Wesley MurchisonFriday,18 July 2014

The Snap:

Natalie Prass‘ single release “Goodbye, Goodbye” proves that this singer-songwriter isn’t resting on her laurels. Last reported, Natalie is on tour with Jenny Lewis as part of the backing band. In this collaborative phase, she’s also played with Among Savages. Natalie hasn’t slacked off as this single is a promise ring to a forthcoming album due out this fall.

Even if our hearts are broken with a delay, the new album will be Natalie’s second album since Small & Sweet or her second EP since Sense of Transcendence. It shouldn’t matter if it’s either because both previous releases have the same number of tracks.

The song is free to download here and free to listen to right here.

The Download:

In news stories, “Virginia Beach native,” “Nashville transplant” and “local-media darling” are three of the four most used descriptions placed in front of the name “Natalie Prass.” The fourth being “songstress”; and like her music the adjective is becoming a bit endowed with the same mysticism she once indulged in as a live action role-player, or LARPER, in middle school. One listen to her new single and fans will notice another level up in her musical prowess.

The best candidate for every comic fanboy’s favorite nerd-turned-hipster is fast becoming Nashville’s queen of under-country, a mythological land beneath the star-studded glamour of rhinestone and cowboy-hat aristocracy. For all the genres of music coming out of Nashville, the positive reception of Natalie’s eclectic style proves once again the town has more to ofter than mainstream country music. Hopefully others will catch on to her subtler, more feminine, touch to Beck’s genre-bending. Otherwise, I fear the Natalie might feel the financial pressure to pander to a larger market and homogenize her sound.

Like a female Gelfing, Natalie glides gently into different music styles. The new song continues where “Sand Dunes” on Sense of Transcendence left off. But where “Sand Dunes” enchants with a dark ’80s disco spell, “Goodbye, Goodbye” abandons the synth and opts for a street beat bassline potion. However, the flow is dropped and Natalie’s voice stutters a little whenever the song transitions from verse to chorus. The lyrics of the chorus just don’t punch forcefully enough through the strong music that accompanies the first verse. Speaking of the verse, Natalie’s use of a wispy, half sung lyrics contrasts nicely against the soft achy echo of the chorus’s “goodbye, goodbye.” Though some of the lyrics in the verse are hard to decipher, when combined with the chorus and music, the song is an impression of a bashful frolic.

Whatever music style Natalie and company play dress up in, there is still an indelible “Prass-ness” about her songs — a personality fused so deeply into the sound that a first-time listener might be forgiven for thinking the adaptation is just a failed attempt at imitation. If this song is just a rushed, half-baked taste of what the new album has to offer, then there’s more to look forwarded to this fall than playing in a pile of fallen leaves.

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Hat Tips:

Bandcamp, Noisetrade,, Nashville Time Machine, Image Credit: Know ivi on YouTube (screen print)

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