Posts Tagged ‘Captured Tracks’

Image may contain: 1 person, closeup, text that says 'BECCA MANCARI THE GREATEST PART OUT NOW'

Becca Mancari returns with her new album The Greatest Part. Mancari explores her childhood experiences on the single “First Time,” and it focuses on her religious upbringing. The lyrics are raw and intrepid, peeling back old scars to explore the emotional and psychological turmoil Mancari weathered growing up gay in a fundamentalist Christian home, while at the same time examining the ties that continue to bind her to the family she loves. This image is the opening line of Becca Mancari’s “First Time,” a somber song that takes an intimate look at the true story of Mancari’s coming out to her parents.

Powerful and explicit, yet warm and nuanced, the song is an excellent encapsulation of the record it’s from: Mancari’s sophomore album, The Greatest Part, which dropped on June 26th via Captured Tracks. Recorded with producer Zac Farro (of Paramore fame) at The Fatherland Studio in Nashville, the record is a tremendously beautiful, intimate and expressive personification of Mancari’s artistry as a whole.

Mancari first splashed onto the indie scene as a solo artist in 2017 with the release of her debut record, Good Woman. At the same time, she was a member of Bermuda Triangle, a supergroup featuring Mancari along with Jesse Lafser and Alabama Shakes’ Brittany Howard. At that point in time, Mancari was going hard and fast — she was doing a ton of touring and was fighting a seemingly uphill battle trying to sustain her career.

The instrumentals echo hesitantly until the steady guitar solo offers something concrete in all her wandering. The music video then cuts to shots of same-sex couples, symbolizing that she found chosen family with people like her The Greatest Part is more of an exercise in joyous catharsis. The meaningful lyrics are expertly juxtaposed by charmingly catchy melodies and ethereal indie rock dreamscapes. In short, if you listened to this record without paying too close of attention to the lyrics.

Captured Tracks debut from Becca Mancari.

Image may contain: text

Gemini was released as part of the 2010 guitar-pop mini-boom, but it could just as easily have been recorded in 1989. Jack Tatum’s first album as Wild Nothing is full of songs that exist just outside the margins of your memory: Haven’t I heard this before? Isn’t this guitar part familiar? Didn’t an ex-boyfriend make me a mixtape with “Drifter” sandwiched between Cocteau Twins deep cuts?,

The Version is a new, limited edition of the vinyl. Pressed on translucent blue vinyl, the album is housed in a silkscreened jacket with hand-stamped numbering and includes new liner notes from Tatum along with a 11″ x 17″ show poster from 2010.

From Jack Tatum:

“It’s fitting that listening back [to Gemini] now feels like a dream to me. I know I wrote these songs, but the memories of making them have become as blurred as the music,” says Tatum. “It’s such a rare thing to have this kind of living document of your youth and I think that’s what Gemini will always be for me: a part of my life that is at once so familiar and so unrecognizable.”

Tatum put Gemini together while studying at Virginia Tech, and its amateurish charm separates the album from his more expansive, polished later work. When songs like opener “Live in Dreams” and the chiming “Our Composition Book” fade in slowly, it’s easy to imagine hearing them streaming from a dorm room window overlooking a verdant quad. And while there isn’t much lyrical depth to Gemini, that’s a feature, not a bug. You can listen to “Summer Holiday” or the gloomy, glamorous “Chinatown” and fill in the blanks with your own memories of being young, sad, and in love.

“Summer Holiday” · Wild Nothing “Gemini” Released on Captured Tracks


Online music marketplace Discogs has just launched the Discogs Daily Dig, an initiative to support indie record labels during the coronavirus pandemic. Each day they will focus on a different indie label that will sell rarities, test pressings, out-of-print releases, and back catalouge through Discogs. It started today (5/5) with Numero Group and here’s the first week’s schedule:

  • Tuesday, May 5 – Numero Group
  • Wednesday, May 6 – Captured Tracks
  • Thursday, May 7 – Burger Records
  • Friday, May 8 – Trouble In Mind
  • Saturday, May 9 – Stones Throw
  • Sunday, May 10 – Drag City
  • Monday, May 11 – Third Man Records


jack tatum of wild nothing seated

On Laughing Gas, the third EP from Wild Nothing, songwriter and multi-instrumentalist Jack Tatum delves deeper into the territory where he thrives: namely, the synth and sophisti-pop of the 1980s. Working within a more mechanical and synthetic framework than his previous releases, Wild Nothing continues to delicately toe the line between the organic and the unnatural. These are still pop songs, but there’s an underlying sense of uneasiness that threads the music together.

