With what sounds like the last tiptoe across the floorboards of a once-shared home, Natalie Prass presents herself to the world.
With a voice as soft as down, Prass bares her vulnerability just enough for empathy, though the astounding confidence of her tried-and-true songwriting chops, augmented by enveloping string and horn arrangements, defy any question of meekness.
In the case of all exceptional debut albums (and make no mistake, this is one), there comes an exceptional backstory. While some introductions surface to the top of the cultural conscience as successful money-piles or marketing schemes, the true gems are those built on the humble, day-in, day-out creative toiling of a dedicated artist or group.
Natalie Prass is one such artist. After cutting her teeth on tour backing up Jenny Lewis on keyboard, she promised herself “just one more year” to break through, and if this LP is any indication, she won’t need another.
With the help of high school pals Matthew E. White and Trey Pollard for their respective horn and string conjurings and production-room boardwork, Prass’s record soars from the get-go and refuses to land. Her sensibilities are firmly rooted in the balladry and soft-rock of the early ‘70s, and thus her ear for sweet-and-sour melody validates comparisons to Carole King. Every song’s a standout, lights-out, hands down.
While her exquisite voice and craft provide a solid bedrock, there is no overstating the gravity of White and Pollard’s arrangements. Every wavering speckle of flute, every skyrocketing violin run, every victorious horn punch is in it’s right place.
In an age in which a chart-topping song can be completely constructed on some producer’s hard drive, this ornate richness is even more savory, and gives the album a sense of life that no combination of mouse clicks could recreate.
Without succumbing to decade-specific tropes, schmaltz or feigned innocence, Prass delivers an unmatchably gorgeous song cycle and dares you to call it a fluke.
KNDS SUGGESTS
“Precipitation” – The Dodos
Leading their sixth effort with a familiar propulsion, The Dodos continue to polish the challenging, uncharacterizable guitar interplay that they’ve built their name on.
“Man, It Feels Like Space Again”– Pond
All-too-commonly written off as a bastard cousin of Tame Impala, Pond has never gotten their fair shake. They’re as aware of it as anybody else and play it to their advantage, pushing their songs further and further from the realm of expectation. This appropriately astral suite demonstrates the unhinged ambition lying just below their stoned-as-can-be exterior.
“Somebody Was Watching” – Pops Staples
Fifteen years since the soul patriarch’s passing, his final recordings have been dusted off and retooled by daughter Mavis and her main conspirator, Jeff Tweedy. With Tweedy and his son, Spencer, adding bass and drums, respectively, Pops’ swampy gospel-blues see the light of day, and make for a strong closing statement.
“Fourfiveseconds” – Rihanna, Kanye West & Paul McCartney
Let the whole “Who’s Paul?” trolling debacle slide by; the first fruits of Yeezy and Sir Paul’s upcoming collaboration album are sweet, sweet nectar. Led by McCartney’s acoustic strumming and little else, “Fourfiveseconds” is a soulful, unexpected foray into (could it be?) country music, and a sure sign of the pair’s potential to push each other into new territory.
“Current Carry” – Vetiver
Coasting on an ocean-salted breeze, folk-rock collective Vetiver strolls through their single with a distinctly SoCal gait. Light-wristed strums, bowing steel guitar sweeps and glowingly phased keys waft together for a cool cut of sepiatone lite-rock.
