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Album Review // WILD NOTHING ‘Indigo’

Wild Nothing return with fourth studio album Indigo.

Making indie pop gems over the last ten years, the man behind Wild Nothing, Jack Tatum has come a long way from his 2010’s debut release Gemini. Wild Nothing continues to explore creative avenues in its sound, and Indigo is the product of that investment.

We launch into 80’s style synths from the very beginning with Letting Go. Tatum’s sincere lyrics in this opening track feel like an awakening for us as listeners to experience as he goes through it. This nod to nostalgia is a signature throughout the album, but he pushes it in unique ways like in Partners In Motion and The Closest Thing To Living. As he co-produced the album with Jorge Elbrecht, you can feel that album is quite personal and each track has been handled with the utter most care.

His distinctive vocals paired with optimistic moments in Oscillation mirrors the motions he talks about in the lyrics, expanding and pushing his creative limits. Like in Wheel Of Misfortune where things are kept more conventional in a warming way. Singing along to this with a crowd of people would be an absolute pleasure, creating those prompt visual associations from the get go.

More iconic 80’s drums sounds and even a featured saxophone continue to shine through in The Closest Thing To Living. That reference to nostalgia is done with fine taste and craftsmanship. It doesn’t feel corny or overdone. I can see the fluorescent lights and bursting smoke machines throughout this track. Which is always a good thing.

One of stand out moments in this collection has to be recent single Shallow Water. Soothing layered vocals and constant bass gives us something familiar, having the elements of a great pop song. Things take a different direction with Dollhouse and takes that lead into Canyon On Fire. It sounds a little grittier as we hear the glitter starting to settle. This is welcomed as we observe another layer to his evolving artistry. This flight continues to soar in Flawed Translation where textures begin to flourish and elements feel more succinct and pronounced.

As we become a bit more familiar with his formula, Tatum turns it on its head. Ending the chapter on Bend with broody bass lines and concise drums, the pace starts to wind us down. As the chapter closes, we are left content and thirst quenched. This is a monumental step for Wild Nothing and feels like a celebration of his journey thus far. It feels like the right time and space for something like this to be shared. There is always a place for glorious indie-pop and as he continues to push those boundaries it leaves us wanting more.