Check that funky bass. Just playing there, in the middle of the track while Natalie McCool once more lends her voice to a song that adds a little bit of weird to pop in order to create something truly unique and more impressive than a juggling elephant.
Each track the Liverpudlian wizard creates has a distinctly different charm and her latest offering feels a tad more light on its feet than previous effort – rough guitars have been replaced by a significantly smoother sound. Yet the key drawing point remains to be McCool’s exquisite voice which bounds around the octaves with the freedom and joy of a newborn lamb, frolicking for the first time. Each word feels destined to outshine the last, though I don’t think I’ve ever heard her sound more composed and in control. This feels like an incredibly real and open retelling of life events that have had a big effect on the woman whose fringe has perhaps become equally as recognisable as her unending talent.
The verses, the choruses, every little thing about this feels better than wolfing down a pair of cream cakes just because you fancy mixing it up a bit. Definitely a step change here, but by no means in anything but the right direction.
We Close Tonight 