Natalie Prass’ self-titled album begins with a sharp intake of breath, a gentle voice dripping with a curious mixture of longing and confidence, and a warm swell of horns and woodwinds.
Slowly the arrangement builds, sounding like a small symphony accompanied by smooth electric guitar. Prass hits a crystal-clear high note, singing, “Our love is like a long goodbye / We keep waiting for the train to cry.” The song blossoms as the vocal track doubles, and the band moves into a loose swing, increasing in virtuosity as the second verse begins.
“My Baby Don’t Understand Me” is the best way to start an album. Dynamically diverse, immediately catchy and orchestral without becoming trite or cheesy, the song serves as a blueprint for the album as a whole.
Anyone who saw Jenny Lewis perform on tour in 2014 will probably recognize Natalie Prass. Even as a backing pianist and vocalist, the Virginia-born singer-songwriter shone. With her unique, endlessly listenable solo debut, Prass has boldly stepped into the spotlight.
The self-titled record is an instance of so-called “baroque pop” done right. It’s a slippery genre — elaborate string or horn arrangements can cross the line from brilliant to self-indulgent trash in the blink of an eye.
Fortunately with Prass, there is no excess. “Bird of Prey,” built on thick bass and twinkling piano, grows with stabs of strings, then sweeping vocal harmonies, fluttering flute lines and punches of horns. The verse and chorus’s driving pop beat gives way to an interesting syncopation for the bridge, bringing in a rhythmic variety all-too-often absent from popular music.
Prass’s arrangements sound a little like baroque-pop king Sufjan Stevens playing in a jazz club. The songs swing more than Stevens’ and lack some of his favorite instruments, like the oboe. They also possess a certain timeless, bold confidence — the album could almost be a film score, with its remarkable character and cohesion.
Prass certainly has a flair for the theatrical. See mid-album track “Christy,” which features harps and one of the album’s most lush, complex instrumentations. The song falls squarely in between pop-ballad and classical composition, with Prass’s airy vocals taking the place of high woodwinds. The song would not be remotely out of place in a Broadway musical, as the strings and harp pick up the main theme before returning it to the vocalist.
It is hard to find faults with this album. Granted, Prass’ voice, completely on its own, might not be the strongest or most intriguing in contemporary music. However, she uses this to her advantage through doubled lead vocals, more reserved instrumentation during verses and by allowing her voice to become just another instrument in the overall sound.
“Natalie Prass” is a tremendous debut and, hopefully, an indication of more great things to come. Prass is clearly a strong songwriter and has cultivated a distinct, gorgeous aesthetic that makes this album hard to stop listening to.
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