Recorded in Los Angeles, CA and Richmond, VA with the help of Jorge Elbrecht, these five songs were originally imagined alongside last year’s Indigo and were written and tracked simultaneously with the album. When work on the full-length was nearing completion, Tatum set these ideas aside; they seemed to fit better on their own. In spare moments between tours, Tatum began to look back and piece the songs together at his home studio in Richmond, reconnecting with Elbrecht to mix the EP. With Elbrecht in Denver and Tatum in Richmond, the two went back and forth on the final touches, molding a common thread from the Lo Borges inspired new wave of Sleight Of Hand to the propulsive, icy synth funk of Foyer.

Often considered a secondary or transitional format, Wild Nothing has always used the EP to further explore new ideas and influences. Laughing Gas is no exception.

This May we’ll also be celebrating the 10 year anniversary of our first record “Gemini” with a string of shows with our friends Beach Fossils. Both of us will be playing our first records in full!

DIIV have just released a new album, “Deceiver”, on October 4th via Captured Tracks. This week they shared another song from the album, “Blankenship,” via a video. The tight track is akin to a shoegaze version of Sonic Youth’s “Titanium Exposé,” especially in the guitar sounds. Stout directed the video, which intercuts between the band performing the song indoors and a woman (Savannah Macias) seemingly lost in the desert.

Previously DIIV shared Deceiver’s first single, “Skin Game” . Then they shared another song from it, “Taker,” a somewhat languid shoegaze cut that grows with intensity as the track ends.

Deceiveris the band’s third album and the follow-up to 2016’s Is The Is Are. The band’s current lineup features Zachary Cole Smith (lead vocals, guitar), Andrew Bailey (guitar), Colin Caulfield (bass), and Ben Newman (drums). The album was recorded in Los Angeles in March 2019 with producer Sonny Diperri (My Bloody Valentine, Nine Inch Nails, Protomartyr), which is the first time the band has used an outside producer.

DRAHLA – ” Godstar “

Posted: September 29, 2019 in MUSIC
Tags: , , ,

Image may contain: 2 people, hat and text

We’re big fans of Drahla’s queasy, hypnotic psych rock and their choice to cover Psychic TV’s 1985 gem Godstar seems like a match made in musical heaven.

Leeds trio Drahla take on Psychic TV ‘s ‘Godstar’, a track which pays homage to Rolling Stone Brian Jones whilst hinting his death may not have been quite as accidental as first appeared. Psychic TV was formed by Genesis P. Orridge from the ashes of Throbbing Gristle and Godstar was their only hit from their most commercially successful album Allegory and Self. Of course, P. Orridge was never one for conventional thinking, was convinced that the track should have been a much bigger hit, and rather than accepting that chart position was based on other peoples poor taste and electing to buy more copies of other records he alleged there was a conspiracy. Namely that the BBC had been coerced by the Rolling Stones management not to play the track.

Psychic TV’s more ‘tune based’ approach after some to their more impenetrable experimental music was surprising given that Throbbing Gristle’s ethos had always seemed to be all about deconstructing and annihilating rock n roll, using ear bleeding, aural and visual art terrorism rather than feeding into the mythology. Instead, they often produced sounds devoid of melody, or anything resembling a tune.

A homage to Brian Jones of the Rolling Stones, I remember buying the original 7″ in Woolworths, and playing it on repeat.

A homage to Brian Jones of the Rolling Stones, I remember buying the original 7″ in Woolworths, and playing it on repeat. Times change, but this version more than does justice to the original. Available thru Captured Tracks Released on: 18th September 2019.

Image may contain: 3 people

B Boys’ meaningful punk vibe sees them fall in line with a growing number of bands who recognise that rock n’ roll has always had a role to play in subverting the most destructive aspects of mainstream political discourse. B Boys’ particular method of critique is artful enough to avoid the traps of being considered preachy; it’s more about leaning in close to see just how much they have something to say. B Boys’ anarchic, anti-capitalist analysis of ‘I Want’, which is plucked from the press release, is particularly helpful in steering us to where their head is at:

“’I Want’ was inspired by the frustration of having to demand for the things you innately deserve. It’s about overconsumption and dissatisfaction, as well as the infinite process of personal improvement” ”

Emphasising their allegiance to critical thinking further is the fact Veronica Torres of politically riled post-punk band Pill, is a guest on this track. Sonically, it’s adorned with complex rhythms underpinning commanding riffs with The Wire, Talking Heads, and The Clash great reference points.

