Nadine Shah
Nadine Shah has one of - if not the - most deeply hypnotic and frighteningly intense voices that I think I've ever heard. She first came to my attention via the incredibly powerful and personal writing of "Gypsy, Death and You" and I actually ended up blogging about Nadine's French language reinterpretation of her darkly recriminating tale "Dreary town" that is "Ville morose" for Filles Sourires, before eagerly acquiring not only her 2013 debut "Love Your Dum and Mad" - a poignant yet gripping album that was shaped by both the tragic death of two close friends and society's stigma towards those suffering from mental illness - but also the rest of her back catalogue.
If I was still in my safe European home I probably wouldn't even be writing these few words about Nadine's new album "Fast Food", such are the copious and rave reviews the album has garnished in both the press and music blogs across The Pond. Over here I'm not so sure how well Nadine is known. I'm not even sure she has a US record deal - although that being said there was a really good write-up in the New York Times - a recent trip to a rather well-known record emporium in Hollywood in search of an actual physical copy drew a blank...
To be honest it only takes one listen to the album and I'm already hooked. Here is an album of love, or more accurately of love turned sour, of weakness, jealousy and angst. I'm listening to the opening number "Fast food" and my body is already subconsciously synchronised (obviously not that subconsciously since I'm mentioning it here) with the deceptively simple tumbling and almost tribal beat, but as soon as Nadine starts singing I stop and find myself drawn to her moodily dark hypnotic voice. There's an undercurrent of Gothic menace (think early eighties 4AD) but the rib-rattling depth she achieves with her voice has an uncanny similarity to Siouxsie - comparisons have already been made with both Nick Cave and PJ Harvey MBE (myself included). Good company - but yes - Nadine Shah really does possess that majestic a voice.
The follow-up, "Fool" has that same feeling of menace - an edginess - woven throughout the fabric of the song. The Devil may have all the best tunes, but female songwriters have by far the best put-down refrains, never mind lines; "You my sweet are a fool, You my sweet are plain and weak, Let the other girls indulge the crap that you excrete." You'd expect the words to be spat-out in disgust - in the heat of the moment - but with Nadine's voice this is an ice-cold statement of fact. There's even a mention of the aforementioned Nick Cave alongside Jack Kerouac, but once again Nadine throws these back with contempt. "Fool" was released as a single in the UK - and alongside the majestic "Stealing cars" - arguably one of the most outstanding pop songs you're likely to hear. Not that they are necessarily daytime radio 'friendly' (certainly not here in the barren wastelands that is US commercial radio), but more in the fact that everything you (or at least I) would want to hear in a song is here.
With "Matador" things start to get slowed down a touch. There's still that rippling apprehension present in the sound which is offset by the seemingly innocent lyrics, but here the emphasis is all on Nadine's voice - there's a surprising warmth, even a hint of vulnerability, but as the song fades so the metronomic beat remains; a ticking clock - eerily counting down to something...
If I was still in my safe European home I probably wouldn't even be writing these few words about Nadine's new album "Fast Food", such are the copious and rave reviews the album has garnished in both the press and music blogs across The Pond. Over here I'm not so sure how well Nadine is known. I'm not even sure she has a US record deal - although that being said there was a really good write-up in the New York Times - a recent trip to a rather well-known record emporium in Hollywood in search of an actual physical copy drew a blank...
To be honest it only takes one listen to the album and I'm already hooked. Here is an album of love, or more accurately of love turned sour, of weakness, jealousy and angst. I'm listening to the opening number "Fast food" and my body is already subconsciously synchronised (obviously not that subconsciously since I'm mentioning it here) with the deceptively simple tumbling and almost tribal beat, but as soon as Nadine starts singing I stop and find myself drawn to her moodily dark hypnotic voice. There's an undercurrent of Gothic menace (think early eighties 4AD) but the rib-rattling depth she achieves with her voice has an uncanny similarity to Siouxsie - comparisons have already been made with both Nick Cave and PJ Harvey MBE (myself included). Good company - but yes - Nadine Shah really does possess that majestic a voice.
The follow-up, "Fool" has that same feeling of menace - an edginess - woven throughout the fabric of the song. The Devil may have all the best tunes, but female songwriters have by far the best put-down refrains, never mind lines; "You my sweet are a fool, You my sweet are plain and weak, Let the other girls indulge the crap that you excrete." You'd expect the words to be spat-out in disgust - in the heat of the moment - but with Nadine's voice this is an ice-cold statement of fact. There's even a mention of the aforementioned Nick Cave alongside Jack Kerouac, but once again Nadine throws these back with contempt. "Fool" was released as a single in the UK - and alongside the majestic "Stealing cars" - arguably one of the most outstanding pop songs you're likely to hear. Not that they are necessarily daytime radio 'friendly' (certainly not here in the barren wastelands that is US commercial radio), but more in the fact that everything you (or at least I) would want to hear in a song is here.
