the the outside input and is a delight to listen to from the beginning to the end, without one single song ruining the flow. There is the occasional overly unagitated filler track floating by, but those are quite rare.

There are some standout tracks though that deserve an extra mention. First of all the opener, which you conveniently have heard above by now, I assume, and which can stand for a lot of the tracks on the album by featuring Tatum’s beautiful, reverbed vocals, the lush guitar work and the drum machine-like percussions that dominate the whole release. The strings are an extra though and can only be found on this track, but on some of the tracks some synths or synth-like distorted guitars take over this part. When they do, a great setup gets even better, like on “Through the Glass” or my favorite track “This chain won’t break”. Tatum simply has a great feel for setting a mood and wrapping a melody around it. So maybe get the album when it officially drops, but make sure you listen to it out the on the internet right now.


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