After her somewhat controversial single Underestimate the Girl released via YouTube last year, even Nash’s most dedicated fans were awaiting her newly-released album with cynicism on full glare. The third album from the Brit award-winning 25 year old is a mix of garage punk and indie rock, infused with feminist undertones from her self-written lyrics.
The album kicks off with the mellow Part Heart, which shows a vulnerability to Nash’s usually quick quipped one-liners from earlier chart-topping hits such as Foundations. You’re So Cool, I’m So Freaky and Labyrinth also take a refreshingly slower pace with less of the jarring punk rock vibe which grates throughout the rest of the album. Death Proof is the only upbeat exception to the success of the album, complete with effortless rockabilly cool and addictive guitar refrains.
With a massive 15 tracks, the album appears to have kept its focus on quantity rather than quality, with the hour long album only hitting fleeting moments of musical brilliance. The rest is left as a clashing mixture of styles; from a questionable rap in Rap for Rejection to a soulful delve into angsty teen emotions with Sister.
Lullaby For An Insomniac is an unsatisfying end to Girl Talk, which features nothing but frustratingly casual vocals and a random orchestral appearance in the last thirty seconds and boasting none of the girl power oomph which Nash has so vehemently pushed throughout the preceding tracks. The singer has certainly stepped away from her mainstream Brit pop career, but at the cost of both her record label and listening figures. Whilst Nash may be self-satisfied with her revolutionary new direction, the album still points to an artist unsure of her musical identity. Unfortunately it appears Nash has paid the ultimate price for sacrificing mainstream pop for an attempt at quirky and original. 2/5