Wild Nothing - "Nocturne"

Artist: Wild Nothing

Album: Nocturne

Label: Captured Tracks

Release Date: August 28^th, 2012

Review by: Sean Kayden

     In 2010, Jack Tatum, the mastermind behind his moniker Wild Nothing released the ultra impressive debut album, “Gemini.” It was one of my favorite albums of the year and still till this day. Gemini is very light, airy, and the idyllic dream-pop record. Dominated by 1980s reverence, Wild Nothing took the elements of that era to craft an album ideal for this day and age. Personally, Wild Nothing had a lot to live up to with the follow-up album and I’m happy to report expectations were met, but not overly exceeded. There are similarities between the two compilations, but ultimately, “Nocturne” is an entirely different encounter. The word matured is tossed around very frequently with younger artists and this time is no exception. Wild Nothing has grown and completely blossomed into an act that surpasses many who’ve been in this genre for quite sometime. “Nocturne” is an album that proves to be an example of continual development for a budding artist rather than one that stands toe-to-toe with its predecessor. Nonetheless, the sophomore release is often intoxicating with jangly guitars, hypnotic arrangements, and the heavy layers of reverb.

     When it comes to the lyrics, it’s a somewhat conventional affair. The sometimes overly sentimental and trite lyrics don’t always match equally with the lush sound. The straightforwardness and simplicity of the lyrics are nothing to balk at since more often than not the listener becomes lost within the melancholy and dreaminess of the music rather than the words on paper. The first track is “Shadow,” a warm introduction and a strong indication that Tatum has polished his style rather than redefining it. “Midnight Song” dazzles and mesmerizes with its shoegaze haze. You’ll find this a lot on “Nocturne,” where the synths, delicacy of Tatum’s vocals and reverb all meet to form the sound known to be distinctively as Wild Nothing. There are a few calamities such as the closing track “Rheya.” It meanders with its sights set on just ending the way it started—uninspiring and apathetically. “This Chain Won’t Break,” the insipid track that falls right smack in the middle of the record interrupts the flow of things as it falls flat of anything unforgettable. Fortunately, the subsequent track, “Disappear Always” makes you overlook that misstep almost entirely as it demonstrates Tatum’s artistic ability in the most comprehensive form. Multi-layered, continual change-ups in arrangements and a vibe unmatched, “Disappear Always” should be considered one of the elite tracks from “Nocturne”.

     One considerably noticeable difference between “Gemini” and “Nocturne” is how Tatum’s voice is at the forefront. His lyrics are more discernable and comprehensible while his vocals are slightly crisper and clearer. That’s not to say the habitual haze that engulfs his songs isn’t present, it’s just that with the higher production values the bedroom-pop sound feels a bit artificially constructed rather than organically executed. Regardless, Tatum has crafted some of his best songs here and this evolution from novice to seasoned pro is happening at a rapid pace. The first half of “Nocturne” is exhilarating, shimmering, and a dream-pop fan’s heaven. The second half gets a bit lost and weary with tunes that seem to go nowhere as they drift toward completion. Honestly, I’d say “Gemini” is the better record of the two. However, it was Wild Nothing’s debut album that astounded and surprised the indie music world. “Nocturne” doesn’t have the same ongoing effect, but is a laudable accomplishment in it’s own right. In Tatum’s ideal world, “Nocturne” may be his finest representation, but hopefully it’s just another side to this young man who appears to have his best days still ahead of him.

Grade: 8 out of 10
Key Tracks: “Shadow”, “Midnight Song”, “Nocturne”, “Disappear Always” 

Published by Mountain Views News on Saturday September 1st, 2012
http://mtnviewsnews.com/v06/htm/n35/p11.htm