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Indie, Noise, Shoegaze… Music

Synths and Shoulder Pads – WILD NOTHING: Indigo (Captured Tracks, 2018)

Indigo

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Está claro que el sonido de WILD NOTHING poco tiene ya que ver con el de sus inicios, allá por 2010, cuando ya nos hacíamos eco de su debut en TJB. Indigo es un disco decididamente Retro80, limpio, cristalino, con sonoridades que evocan por momentos lo peorcito y lo más empalagoso de la década de las hombreras y los sintes. A mi entender, bastante prescindible.

“After making the epically lush Life of Pause, which was recorded in three studios with different producers and collaborators, Wild Nothing‘s Jack Tatum wanted to do something different on the band’s next record. For 2018’s Indigo, he first made detailed demos, then took a small band into the studio and spent four days recording the songs live. These recordings were then built up by Tatumand producer Jorge Elbrecht as the duo added new parts and reused sounds from the original demos. The result is an album that’s just as ’80s-influenced as the last record, but much less fussy and more direct. Tatum hasn’t forsaken glossy production and gleaming sounds — everything here is clean enough to eat off of — and the songs are slicker than anything in the Wild Nothing catalog. In fact, they are slicker than anything in the Howard Jones or Prefab Sprout catalogs — two artists Tatumclearly reveres. This detailed, sweat-free approach could have sounded lifeless in the wrong hands, but the team here is lucky to have a typically strong set of songs to work with, and they don’t swamp the melodies in overcooked cheese. The saxes are kept on a low boil, the synths are minimal, andTatum‘s vocals are kept low in the mix as he sings calmly about heartache. The melodies and songs are strong enough that they could have withstood some less adept production; tracks like the swooning pop dream “Oscillation,” the lovely “Letting Go,” and the very hooky “Through Windows” would have shone like diamonds no matter what. Those are examples of how good Wild Nothingsound when doing uptempo pop; the ballads Tatum delivers are just as strong. The production really has a chance to come across on the slower, more measured songs like “Partners in Motion” and “Shallow Water.” The layered synths and guitars form a soft launching pad for Tatum‘s heartfelt vocals and rich harmonies. The balance of tempos and sounds makes for a well-rounded listen and it’s a step in the right direction after Life of Pause, which took the Wild Nothing sound right to the edge of overdoing it. Despite its slickness, this is a smaller album, built around real emotions and more scalable sounds, but its impact isn’t felt any less. Indigo is another block in the impressive body of work Tatum has built over the decade, and it’s some of the best retro ’80s (but not stuck in the past) music anyone is making in the 2010s” (AllMusic)

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19 octubre, 2018 Posted by | Wild Nothing | Deja un comentario

Wild Nothing Live on Kexp: Full Performance (Apr. 2016)

Los invitados al concierto en nuestra emisora de Radio favorita de internet son Wild Nothing con su fabuloso sonido Jangle que nos cautiva desde sus comienzos.

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18 agosto, 2016 Posted by | Wild Nothing | Deja un comentario

Wild Nothing: Life of pause (Bella Union, 2016)

Me enveneno de Sintes

Si en el último post con el último lanzamiento de Ducktails presentábamos cómo el Dreamgaze continúa dando frutos interesantes, con Life of pause, el nuevo disco de Jack Tatum (aka. Wild Nothing), ocurre todo lo contrario. Life of pause es como una vuelta a los orígenes más primitivos. Una regresión a los sintetizadores analógicos de los setenta-ochenta para mostrar una sobresaturación de sonidos electrificados y una sensación de empalague general. Un disco un tanto errático, quizás mal concebido o quizás fruto de una maduración un tanto equivocada.

