Wild Nothing - Indigo - Albums - Reviews - Soundblab

Wild Nothing - Indigo

by Mark Moody Rating:7 Release Date:2018-08-31
Wild Nothing - Indigo
Wild Nothing - Indigo

Wild Nothing’s fourth album, Indigo, takes us back to the early to mid-80s heyday of more sophisticated synth driven pop.  No cheesy dance beats or histrionic vocals here.  Indigo would be filed squarely between Roxy Music’s Avalon and Talk Talk’s second two albums at your favorite mall's record shop.  Full of atmosphere and oozing style while also containing enough hooks to keep things propelling along.  If you have been following this Jack Tatum led journey, the album is more in line with his more pop-oriented Nocturne and that is a good thing.  If you are going to tread into these nostalgic waters, there’s no reason not to give way to the current.

Tatum is joined this time out by Benji Lysaght on guitar and Cam Allen on drums, but everything melds so seamlessly here that distinctions don’t mean so much.  At its best in its most emphatic moments, Tatum is hitting his stride when it comes to confidence in his composition.  Along with the organic instrumentation, the layered synths of lead single ‘Letting Go’ pack a more modern punch on par with a group like M83.  That track is only outdone by the even more fully formed and urgent ‘Canyon on Fire’, which makes for a second half highlight.  

The lyrics are oblique in spots, with the hazy ‘Partners in Motion’ accusing “I caught you in the dog house, drinking coffee with your new wife” not coming off as any great threat.  And as sunny as the album is overall, a chewing gum mishap on ‘Wheel of Misfortune’ is about as “unfortunate” as it gets here.  More typically the tracks are in sync with the era they so effortlessly replicate. The atmospheric ‘Shallow Water’ punctuated with reverb drums has a stately air about it, while ‘Flawed Translation’ also shines with slippery strings as it percolates along its course.  

Indigo doesn’t break new ground, but as a paean to a simpler but synth driven time it hits its velvet glove mark.  The most modern nod here is the clarity of the production at the hands of Jorge Elbrecht, who dismisses any thought of the tape hiss backing track of the day.  If this is what Tatum has been building towards, it’s a letter perfect culmination of consistency.             


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