Fans of British pop will rejoice when they hear Kate Nash’s new release, Girl Talk. The third album by the UK songstress features 15 tracks that fully explore the range of Nash’s voice and talents as a songwriter. Nash’s unique blend of pout and potty mouth prominently appears on this attempt, and it’s dead on. Whether you are looking for an upbeat dance anthem or a ballad to fall asleep to, Nash provides something for everyone.
“Part Heart,” the first cut, is slow and ballad-like, but by the second track, “Fri-end?,” Nash is back to the bubbly element she is known for. The third piece, “Death-Proof,” is an amalgam of the two songs before it, simultaneously sweet and strong. Nash’s voice croons pleasantly over a heavy drumbeat and electric guitar backup, seeming to draw inspiration from the ‘80s dance-punk-rock sound first introduced by artists like Blondie.
It is not until the fifth song, “Sister,” that Nash really hits her stride. Nash’s unique timbre helps make this one of the strongest songs on the album, luring audiences to join in. “OMYGOD!” will please fans of Nash’s previous two albums, since a catchy chorus and relatable lyrics propel this sixth track.
Tracks seven and eight, “Oh” and “All Talk,” are unlikely to become singles but certainly reveal Nash’s indie side. “Oh” sounds like a schoolyard chant, whereas “All Talk” is reminiscent of other UK rock bands like the Arctic Monkeys with its head-banging beat.
The single off of the album, “3AM,” showcases all of Nash’s strength as an artist. The beat is playful and dance-worthy and Nash’s lyrics are bitingly bittersweet. Half love song, half girl-anthem, if any of these songs are going to get stuck in your head, “3AM” is probably the one.
Songs 12 and 14, “Cherry Pickin” and “You’re So Cool, I’m So Freaky” display one of Nash’s strongest areas: an ironic mix of self-deprecating and confident lyrics—elements that make this pop star one of a kind. Both are exceedingly fun tracks to listen to. “Labyrinth,” in contrast, exists in an entirely different vein, moving slow as molasses and harmonizing just as sweetly.
The two strongest tracks on Girl Talk are “Rap for Rejection” and “Lullaby for an Insomniac.” As the title implies, the first of these is Nash’s version of a rap song, and she has just enough sarcastic sass to pull it off. This track is taunting and at times laugh-out-loud funny. The songstress seems to have lost all her shyness and is stripped down to razor-sharp honesty. Her ability to rhyme curse words will be a pleasant reminder of other British pop stars like Lily Allen.
The final song is fittingly entitled “Lullaby for an Insomniac.” Nash delivers “Lullaby” like a punch to the gut. It is in the final home stretch that the audience knows for sure Nash is a supremely talented musician who can excel in almost any effort. “Lullaby” is hauntingly beautiful and seems both an inspired work of genius and a feat of vocal athletics as well.
As the title suggests, Girl Talk is a thoroughly feminine exploration of life’s ups and downs. This may be pop music, but Nash wears so many hats that there is no way to mistake her for another simple-tune, shallow-lyric-churning pop artist—she’s in a league of her own.