“Tatum admitted that he was listening to “a lot of Philly soul, sweet soul music” while working on the record. When these moments, particularly the notes of funk and disco, are pushed, it feels like a move in the right direction. This is the most PG-13 Wild Nothing has been on record yet: The steamy sax on “Whenever I” paired with Tatum’s silky drawl could be a track in a David Lynch nightclub; his voice on “A Woman’s Wisdom” is a husky plea for intimate insight. “Reichpop” is stunning, with the aforementioned marimba played by Peter Bjorn and John drummer John Eriksson.
It’s a high-bar statement of an opener, but the album rarely reaches that energy level again. “Japanese Alice” brings new life to the middle of the record with psych-pop guitars reminiscent ofDeerhunter, and the title track’s synth throbs have a hint of Neon Indian to them. Following these two, the stoned “Alien” feels like a setback, but the brief, noisy breakdowns save it from being a completely absurd outlier.
So why does Life of Pause not completely succeed? To begin with, the record is not emotionally accessible or relatable, which isn’t a huge surprise considering Tatum favors sound over lyrics. The trouble is that it’s unclear exactly what Life of Pause’s mood is intended to be. Tonally and instrumentally, the album is a change in style, but there is no moment of surprise; it still feels very predictable. There is nothing wrong with being formulaic; it worked for…well, pretty much everyone. But there is no moment that truly grabs you, no emotional climax, no reason to truly care. Life of Pause is a straight, albeit funky, line.
Life of Pause’s monotony is only heightened by its monochromatic songwriting. In a majority of the songs, Tatum asks some sort of question (“Can I learn to wait for my life?,” “Will I find a way to make sense of/ The way that you love me?,” “How can we want love?,” etc etc) only to conclude during “To Know You” that “There is no answer to the question.” All this amorous, existential pondering seems to prevent him from doing anything, from taking a risk, from making a statement that sticks. It doesn’t help that these questions are delivered in such an aloof manner that even if they pique interest for a second, they will melt away quickly. It seems like Tatum is living a lyric from “Reichpop:” “The less you say the less that you get wrong” (Pitchfork)

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12 mayo, 2016 Posted by | Wild Nothing | Deja un comentario

Wild Nothing: Gemini (2010)

Gemini es el debut de Jack Tatum como líder del proyecto Wild Nothing, una idea que surgió tras formar parte o colaborar en otros combos como Abe Vigodaish o Jack and The Whale. Decidido a tomar las riendas de su música, le surgió la idea de componer e interpretart por sí solo un disco, Gemini, rendido tributo a bandas de los ochenta de Electro-Indie o de las que entendieron el Dream-Pop como bandera. Su forma intimista de entender las canciones le lleva a crear un universo más que personal (Our composition book), creando una atmósfera Dream-Pop durante todo el disco (Live in dreams). Bandas como Cocteau Twins, The Field Mice, The Cure, Cocteau Twins, Shop Assistans o Go-Betweens son las referencias más cercanas de un disco que tiene mucho que ver con esa manera de entender el Pop que tienen bandas como Beach House o The High Wire (Drifter, Pessimist, Bored games, Confirmation, My Angel lonely, Chinatown…), o incluso con toques más teenagers, tipo The Pains of Being Pure at Heart (O, Lilac; Summer holiday). Un disco que es un claro ejemplo de por dónde va el Pop del siglo veintiuno. Seguramente que habrá muchos seguidores del género que alucinarán con los primeros acordes de este Gemini. Otros casi con toda seguridad aberrarán del mismo como un hype de un estilo que comienza a dar muestras de cierto hastío en cuanto a revivalismo y empalagamiento. En cualquier caso, un disco entretenido que ambientará muchos clubs esta primavera-verano.

Wild Nothing – Gemini (2010)

“After talking about the Cocteau Twins/Smiths/Shop Assistants-inspired haze of Jack Tatum’s Wild Nothing on the dreamy “Confirmation” (and appropriately airy take on Kate Bush’s “Cloudbusting“), I suggested you should keep your eyes peeled for a Captured Tracks full-length. Well, that 12-song collection, titled Gemini, is due out in May. I’d liked what I heard, but this is more impressively rich, nuanced, and enjoyable than I expected. Not all of it’s a surprise: Wild Nothing regulars will recognize the aforementioned “Confirmation,” “Summer Holiday,” and “Drifter”, etc., but the Blacksburg, Virginia songwriter offers plenty of new angles. See, for instance, ebullient standout “Chinatown.” You wouldn’t be wrong to grab for your old Orange Cake Mix CD-Rs after listening” (stereogum.com)

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11 junio, 2010 Posted by | Wild Nothing | 1 comentario

   

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