Spring Break
Walker's album is a progression in personal style
by Brad Stern
Staff Writer
Arts | 9/2/08
Posted online at 5:52 PM EST on 9/1/08
/ Last updated at 12:57 AM EST on 9/1/08
Originally the lead vocalist of the brilliant trip-hop group Daughter Darling, Natalie Walker began her solo career in 2006 with the release of her debut record, Urban Angel. The album's contents, a gorgeous mixture of airy strings and whispering vocals, soon wove their way into Gray's Anatomy episodes and the playlists of KCRW, resulting in moderate, below-the-radar success and an influx of newfound indie-pop fans.
Walker continues in her traditional style on her new album With You, a soothing, electronica-tinged collection that serves as a fitting companion piece to Walker's original album. Seductive and nearly ethereal at times, the album sways beautifully with multi-layered breathy vocal tracks and warm rushes of synthesizers and strings similar to that of Goldfrapp's latest effort, Seventh Tree. While once again utilizing Stuhr, the production team employed for her debut album, Walker's work has matured: More layering, more instruments, and more production techniques all characterize the tracks of With You.
Leading off the album is "Lost My Shadow," a pensive, drifting track that echoes beautifully as Walker croons: "My shadow sleeps on the outside / She's far away, strength is fading fast / She says it's cold and I'm so tired / She's all I ever had, now she might not come back." It's one of the album's darkest moments and a stark contrast to the follow-up track "Pink Neon," a glittering, beating burst of energy comprised mainly of light, airy notes and falsetto vocals. Unlike her first album, Walker makes use of more than just her whispery vocals on this record. The kiss-off track, "Too Late," is an enjoyable coupling of dismissing lyricism and steady synth-rock beats, all surrounded by a spooky ether of synthesizers that make the track sound like it's been recorded underwater.
Walker does take more chances within her sophomore effort, including "Ordinary," an attack track against an ego heavy boyfriend that is delivered in a restrained, folk manner reminiscent of indie darling Feist covering an Alanis Morrissette track: "I think you lost your mind / Tight jeans, haircut? Oh, please," she laments as the song continues to build to crashing proportions. However, it's the fifth track, "Over & Under," where Walker truly breaks into her own. The track is a moody, multi-layered affair with New Wave influences that rises and falls as Walker goes through all the motions of love. "What's this again?" Walker wearily speak-sings, "I heard this so many times. You're scared, I'm tired, I can't reach in and find a way to say this is the last time," she pleads, before the brooding chorus launches in its bouncing, electro manner that secures the song as one of the album's finest tracks.
With a bit more vocal freedom and production experimentation, Walker's second effort With You marks a distinct growth in her progress as a solo artist. It is a more cohesive, memorable effort, proving her music to be far more than a few layers of vocals. It's sleepy, sultry and offers just enough summery warmth to carry into the fall season.
Walker continues in her traditional style on her new album With You, a soothing, electronica-tinged collection that serves as a fitting companion piece to Walker's original album. Seductive and nearly ethereal at times, the album sways beautifully with multi-layered breathy vocal tracks and warm rushes of synthesizers and strings similar to that of Goldfrapp's latest effort, Seventh Tree. While once again utilizing Stuhr, the production team employed for her debut album, Walker's work has matured: More layering, more instruments, and more production techniques all characterize the tracks of With You.
Leading off the album is "Lost My Shadow," a pensive, drifting track that echoes beautifully as Walker croons: "My shadow sleeps on the outside / She's far away, strength is fading fast / She says it's cold and I'm so tired / She's all I ever had, now she might not come back." It's one of the album's darkest moments and a stark contrast to the follow-up track "Pink Neon," a glittering, beating burst of energy comprised mainly of light, airy notes and falsetto vocals. Unlike her first album, Walker makes use of more than just her whispery vocals on this record. The kiss-off track, "Too Late," is an enjoyable coupling of dismissing lyricism and steady synth-rock beats, all surrounded by a spooky ether of synthesizers that make the track sound like it's been recorded underwater.
Walker does take more chances within her sophomore effort, including "Ordinary," an attack track against an ego heavy boyfriend that is delivered in a restrained, folk manner reminiscent of indie darling Feist covering an Alanis Morrissette track: "I think you lost your mind / Tight jeans, haircut? Oh, please," she laments as the song continues to build to crashing proportions. However, it's the fifth track, "Over & Under," where Walker truly breaks into her own. The track is a moody, multi-layered affair with New Wave influences that rises and falls as Walker goes through all the motions of love. "What's this again?" Walker wearily speak-sings, "I heard this so many times. You're scared, I'm tired, I can't reach in and find a way to say this is the last time," she pleads, before the brooding chorus launches in its bouncing, electro manner that secures the song as one of the album's finest tracks.
With a bit more vocal freedom and production experimentation, Walker's second effort With You marks a distinct growth in her progress as a solo artist. It is a more cohesive, memorable effort, proving her music to be far more than a few layers of vocals. It's sleepy, sultry and offers just enough summery warmth to carry into the fall season.
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