With "Matador" things start to get slowed down a touch. There's still that rippling apprehension present in the sound which is offset by the seemingly innocent lyrics, but here the emphasis is all on Nadine's voice - there's a surprising warmth, even a hint of vulnerability, but as the song fades so the metronomic beat remains; a ticking clock - eerily counting down to something...
"Divided" is a beautifully plaintive acoustic number, arguably the most personal and autobiographical. This is another tale of yearning gone awry; "I didn't asked you to need me, I never begged you please stay... And my mother would be so ashamed of me, If I didn't act in a classy kind of way..." The song features the albums most melodic, soaring refrain. This song is tailor made for a great-singer and while a great voice does not necessarily a great song make, when matched to such heartfelt lyrics and with Nadine delivering in the vocals category, there's not a lot more that needs to be added...
"Stealing cars" is - as previously mentioned - the other great single off of this album. The song actually featured in last year's mix. It's all here, looping percussion, fuzzed guitars and melodic notes add to a song that bristles with a palpable tension.
There's not a single note of filler on this album. Only brevity prevents further appraisal, but "Washed-up" sees a return of the album's pounding percussion, perfectly matched to typically sharp and incisive lyrics; the pulsating bass-line and jarring guitar of "The gin one"; "Big hands" with its hint of melancholy - the slight tremolo in the voice adding just a hint of brittleness and emotion... the added piano, before the song builds to the rolling, runaway Coda - all drums and swirling guitar. The album's closer, "Living" with Nadine truly stretching her vocal range... faultlessly.
However, the standout track (imho - of course) is "Nothing else to do." Nadine repeats, as much in resignation as in rejoicing, the refrain "And there was nothing else to do but fall in love" for almost the entirety of the song, before giving away to the most haunting of brass solos which itself fades to a disjointedly plucked guitar. There is a gin-soaked remorse on display here. Don't ask me why, but I love this song. Quite simply, it's masterful.
While praise - quite rightly - has to be given to Ben Hiller who not only co-wrote the songs alongside Nadine, but also produced the album as well as being responsible for the album's signature drum-beat, "Fast Food" is first and foremost a chanteuse's album. Bold, intense lyrics are a perfect vehicle for Nadine's hypnotically intense vocals.
Just how good is "Fast Food"? The dreaded phrase "Yearlist" is often abused and over-used (guilty as charged) but here the epitaph is more than justified. The album proves that the immense talent displayed on "Love Your Dum and Mad" was no flash in the pan.
Nadine Shah Website
"Fast Food" (iTunes)
"Stealing cars" is - as previously mentioned - the other great single off of this album. The song actually featured in last year's mix. It's all here, looping percussion, fuzzed guitars and melodic notes add to a song that bristles with a palpable tension.
There's not a single note of filler on this album. Only brevity prevents further appraisal, but "Washed-up" sees a return of the album's pounding percussion, perfectly matched to typically sharp and incisive lyrics; the pulsating bass-line and jarring guitar of "The gin one"; "Big hands" with its hint of melancholy - the slight tremolo in the voice adding just a hint of brittleness and emotion... the added piano, before the song builds to the rolling, runaway Coda - all drums and swirling guitar. The album's closer, "Living" with Nadine truly stretching her vocal range... faultlessly.
However, the standout track (imho - of course) is "Nothing else to do." Nadine repeats, as much in resignation as in rejoicing, the refrain "And there was nothing else to do but fall in love" for almost the entirety of the song, before giving away to the most haunting of brass solos which itself fades to a disjointedly plucked guitar. There is a gin-soaked remorse on display here. Don't ask me why, but I love this song. Quite simply, it's masterful.
While praise - quite rightly - has to be given to Ben Hiller who not only co-wrote the songs alongside Nadine, but also produced the album as well as being responsible for the album's signature drum-beat, "Fast Food" is first and foremost a chanteuse's album. Bold, intense lyrics are a perfect vehicle for Nadine's hypnotically intense vocals.
Just how good is "Fast Food"? The dreaded phrase "Yearlist" is often abused and over-used (guilty as charged) but here the epitaph is more than justified. The album proves that the immense talent displayed on "Love Your Dum and Mad" was no flash in the pan.
Nadine Shah Website
"Fast Food" (iTunes)
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