Official music video for “Energy” by B Boys off their album, Dada. on Captured Tracks

Directed by Jarod Taber, it’s an artsy, tongue-in-cheek visual and loosely explores the single’s central theme of capitalist greed. Acted by B Boys frontman Britton Walker, the main character is a besuited, lonely man unblinkered in his adherence to the daily grind and desire for things. But the amount of agency the protagonist has is left up to question if we consider the following quote from the band about ‘I Want’ from the press release: “Sometimes life puts you in an ill-fitted suit, but you still have to wear it.” This leaves us some sympathy towards him and questioning of the power structures surrounding us.

Band Members
Andrew Kerr, Brendon Avalos, Britton Walker

Image may contain: 2 people, text

The second single from Drahla’s debut album, ‘Useless Coordinates’, out May 3, 2019. Drahla have already answered all the boring questions. In the video for their prickly single “Stimulus for Living” the droll Leeds punks elucidated the whens and the whys and the particulars of their formation and their motivation as a band. Sort of. Fuzzy tape rolls as a droll voice intones a series of questions (“How did the band form?”; “Drahla, what does it mean?”) and the band answer in cryptic abstractions (“In holy matrimony”; “It’s just letters from the alphabet”). This goes on a little over a minute; throughout the bit, their intentions remain opaque.

“The interview at the start of the video asks standardized questions, that have the same copy and paste answers every time,” says singer/guitarist Luciel Brown. “There’s far more interesting things to explore. Within the lyrics, the same [idea] has been applied to the everyday [observations] and points of interest that have stood out to me in regular situations, highlighting that there’s interest everywhere, you know, there is a stimulus.”

This mentality is part of what’s made them work as a band over the last couple of years. They work in a pretty traditional format—guitar, bass, and drums—but they’re able to wring a little more out of it because of their insistence on digging deeper. Browns riffs are abstract and pointillist, like something you might expect from the great grayscale post-punk records of the late 70s, or no wave’s idiosyncratic squalls. The muscular monochromes of Rob Riggs’ bass work are unpredictable and elastic. Mike Ainsley’s geometric drum work is reliable, but reactive, pushing the other players into woolier territory. They’re able to take familiar parts but push at their edges. It’s all part of trying to find access magnificent in the mundane.

“Pyramid Estate” Released by: Captured Tracks Single release date: 9 April, 2019

Mourn is a very young quartet formed from the friendship of Jazz Rodríguez Bueno and Carla Pérez Vas—both born in 1996 in ElMaresme, Catalonia, Spain. Official music video for Gertrudis, Get Through This! by MOURN, off their 7″ single. Buy Gertrudis,

The duo armed themselves with inspiration from PJ Harvey, Patti Smith, Sebadoh and Sleater Kinney and began writing material, which they quickly released, raw and acoustic, on their YouTube channel


Band Members
Carla Pérez Vas (singer and guitar)
Jazz Rodríguez Bueno (singer and guitar)
Antonio Postius (drummer)
Leia Rodríguez (bassist)

No automatic alt text available.

In 2009, Wild Nothing’s Jack Tatum uploaded a dreamy cover of Kate Bush’s “Cloudbusting” and it spread like wildfire from blog to blog. Then a 21-year-old college student at Virginia Tech in  a quiet Blacksburg, town in Virginia, Tatum was hard at work on his debut album as Wild Nothing, 2010’s Gemini. The internet attention led to Captured Tracks releasing the LP, which was an excellent first full-length that highlighted Tatum’s near-obsessive fascination with ’80s music like Cocteau Twins and the Smiths. But more than that, it showcased a budding songwriter who could create his own gauzy and nostalgic world with a studious ear for timeless melodies.

Because of his talent and knack for developing lasting hooks, it’s no surprise that initial hype wasn’t a flash in the pan. Over four albums and almost a decade of recorded music as Wild Nothing, Tatum has constantly honed even the most compelling parts of his debut.

2012’s Nocturne, which was the product of his move from Virginia to Savannah, Georgia, and later to New York City, was a more intentional improvement on Gemini, in part due to the fact it was recorded in a bonafide studio. His 2016 return Life of Pause, which was recorded in L.A., found Tatum expanding his musical palate through subtle inspiration from soul music

Whereas Gemini was the sound of Tatum making the album he imagined in his bedroom and 2012’s Nocturne was the result of his first turn in a proper studio, followed by 2016’s Life of Pause, a multi-studio tinkering odyssey spanning time and spaces, this 2018 maturation finds Tatum arriving at total creative openness. “My entire 20s have been spent on this project, and in that sense you inherently find the limitations in what you make,” Tatum says. “With the last record I was trying to stretch out as far as I could, but with Indigo I’ve created something that has homed in on its own identity. My life has become less about chasing these creative bursts and more about learning to channel my creativity.”

