- American multi instrumentalist Natalie Prass<strong> </strong>is back with her second full length record, <em>The Future And The Past. </em>A mature twelve-tracker full of tasty arrangements, clever lyrics, and musical versatility, this album hits all the sweet spots you were hoping for.
Early single <em>Short Court Style</em> sets the tone for the whole record, moving away from the country tinged roots of her debut, self-titled record from 2015. The tune drills right into your ears from the get go, and is full of funky bass riffs, light synths, and Prass’s effortless, delicate vocal, that glides up and down notes with the ease of spreading soft butter. Lyrically it's a little sterile, but you can't deny it's an infectious bop, which in reality, is all you need to formulate the perfect banger.
Soft keys feature prominently on this record, a step away from the more guitar heavy tunes of her past. <em>Hot For The Mountain </em>is a deep cut standout from the record, that combines these smooth, bell like piano tones with a pulsing, steady bass and her interesting vocals, which are taunting and childlike, yet mature and knowing in the same sense. An unsettling melody line and fragmented lyrics tie this one together in an almost unfinished way - it makes you want to listen back for the resolve which is never delivered - it's devilishly delicious.
It's not all diminished chords and disjointed melodies lines though, the majority of Natalie Prass’s record is made from a vast array of fully fledged alt-pop songs, ranging from sad girls ballads that make you shed a tear or three, party bops and uplifting anthems, such as <em>Sisters</em>, a soulful, harmony rich tune about keeping your sisters close, (which is honestly a theme we should all get on board with).
Those fans looking for more tunes from Prass’s past might be disappointed, as this record delves into the musical future. Mature and polished, this is a record for a lazy Sunday afternoon, a Friday night party or anytime, really.
- Olivia Shoesmith.