Guillermo CastroWith each successive release, Wanderwild only grow sharper and more confident. That may not seem like much of a revelation; after all, aren’t all bands expected to exhibit greater poise and growth as they draw tighter as a unit and further stake out their identity? In the case of the Athens trio, however, that sense of conviction and self-assurance seems to pour out of every rousing chord and anthemic melody of their new LP, Sleep Tight, Socialite. If the band’s last release, 2017’s In Due Time, was an all-out embrace of the uncertainty that engulfs young artists as they work through their fears and insecurities, this latest effort is the group turning those doubts on their head.
“Sleep Tight, Socialite is all about intentionality, knowing the kinds of songs we want to write, and delivering them with as much passion as we know how to muster,” bandleader Matt Martin told us back in February, and, indeed, the record—a big, soaring, swirling affair—ably delivers on those promises.
None of this, of course, comes as much surprise to those who have been paying attention to the group. Over the past few years, the three-piece, which also includes bassist/guitarist Taylor Cotton and drummer Wes Gregory, have quietly emerged as one of Athens’ brightest acts, blending smart, inventive songwriting with an accessibility that’s often lacking from other Classic City groups (check out the tight pocket cool of opener “Platinum” or the swaggering stomp of “All Around the Room” for specific examples). But whereas in the past Martin and company have allowed themselves room to experiment and wander, Sleep Tight, Socialite cuts straight to the chase with lean yet booming songs that bring to mind the emphatic rock grooves of Spoon or the Strokes in their heyday.
Ahead of their performance tonight at Aisle 5, we spoke with Martin about the vision and process behind the new LP, and how collaboration and going with your gut tend to yield the most satisfying results.
When did you begin writing the record?
We started writing [Sleep Tight, Socialite] in the summer of 2017. At that point though, we were just writing songs for the sake of writing—we weren’t intentionally piecing together an album. We tend to work that way in general. By summer of 2018, we had written enough material to start wrapping our heads around the whole record.
Did you have a specific vision in mind?
We were very much chasing a four-piece rock aesthetic, inspired by our favorite early aughts rock bands (The Strokes, Interpol, Spoon, etc.). Lean, driving, punchy, and catchy were all words floating in the air.
What was the songwriting process like?
We wrote all the songs instrumentally first, usually in a 24-48 hour studio session. We’d hole up at Chase Park Transduction or Studio 1093 (both in Athens), and try to take an idea from rough draft to finished instrumental. After that, the songs made it back to my home studio (Kilig Recordings), where we worked on vocal melodies, lyrics, overdubs, and mixing. The process was extremely collaborative, and helped make our roles in the band increasingly more flexible.
How so?
With flexibility, there are a lot of examples, but it mostly showed up in Taylor and I’s roles. He’s been essential to the songwriting process for a while now—many of the initial ideas that developed into songs are his—but we’ve become less precious about me being the guitar player and him being the bass player. On “Platinum” and “On Your Mind,” he wrote the main guitar parts, and I played bass. “All Around the Room” was one we wrote together, but I recorded the guitar and bass. We’re just more concerned with good ideas, and less concerned about who is executing them. There are some even newer songs that I hardly play on at all, and just focus on producing and singing. That’s really fun for all of us. Wes has gotten involved with lyrics and melody, too, which is really exciting. Everyone is a producer on some level. It’s not just my role anymore.
The songwriting on the record sounds, for lack of a better word, really confident. Most every track is decisive and cuts to the chase both instrumentally and lyrically. Did it feel that way to you when you were recording?
In hindsight, yes, there was confidence in the room when writing these songs, but it wasn’t always conscious. We wanted to be unapologetic and focused, and had clear aesthetic goals. Emotionally, we still hit walls and felt the frustration that can come with songwriting, but there was a boldness that helped push the process forward. We worked relatively quickly, tried to go with our guts, and sought out more risk than we ever had before.
Credit: Alec Stanley
Were there ever any doubts or apprehension about where the record was headed?
There were doubts with certain songs, but not the record as a whole. We knew we could make something we were really proud of, but didn’t always know which songs would make the cut. There were a few really strong instrumental ideas that we recorded, but never finished, just because we couldn’t land on a vocal idea we felt great about. The track listing revealed itself late in the game, so there was some ambiguity in what the record would look like, but I wouldn’t say apprehension. There was no guarantee that we’d love the record, but thankfully, we do.
Thematically, the record seems to concern itself with relationships—sometimes amorous and intimate, sometimes toxic and broken. Was that your intent going in? Are these songs reflective of what was happening in your personal lives?
It definitely does concern itself with relationships. I’ve spent more time away from home the past year and a half than I ever have, touring and playing bass with COIN. Time away means lots of reflecting, and relationships take more work when distance is involved. That experience crept into the songwriting, as well as Taylor and Wes’ relational challenges. There’s a lot of joy in this record, but there are plenty of moments of brokenness, like you said. The lyrics always point to something real we’ve experienced. We do take some liberties from time to time, but we’re never outside storytellers.
is the album title meant to be reflective of those themes? On the surface, it comes off a tad bitter or is that just me?
The title comes from a lyric in the last song on the record, “Still.” It comes after a realization and declaration that what you’ve always wanted is right in front of you. It’s a genuine wish for someone who’s everywhere all the time, always on the go, to find rest. There’s not much bitterness—to me it’s both playful and sincere, and reflective of many of the album’s themes.
Wanderwild will perform tonight at Aisle 5 alongside Ayo River and Semicircle. Doors open at 8 p.m. Admission is $10. 18+ to enter.
More Info
Web: wanderwildmusic.com
Bandcamp: wanderwild.bandcamp.com
Facebook: @wanderwildmusic
Instagram: @wanderwildmusic
SoundCloud: @wanderwild
Twitter: @wanderwildmusic