Indigo, his most recent effort via Captured Tracks, is his most confident yet. Recorded in Los Angeles, it’s full of songs that cue from other acts like Roxy Music or Prefab Sprout but funneled through a lens that’s distinctly Tatum’s. Now a resident of Richmond, Virginia, Tatum has literally been unable to stay in one place, not just sonically.



On his 2010 debut album, Gemini, Jack Tatum’s frail vocals come warped in an oozing neon haze. Carefully orchestrated synth-pop arrangements, trebly guitar riffs and tattered drum machines blend together to create an intriguing, texturally rich glo-pop album that could come only from the young at heart.

Jack Tatum: I chose this song for a few reasons. I mean, it’s the first song on the record, but it’s also, if I remember correctly, the first song I ever wrote for this project and it just seemed like a cool place to start. The fact that it fades into the record always seemed like such a good introduction to this world, you know? I love fade ins and fade outs, even though some people hate them. When I started writing the first record, I was actually living in Virginia but I was spending the summer in Savannah, Georgia, because I had some friends down there at the time. I was hanging around in Savannah and just staying in my friend’s living room and I’d set up a recording zone there. That was the first song that I made.

At the time I didn’t really have a clear picture for what I wanted the project to sound like, I was just making stuff as I went and seeing what happened. I was obsessed with the Smiths at the time and the impetus was just that I wanted to write a song that sounds like “There Is a Light That Never Goes Out.” It was basically in my own way of trying to copy that song but it ended up turning into the sound of that first record, unintentionally. And so I think through making that song, I kind of created a framework for the rest of Gemini in a way. It’s actually one of the few songs on that record that I never get tired of playing.

We started to tour quite a lot on Gemini, which was all very new to me. I played in bands in college and had been working on my own music since I was a kid, but really not on that level. We had started touring Gemini basically right when the record came out. We were touring quite a bit and I decided that I wanted to move somewhere else and I had friends in Savannah. I moved to Georgia and I was touring so much when I lived there, I never really settled in a lot ways. I only lived there for a year and, basically, I was just either touring or when I was back I was working on Nocturne.



Nocturne, the sophomore album by Wild Nothing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne speak to a new Wild Nothing where the lines between Jack’s influences and personality have been further blurred. The album features some open references to past music just as his critically acclaimed debut Gemini did, but it’s also an album that feels much less rooted in anything in particular and, well, more adult.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected fan base to turn to, Jack spent more time perfecting his craft. The obsessiveness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak of his post-Gemini experiences as he explores new paradoxes of pop. And yet, Nocturne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

The writing process for Nocturne was very isolated, and driven by being in this new environment where I never really felt like I had the time to fully settle or immerse myself in the city. In that sense, I just threw myself completely into the writing of this record. Around that time that I set this precedent, which I didn’t really mean to do and it’s kind of like a habit, but I realized that I’ve moved every time that I’m about to release a record. I don’t know if I’m subconsciously or doing it on purpose now or what. It’s funny. I moved to New York right around the time that I was finishing Nocturne up, after that, I moved to Los Angeles before Life of Pause and now before Indigo I’m in Richmond.  With “Nocturne,” I was just like, “OK, this is the sound of the record.” That usually happens where there’s this one song and it’s just something about it that just clicks and every following song revolves around it in a sense. The original demo is also very true to the way it ended up. In some ways, it was me trying to introduce more of a pop lean into my songs. Which isn’t to say that the first record didn’t have pop moments but I think with “Nocturne” I was looking to Fleetwood Mac and figuring out why I love that band so much and how I can write songs like that.

Life Of Pause

Life of Pause

When Jack Tatum began work on Life of Pause, his third full-length, he had lofty ambitions: Don’t just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. “I desperately wanted for this to be the kind of record that would displace me,” he says. “I’m terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn’t need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before.”

Nocturne, marked the first time he’d been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between each – hinting at new directions and punctuating previous ideas – but with Life of Pause, Tatum delivers what he describes as his most “honest and mature” work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. “I allowed myself to go down every route I could imagine even if it ended up not working for me,” he says. “I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything.”

After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan’s home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of “Reichpop” to the sugary howl of “Japanese Alice” to the hallucinogenic R&B of “A Woman’s Wisdom,” the result is a complete, fully immersive listening environment. “I just kept things really simple, writing as ideas came to me,” he says. “There’s definitely a different kind of self in the picture this time around. There’s no real love lost, it’s much more a record of coming to terms and defining what it is that you have; your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new.”

