Nicole Atkins – Neptune City
I’ve seen this album described as a guilty pleasure and it certainly feels that way. There’s just something so unashamedly, grandiosely fabulous about it that it feels completely wrong for a shuffling, pretentious indie kid such as myself to love it, but love it I do.
I am not sure how to describe it, but if one album were likely to turn me into Bridget Jones it would be this one – exaggeratedly loud, sweeping, slightly camp dance gestures, hairbrush karaoke, the lot. In fact if she had been listening to this I might have actually felt a shred of sympathy for fat, self-absorbed heifer. Actually no, that would have just ruined it.
There’s glam, broadway, pop, rock, noir and all sorts of other things crammed into a sound that actually makes terms like ‘massive, glossy production’ sound like a good thing. I can’t imagine how she has managed to make a record that seems so utterly unselfconscious, given the pomp and bombast that swirl around every song, but somehow this all seems so completely sincere and unaffected that it would just seem mean to snigger at the sheer silliness it flirts with from time to time.
It’s not all pantomime though, and that may where the genius lies. Songs like Neptune City have such a nostalgic, faded glamour that the exuberance of the rest of the album catches a little in the throat and you suddenly crane a little closer to the stereo. Together We’re Both Alone is also dark enough to cut through the theatre. Cool Enough, Love Surreal and War Torn give the whole album a bit of a weak spine, unfortunately, but this under-performing triumvirate are bookended by some of the most fantastically splendid fun I’ve had listening to music for ages. Touching and joyous. And camp as fucking Christmas!
Nicole Atkins – Neptune City
Nicole Atkins – Brooklyn’s on Fire!
I don’t see the camp. I do agree that it is a wonderful album.
It’s in the exaggerated theatricality. And my missus said so and she is possibly the biggest fag hag in the world, so she must *cough* be right!
100% agree with you on the weak spine 3 – I adore this album & the skittering pop junkie in me loves the soaring choruses. Makes I smile.
DC
I saw her a few months back supporting the 1990s and Sons and Daughters.
She’s got the most amazing voice I’ve ever heard live.
My gay ears can’t help but be instantly in love with this sound. Perked right up to it in today’s listening cruise down the Hype Machine Highway, but the difference here is that i’m somehow strangely not ashamed to say so!
It’s not the gayness, it’s the unironic exuberance. We indie kids, especially narrow-minded fundamentalists like myself, like to dress everything up in heavy layers of irony so that if someone makes fun of us in a mean way we always have the ‘Well, duh, I was being ironic, obviously.’ defence.
Fuck that. I just love the music/voice/pomp.
To get the camp – just imagine Shirley Bassey singing Neptune City!
I really didn’t like this album when I first heard it, but it’s definitely been a grower. Now when I hear one of the songs I find myself smiling and humming along without even realising it.
You’ve certainly been prolific with your posting recently Matthew…don’t know how you do it! I have some many ideas swimming around in my head and jotted notes…but actually turning them into finished posts…well…