User Score
7.3

Generally favorable reviews- based on 8 Ratings

User score distribution:
  1. Positive: 7 out of 8
  2. Negative: 0 out of 8

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. 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 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 likeKate 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.
    Expand
  2. 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
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. 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]