Kate Nash Biography
The intro track to the album is a blend of dance beats and wordplay called Play. It's Kate's mantra for the album. "Music whatever its form," says Kate, "should be fun. People should be allowed to Play." The album opens with Foundations, the song that has jettisoned Kate Nash into the public eye. Foundations topped the iTunes chart for four weeks, and held its own against both Timbaland and Rihanna in the official Top 40. Foundations soon displaced Timbaland, and is currently sitting pretty in the number 2 slot. Hailed as the "Sound of Summer 2007", the NME called it, "The kitchen sink genius of Pulp... delicious synth-pop drama... with the truth telling wisdom that Morrissey used to be so deft at."
The next track will be Kate's follow-up single Mouthwash due for release in September 07. Already a live hit, "Mouthwash is," says Kate, "A bit of a protest song that comes from the confusion of youth. I guess it's about not quite being there yet. About not feeling totally sure where you are going but still feeling the need to defend all the things that make you into who you are. We all have routines and things in common, that still somehow manage to be totally unique and personal to you."
Track four on the album, Dickhead, is a distinct change of direction, and premiered on Kate's MySpace page. Dickhead illustrates the unquestionable synergy that has sparkled between Kate and producer Paul Epworth (The Futureheads, Maximo Park, The Rapture, Bloc Party). Dickhead transforms Katefrom urban punk poet to bluesy, torch song singing Nina Simone. Even more surprising is the acknowledgement from Kate that the song is in fact directed at a girl; a two fingered salute to those who accuse Kate of rampant feminist vitriol.
Track five, Birds, was originally heard in demo form on the B-side to Kate's debut indie single, Caroline's A Victim. Birds is Kate's charming take on tongue-tied, lopsided declarations of love issued forth between two kids, probably on some park bench somewhere in deepest suburbia. Halfway through the album is We Get On, the ‘tea and sympathy' song of modern times. We Get On painfully pinpoints the perils and humiliation of the teenage crush; the universal story of unrequited love, but here set to a 50's girl-group soundtrack.
Track seven is the brilliant and dark Mariella; Kate's self-contained savant alter-ego, the little girl who takes a Pritt Stick and glues her lips together. As cartoonish and twisted as anything from the imagination of Tim Burton, the song culminates with a cacophony of home-grown studio sound effects, scrunched crisp packets and jumping up and down on wooden chairs to create a tantrum of sound.
Three quarters of the way through is a future single Pumpkin Soup, which is as close as Kate gets to a simple, straightforward love song. Epworth's massive production skills come into full effect, complete with brass and string arrangements.
Skeleton Song is a thumping, joyous, waltz; a dance for the dead. The twisted Gothic themes are back, this time reflecting the problems of being best friends with a skeleton. The song swirls and whirls, threatening to spin out of control into a breath-taking dervish of Eastern European Gypsy chicanery.
Nicest Thing is a plaintive and melancholy look at dysfunctional relationships, a study that Kate has proven she has a firm grasp of. Gaining a massive fan base from Kate's MySpace profile, the Nicest Thing contains the perfect payoff line, "I wish when I said two sugars you knew I actually meant three."
Track 12, Merry Happy is a tale of triumph over adversity, with undeniable shades of Carole King and Joni Mitchell. Kate lifts the song, and our hearts, with her quick-witted, urban banter, and the song's simple ‘Do, do,doo dah-do-do...' sing-a-long chorus, Merry Happy is definitely more Mother's Pride than artisanal bakery bread. But sometimes that's just exactly what you want.
Kate Nash Bio from Discogs
She was born 6 July 1987 in London, England, UK.