Wild Nothing

Because “Hold,” Jack Tatumʼs fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness took it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchieʼs Harriette Pilbeam, first single “Headlights On” features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. But that club ambiance is misdirection. “Itʼs a fun song, but lyrically, itʼs about my wife and I going through one of the worst times in our relationship,” Tatum said. “I donʼt know why, but Iʼve always been so drawn to these kinds of juxtapositions and striking these balances.” Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. “More than anything, this record reminded me of working on my first LP. Just truly being holed up in this room, alone with no input for such a long time,” he said. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. “I reached out to Geoff because I wanted to find someone that could help me make this sound as big as possible,” he said. “Iʼve always been very inspired by and attracted to big tent ʼ80s acts. Peter Gabriel and Kate Bush are two of my biggest influences ever because they clearly never shied away from that kind of ambition.” Swan put Tatumʼs vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. On “Basement El Dorado,” he sings about searching for heaven in a ruined world. “Itʼs a little bratty, but itʼs also really about genuinely wishing there was a heaven—wouldnʼt it be nice?” he said. “I didnʼt want to get too heavy-handed about global warming and how the world is on fire, but I still wanted to get at the idea that this is what weʼve got. At least thatʼs how I view it. Heaven is a place on earth, and this is all we have.” Tatum wasnʼt necessarily thinking about spirituality back in 2019 when he started playing around with songs that would eventually make up Hold, but of course, life soon intervened. Back in February 2020, he had finished setting up a home studio in his Richmond house when his son was born. Weeks later, lockdown orders went out, and the sleepless nights of early parenthood slid into an even more profound isolation. “Bringing new life into the world drastically changes how you define yourself and what your purpose is,” he said. “Before, I wrapped up so much of myself in my music and all of it, the writing, the traveling. That was really who I thought I was. The double whammy of having a kid and not being able to do that anymore—it exposed a lot about what is important to me. It made me understand much better why people gravitate to divine beliefs or why it feels so good to attempt to have an answer.” Without eschewing the atmospheric avant-pop of his main influences, his existential moment did open a few new windows. “Early pandemic when my son was still an infant, one of the few things that I oddly found really calmed me down was dance music. I had so many sleepless nights awake with my headphones on, my son in his little sleeping pod next to me. Meanwhile Iʼd be listening to Underworld. Somehow it set my brain right”. Itʼs hard to break new ground when writing about parenthood, but on Hold, Tatum leans into its exaltant mundanity and approaches the big questions obliquely. The baby is wide awake, the car is easing down the road, people are checking their reflections in the mirror. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment—and the occasional regret it inspired—proved to be great artistic fodder. “You can make a big decision and be fully committed to it, know 100 percent that itʼs the right choice and still have these moments of “Did we fuck up? Was this really the best thing for us to do?”” Itʼs the paradox of modern America—the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On “Suburban Solutions”, he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the songʼs menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatumʼs wife, Dana, It was loosely inspired by the classic Martika song “Toy Soldiers” and the long-ago pop craze for childrenʼs choirs, and he embraces the trendʼs less-than-stellar reputation. “Whatʼs so wonderful about being someone who is borderline obsessed with 80s music and is making music in 2023 is that I didnʼt live through it. So I have no skin in the game about what was cool or not at the time.” By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and some levity. “In the face of the pandemic, I think being a parent really forced my hand,” Tatum said. “I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, “Oh, everything is horrible,” then Iʼll feel as if Iʼve lost and Iʼve given up on my son being able to thrive in this world.”

Born in Oklahoma, raised in Paris, living in New York City, assistant to a Nobel Prize Winner, licensed New York City tour guide and Murder Mystery business owner, JW Francis is one of the newest signings to Sunday Best Recordings. His brand of lo-fi, utterly irresistible bedroom dream-pop takes its lead from the city JW lives in, with echoes of Jonathan Richman, The Velvet Underground and the lo-fi sound New York has been inspiring for decades. Following a string of singles, New York’s very own JW Francis finally releases his sophomore album WANDERKID on Sunday Best Recordings. The LP is the follow up to his critically acclaimed debut We Share a Similar Joy, which saw JW firmly mark himself out as New York’s next lo-fi legend gaining mass support from BBC 6Music, Apple Music, Spotify, DIY, The Line of Best Fit, The Independent, HMV, Wonderland, and many others. A collection of 11 irresistible tracks, WANDERKID is a concept album which explores themes of escapism and the urge to break free as JW elaborates; “WANDERKID is an album about escape. It’s supposed to be a gut punch of a record about an anti-hero named WANDERKID who wants to get OUT: out of his living situation, out of his head, out of his life. This album is like looking out the car window with an urgent desire to be on the other side. It was finished during the most recent global pandemic, so hopefully folks find it relatable.”