It's hard to try and predict what Kate Nash's next new song will be like; every song is as different from the last as it could be, and every song shows off Nash's attitude, whether it be about boys or friends, love or hate, every song wants people to get up and jump about.
Emerging from the ashes of 2012 where, though Nash had a quiet year, behind the scenes were as busy as ever. Her last tour, 'Faster Pussycats Run Run', left fans wanting more, and my gosh did they get it! The 25-year-old's third studio album, 'Girl Talk', released with Have 10p Records, became available in the UK on March 4th, taking the fans by storm.
The fifteen-track album, with very interesting track names, started off with a slower song entitled 'Part Heart', relaxing and inviting at first, yet as the song progressed, Kate touched on her punk side. And that's not the only time she shows off her punk flair in the album! Most, if not all of her songs, are enriched in the edgy genre which suits her style perfectly. A more indie song followed, repetitive in lyrics, but that's what works for the second song 'Fri-end?'. As the title says, we all have that one person who we think is our friend, but turns out to be a huge waste of time, and Nash is never afraid to take all her feelings and thoughts out on the lyrics of her songs.
The tracks 'Fri-end?' and the next one, 'Death Proof', were no strangers to fans, as they were released on a five-track E.P in November 19th of 2012. The shortest track on the album boasts hypnotic rock'n'roll sounds, and shows the singer's slightly darker side in the verse. Kate doesn't have any time to die just yet, as up next is 'Are You There Sweetheart?'. The more melodic, helplessly-in-love love song with cute songs and pop sounds shows more of Nash's variety of genres.
'Sister' is the one track which has got fans raving. The sombre beginning leads you to believe the song to be a slow-paced album gem, but like Part Heart, builds up into an explosive track of anger in a typical Kate Nash style, exclaiming feelings in an outburst of emotion and frustration, gaining waves of volume until the slowed, worn-out ending after a great performance of a song.
Anger was swapped for feelings of missing someone in the next track, 'OMYGOD!'. Given the name of the title, you'd expect it to be just as outrageous as the last track, if not more, however it's more of a dreamy and quaint tune. It's a sweet song about longing for a loved one, with calm and swayable verses and an upbeat yet fun chorus.
Skipping along a few tracks into the album comes '3AM', which was released in February with a music video. It's a very catchy song, touching on previous tracks such as the singer's 2007 hit 'Foundations'. The lyrics talk of a fight in a relationship which makes you want to just be with the person, and this feeling is shown in the music video. It's quite a playful song, as even though the verses show post-argument sadness, the chorus portray all the good things in the relationship.
'Rap for Rejection' is a strong, feminist track from the outspoken artist, which is followed by 'Cherry Pickin' - a loud, messy, playful, sassy and carefree song, with spiky verses and smooth chorus', which completely and utterly sums up Kate Nash's style. 'Labyrinth', number thirteen on Girl Talk, is a slow and peaceful song, similar to how 'Part Heart' started, though this one sticks with the same theme all the way through. The gentle melody sings soft words of things falling apart and becoming 'trapped in the labyrinth', though it's probably my favourite track on the album; it shows, once again, Nash's versatile performance and show of talents (but if I had to pick a favourite fast-paced song, it'd be Death Proof, without a doubt).
The last song on the album, 'Lullaby For An Insomniac' is a very hauntingly good unaccompanied song, which focuses solely on Nash's sleek, soothing and unshaken vocals. The eerie yet tranquil and iridescent lyrics about the lack of sleep and the need for human comfort, a feeling I'm sure we've all experienced. You can hear the sheer passion in Kate's clear and prestigious voice, and, at the end of her singing, an unexpected and graceful yet dramatic orchestral piece is played, marking the end of a truly brilliant album.
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