Girl Talk - Kate Nash
Metascore
63

Generally favorable reviews - based on 12 Critics

Critic score distribution:
  1. Positive: 7 out of 12
  2. Negative: 0 out of 12
  1. [I'm] prouder, frankly, when this likable size 12 lets her voice crack all over the big fat scarewords "feminist" and "sexism" on an album that gets dissed for its simplistic songwriting as if that wasn't the point.
  2. Mar 5, 2013
    80
    Unvarnished and unpredictable, then, but in the grand Slits/Raincoats tradition, Nash is no-one's little girl. [Apr 2013, p.74]
  3. Mar 5, 2013
    80
    Without doubt, this is Kate's heartbreak album; candid in its inspiration, both musically and emotionally
  4. Mar 8, 2013
    70
    Musically, she leaves things deliberately underwritten, rooted in bass or scratchy guitar as opposed to the shiny-shiny production of her earlier work. It lets the songs speak for themselves, though it does occasionally expose their flaws as well.
  5. Mar 5, 2013
    70
    Thankfully, while Nash has moved to a more extroverted, aggressive sound, she hasn't sacrificed any of the personal, intimate lyrics that marked the best of her early songs.
  6. An album that veers between the lush pop melodies of her last two LPs and a full-frontal riot grrrl assault.
  7. Mar 7, 2013
    64
    It’s a little preachy and confessional, but there’s truth in most of what Nash sings about on Girl Talk, at least for the ladies in the room who are still figuring out how to be capital-A adults.
  8. Mar 7, 2013
    60
    An audibly irked record.... Girl Talk has balls and tunes. [Apr 2013, p.88]
  9. Mar 5, 2013
    58
    Girl Talk may be the album she’s always wanted to make, but fans of her older material may be left wanting.
  10. Mar 27, 2013
    40
    Nash can't sing or rap--she tries to do both--and her tunes are anemic; her punk postures are borrowed from musicians smarter and more talented than she.
  11. Mar 12, 2013
    40
    Much of this third album comes on like a bubblegum Breeders, sparsely arranged around Nash's spinal basslines. [Apr 2013, p.107]
  12. Mar 5, 2013
    40
    there are occasions on Girl Talk when we get glimpses of what another, better Kate Nash indie rock album would have sounded like.... Unfortunately, moments such as these are the exception, not the rule, on Girl Talk.
User Score
7.3

Generally favorable reviews- based on 8 Ratings

User score distribution:
  1. Positive: 4 out of 4
  2. Mixed: 0 out of 4
  3. Negative: 0 out of 4
  1. Sep 1, 2013
    6
    Were it not for some toe curlingly awful London girl rap on 'Rap For Rejection', this album might have scored her higher for me. Kate hasWere it not for some toe curlingly awful London girl rap on 'Rap For Rejection', this album might have scored her higher for me. Kate has grown up in a lot of ways. Her strongest suit has always been her ability to produce the triple threat catchy, light-hearted, snotty pop songs which you can't help but love, her ability to be incredibly honest on tracks without you feeling embarrassed for her, and her ability to pull something truly beautiful and sweet out of the hat. Previous records have perfectly showcased this. On 'Girl Talk', all focus seems lost. She sings about friends, about herself and about what it's like to be a woman. She doesn't really go deeper than that. 'Fri-end' is great. 'OMYGOD' is brilliant. Her pop hooks are here. But that's all. There doesn't seem to be enough here to make a decent album. Not her strongest work. Full Review »
  2. Sep 24, 2013
    6
    'Girl Talk' shows a rougher and more aggressive side of Kate Nash than what we've seen from her before, and while it may sound like an abrupt'Girl Talk' shows a rougher and more aggressive side of Kate Nash than what we've seen from her before, and while it may sound like an abrupt change on first listen, the album is actually a strong and solid effort that fits in the singer's discography. The catchy hooks ('Fri-End?') and Kate's signature childlike lyrical themes ('OMYGOD!') that defined her 'Made of Bricks' era are still here, but similarly to her sophomore album which featured topics like homophobia, 'Girl Talk' deals with some important issues, too; as the title also suggests, this time feminism is in the centre. Apart from the two songs mentioned, 'Death Proof', 'Sister', 'Oh', 'Conventional Girl' and 'You're So Cool, I'm So Freaky' are standouts. On the negative side, the album includes some missteps as well: the dud that is 'Part Heart' may put off some listeners right at the beginning, '3AM' feels bland, and 'Cherry Pickin' is definitely on the verge of being unlistenable. Overall, the record is actually a nice effort, and even though it doesn't live up to its predecessors, it's still worth giving a few spins. Full Review »
  3. Jul 24, 2014
    8
    Kate Nash has never made a secret of her love of punk music and after years of hearing little, teasing hints of these punk influences in herKate Nash has never made a secret of her love of punk music and after years of hearing little, teasing hints of these punk influences in her previous work, ‘Girl Talk’ finally unleashes it all. Nash wrote every track on this album herself, armed with a bass guitar and her trademark fearless wit. Nash’s lyrics are, as usual, quite repetitive which is how she often gets her point across like in “Fri-End?” in which she stands up for herself, bluntly singing “you don’t treat me like a friend” or in “Part Heart” where Nash chants that “it doesn’t matter….I still feel the same” over and over.

    The lyrics, concerned mainly with Feminism, equality, heartbreak and friendship, are as brave as the brash, punky guitars that drive them; “All Talk”, “Conventional Girl” and “Rap For Rejection” all prove that Kate Nash is more than just another mindless drone of popular music – she has opinions and she wants to voice them. Not every song on the album is as intense, however, with “OMYGOD!” and “3AM” revisiting Nash’s indie-pop roots, while “Oh”, “You’re So Cool, I’m So Freaky” and “Lullaby For An Insomniac”, the latter being an eerie spoken piece, all provide the album with a calmer, slightly more sensitive side. The production, at times, seems a bit basic and lacking but I think it’s fair to say that that’s sort of the point. The highlight for me personally has to be “Sister” which has one of the best choruses, in terms of melody, that Nash has ever written, as well as being one of the most emotional songs she has ever written too.

    Ultimately, this was a very brave album to make and throughout its 15 tracks, Nash manages to summon all sorts of emotions. It can perhaps be a little bit intense to listen to in one go and there are moments that drag on a little too long but by now you should know whether you can handle her style of songwriting or not. Nash is an acquired taste but all that means is that she isn’t trying to please anyone and is saying what she wants to say, how she wants to say it and this album proves that more than ever.
    Full Review »