I had a feeling about this song when I wrote it. When it was in the demo phase, it sounded a little bit different and I didn’t know if I could include the song on the record. To me, when I first wrote it, I thought it sounded like a mainstream pop song, at least the way that it was in the demo. I might’ve gotten too deep into my own head there. In retrospect, there’s always songs where I think it should’ve been a single. It’s equally discouraging but encouraging to see that the song in particular had been streaming so well based off of nothing other than just fans liking the song. It’s amazing to see but I keep thinking it should’ve been a single.

It’s my favorite song on the record, too, for a number of reasons. I like that it has a pretty intentional hook on the chorus. I like that it’s a pop song that also has roots in a lot of soul and R&B records that I was listening to.

For whatever people’s opinions of that record are, I really love Life of Pause. I think a lot of fans kind of didn’t know what to do with that record but I feel like I’ll always have this song. This song was the perfect encapsulation of what my intentions were making it. “Whenever I” is not only a favorite song off that record, but it’s probably one of my favorite songs that I’ve written, ever.


A lot of the songs on Gemini were like that, where I’d have an idea and record it in one day and move on. There might even be a few weeks where I wouldn’t record or work on anything. Whereas with this record, I finally set up a studio space in Los Angeles, that was kind of separate from my house so things had to be more intentional. It was weird. This record was much more about getting into a schedule of creativity, which sounds really dull but it was actually really interesting and just a different way to work. It was just like, “OK, I’m going to go into the studio to work for a little while and just see what comes out of it.”

It was one of the only songs on the record that I wrote in one sitting. I was just at home and I think my studiomate, who I was sharing my L.A. space with, was using the studio, so I was just at home. I wrote that song on acoustic guitar, which I rarely do except for maybe one or two per record. I started strumming around on some chords and wrote the lyrics, which I also rarely do. I’m such a procrastinator when it comes to lyrics. It was just a song that came together very quickly and I feel really proud of it.

To me, it sounds like a classic pop song. It’s got all the things in my mind that, that I love about listening to bands like Fleetwood Mac or Prefab Sprout or any reference point that I’m constantly looking to for inspiration. I actually personally think of it as an encouraging song about love but also has the vibe of that everyone is going to get their kicked teeth in. It could also be cynical about things as well.

the EP’s

Empty Estate

Empty Estate

In 2013, Tatum bookended the Nocturne-era with an EP, Empty Estate, that marked a real musical departure of its own; summery synth work and boisterous guitars an approach that swapped dream-pop for drone-pop.

In retrospect, it looks like a real precursor to Life of Pause, in spirit of intent if not in terms of its execution. “I thought that EP was great. A lot of people didn’t,” he laughs. “You know, one of the things that happened as I was finally getting off the road around that time is that I was beginning to relate to the music I’d been playing night after night. When I put out Gemini and Nocturne, I felt far too close to them to be able to analyse them, and there was a lot of paranoia in me about that. Especially in terms of going from being a new band to putting out a second record, because that’s when people really begin to form impressions about who you are, and what you’re interested in, and what you’re capable of.”

“Knowing that really bogged me down, and I had a lot of self-doubt about the music that I was making, so Empty Estate was this total reactionary thing, just me throwing a lot of stuff against the wall. I think that was probably the start of the shift towards trying to do things differently, and play around with a lot of fresh ideas.

The 7-song EP was recorded in Brooklyn at Gary’s Electric by Al Carlson in January and finds Jack Tatum exploring new sounds, new instruments and a new voice for Wild Nothing.

a great video from the “Empty States EP by Wild Nothing

The Body In Rainfall, Ocean Repeating (Big-eyed Girl), On Guyot, Ride, Data World, A Dancing Shell, Hachiko

Golden Haze EP

Golden Haze

Collecting the previously unavailable Evertide EP, a Gemini B-Side along with two new tracks, the charming and gorgeous Golden Haze EP is the culmination of Wild Nothing in 2010 and a stop-gap between the band’s debut, Gemini, and sophomore album, Nocturne.

Golden Haze, Quiet Hours, Take Me In, Your Rabbit Feet, Asleep, Vultures Like Lovers.


To Know You

To Know You

On February 19th, 2016, Jack Tatum will return with his Wild Nothing album, Life of Pause, the follow-up to Nocturne. It features the first two singles “TV Queen” and “To Know You,” which you can purchase now digitally or as a limited edition 7″!

Image may contain: 1 person, beard and indoor