Girl Talk

User Score
6.9

Generally favorable reviews- based on 12 Ratings

User score distribution:
  1. Positive: 7 out of 12
  2. Negative: 1 out of 12
Buy On

Review this album

  1. Your Score
    0 out of 10
    Rate this:
    • 10
    • 9
    • 8
    • 7
    • 6
    • 5
    • 4
    • 3
    • 2
    • 1
    • 0
    • 0
  1. Submit
  2. Check Spelling
  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 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 embarrassedWere 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. Expand
  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 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'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. Expand
  3. Feb 27, 2016
    8
    8/10 - "[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" - Expert Music (MSN Music)
  4. Mar 8, 2013
    10
    The album is really not all that different from her previous two. Yes, Nash incorporate a lot more punk elements and a heavy focus on guitar but really, the lyrics and the catchy pop hooks haven't changed a bit. The album is solid mostly all the way through with a couple mistakes along the way (Rap for Rejection and Lullaby). Overall, she did a phenomenal job this being her third album andThe album is really not all that different from her previous two. Yes, Nash incorporate a lot more punk elements and a heavy focus on guitar but really, the lyrics and the catchy pop hooks haven't changed a bit. The album is solid mostly all the way through with a couple mistakes along the way (Rap for Rejection and Lullaby). Overall, she did a phenomenal job this being her third album and I know that the "fans" that she loses, she'll gain in other faithful rockers. Expand
  5. Jul 30, 2015
    8
    By far her best album. She has refined her image into a punk rocker rather than a quirky girl next door. The gutar riffs, lyrics and her vocals are striking. A must listen.
  6. Sep 17, 2015
    7
    Girl Talk has a lot of positives and negatives. It's good to see her evolving and transmitting a message though music. Although I prefer the "old Kate Nash" musically, I have to recognize it. About the negatives, it's really sad to see her decaying as she tries to look like something that's not her. Nevertheless this was a nice record, with good songs mostly.
    Best tracks: Sister, All
    Girl Talk has a lot of positives and negatives. It's good to see her evolving and transmitting a message though music. Although I prefer the "old Kate Nash" musically, I have to recognize it. About the negatives, it's really sad to see her decaying as she tries to look like something that's not her. Nevertheless this was a nice record, with good songs mostly.
    Best tracks: Sister, All Talk, Labyrinth, Lullaby for an Insomniac (and Mermaid Blue from the deluxe edition).
    Worst tracks: Oh, Rap for Rejection.
    Expand
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. 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.
  2. [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.
  3. Q Magazine
    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]