Dream-pop is increasingly becoming a tough game. With albums like Destroyer’s Kaputt, M83’s Midnight City, and even Tame Impala’s Currents getting into the limelight, the real challenge of using dreamy textures in 2016 is finding a way to continually stand out. So it’s somewhat expected (even if it’s still a bummer) that Jack Tatum, the sole proprietor of Wild Nothing, has hit a speed bump on his third LP, Life of Pause (Captured Tracks). A lot has happened since we last heard from Tatum on his second album, Nocturne (2012), and now there’s a lot of fresh-faced titans working within the same style.

Tatum doesn’t really help himself, though. In terms of the lack of individuality, you could speculate Life of Pause is a result of the current music climate, although Tatum’s project is sure to be overshadowed by the Beach Houses and Twin Shadows of the world. Nonetheless, a lot of what has tied his previous work together is no longer here. One conspicuous difference is the absence of guitar work on Life of Pause; aside from “Japanese Alice,” it is a mere freckle on the record. It’s surprising given that his defining songs—Nocturne’s “Only Heather” and Gemini’s “Chinatown” and “Summer Holiday,” for instance—were anchored by guitar under all the spacey layers.

All this isn’t to say Life of Pause isn’t without its moments. It’s a pure Wild Nothing release—distant and muted—and has instances of greatness in its ennui, namely on “Alien” and “Lady Blue.” However, Tatum unfortunately disregards most of what made everything else by the band so appealing.