If it isn’t obvious from the opening bars of this album, Natalie Prass has very obviously learned a thing or two from Jenny Lewis. Prass was once Lewis’ backing singer and the similarities in tone and delivery are absolutely undeniable. But the scope and breadth of Natalie Prass’ musicality is something that can rarely be taught, regardless of who is backing whom. Terms like cinematic, sweeping, epic, etc. may be cliché but there are few other words that can do the album any justice. In fact, if there is any justice at all, other instances of these words being used in this context could be redacted to give Prass her dues.
Starting slowly, the album eases into existence like witnessing your breath in the freezing, winter air. The sadness in the opening track is as vivid as a broken heart, a massive +1 for Prass for encapsulating perfectly this feeling in a song without falling into the traps of pity, loathing or regret. They’re in there alright, but the song doesn’t hang on them. Subtlety, then, is another +1. Flutes, strings, keys, guitar, orchestral pieces, sorrow and the ability to blend them into magic is what demarcates this album from other attempts. Rather than be known for a heartbroken album about breaking up, this should go down as one of the most innovative and beautiful debuts of recent times.