Spring Break
Kate Nash delivers stong debut
Emma Sales
Issue date: 1/11/08 Section: Diversions
British songstress Kate Nash may not be an extraordinary singer or musician. Yet, there is nothing less than extraordinary about her first album "Made of Bricks" which landed on American shelves Tuesday. At merely twenty years old, Nash took her first stab at music while at home in the suburbs of London and ended up with a number one record in the UK. Before she had even inked out a record deal she acquired a massive number of MySpace listeners and some enthusiastic encouragement from rebellious pop lass Lily Allen. This solidified Kate Nash as a welcome addition to the new breed of England's feisty female pop stars.
Similar to Allen, her internet celebrity existed well before the album was recorded. This is due in part to Kate herself, a unique character in the pop world. Sassy and loose-lipped, Nash titles her songs "D***head" and "S*** Song," but they are much more lighthearted than the Parental Advisory label would have you assume. Her mischievous nature is playfully balanced by vintage dresses, pastel heels and unbelievable charm. She is both terribly cute and incredibly real. Throughout "Made of Bricks" Nash seems acutely self-aware, offering up wry story-like lyrics filled with humor and insight into the struggles of a twenty-something woman. As a pop star, she can remain slightly precocious while also exuding accessibility. Nash can twirl a simple tune into something utterly surprising and equally catchy.
The album begins with "Play," where minimalist electro beats and 'I like to play' repeat over again as new instruments fade into scene each adding a new element before abruptly segwaying into Nash's hit single "Foundations." This bubbly piano tune, spoken to the boyfriend in her doomed relationship, captures her childlike spirit and is garnished with a quirky zest (there is a line about lemons, which I love).
"Mouthwash," the most self affirming track, follows and one can't help but applaud Nash's ability to make the mundane task of flossing seem exciting and powerful. Playground insult "D***head" is followed by a lovely little vignette called "Birds." Her darker influences come through with some of the Edward Gorey imagery in songs like "Mariella." While "Skeleton Song" begins a simple bouncy pop, Nash twiddles about on the piano while her voice lilts up and down the scales very much like one of her influences, Regina Spektor, and a Balkanesque band takes the song into much darker territory.
"Pumpkin Soup" sounds like Mark Ronson funked-up anthem, and Nash carries the tune quite nicely. "Merry Happy" finishes the album with a catchy chorus that even the most jaded will fall for. After her success abroad, I am more than certain that Kate Nash and her album is soon to be the jam for a majority of young girls' toast. Covet these few moments before the rest of the nation has fallen under her spell.
Emma Sales
diversions@dailybarometer.com
Similar to Allen, her internet celebrity existed well before the album was recorded. This is due in part to Kate herself, a unique character in the pop world. Sassy and loose-lipped, Nash titles her songs "D***head" and "S*** Song," but they are much more lighthearted than the Parental Advisory label would have you assume. Her mischievous nature is playfully balanced by vintage dresses, pastel heels and unbelievable charm. She is both terribly cute and incredibly real. Throughout "Made of Bricks" Nash seems acutely self-aware, offering up wry story-like lyrics filled with humor and insight into the struggles of a twenty-something woman. As a pop star, she can remain slightly precocious while also exuding accessibility. Nash can twirl a simple tune into something utterly surprising and equally catchy.
The album begins with "Play," where minimalist electro beats and 'I like to play' repeat over again as new instruments fade into scene each adding a new element before abruptly segwaying into Nash's hit single "Foundations." This bubbly piano tune, spoken to the boyfriend in her doomed relationship, captures her childlike spirit and is garnished with a quirky zest (there is a line about lemons, which I love).
"Mouthwash," the most self affirming track, follows and one can't help but applaud Nash's ability to make the mundane task of flossing seem exciting and powerful. Playground insult "D***head" is followed by a lovely little vignette called "Birds." Her darker influences come through with some of the Edward Gorey imagery in songs like "Mariella." While "Skeleton Song" begins a simple bouncy pop, Nash twiddles about on the piano while her voice lilts up and down the scales very much like one of her influences, Regina Spektor, and a Balkanesque band takes the song into much darker territory.
"Pumpkin Soup" sounds like Mark Ronson funked-up anthem, and Nash carries the tune quite nicely. "Merry Happy" finishes the album with a catchy chorus that even the most jaded will fall for. After her success abroad, I am more than certain that Kate Nash and her album is soon to be the jam for a majority of young girls' toast. Covet these few moments before the rest of the nation has fallen under her spell.
Emma Sales
diversions@dailybarometer.com
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