How NOT to write about music – 13. Kate Nash (part two)

Yesterday Was Forever

The process. This is what we are here to talk about today. The process.

If  I was to write a review of the 2018 Kate Nash album Yesterday Was Forever – and it seems unlikely at this stage, I mean why would I? – this is what I would do. Brainstorm, take notes. Collect my scattered impressions of the music and its surrounding context into some form of list which I would then check off as I start to write the piece. Usually I do not even do this as the list forms and takes shape as I am writing… but I am trying to document the process here.

(Remember the first rule of writing? If you don’t feel like writing, write anyway.)

  • Personal. I like it. A lot. It’s chipper, it’s buoyant, it is shot through with a pleasing streak of self-loathing, She (knowingly?) references Jonathan Richman (on ‘My Little Alien’), and Orange Juice and Courtney Love (on ‘Life In Pink’), the song during which her voice has been sped up a bpm or 10, having the unnerving effect of making her sound a little Chipmunk-esque. Like all the best singers, now I think about it.
  • Observation, detail. It’s her fourth. It feels like she (quite deliberately?) is turning her back on her Award-winning, pop chart storming, past and is returning back to the fanzine cut-and-paste feel-the-joins culture that has inspired her. She is the fanzine pop queen. Kickstarter-funded (for real).
  • Note to self: find out other facts and details to help score my authority from press release/Guardian review and so forth.
  • Theme.  Erratic, but delightfully so. Veers between many different palettes, pop and otherwise, although right now the inclusion of ‘My Little Alien’ justifies everything. Lightweight, but not as an insult. She is herself, like Drew Barrymore (to quote a Bis lyric). She instinctively understands her audience because she is her own audience (list examples from ‘Today’ and perhaps one other song).
  • Special mention, to the self-descriptive panic attack outing on ‘Musical Theatre’. Her voice plaintive, calling. Challenging. Demonstrative. Fearful. These are my own observations but I just checked on Wikipedia (the first refuge of the scoundrel) and it states, “Nash openly confirmed that she has obsessive compulsive disorder and anxiety and is an advocate for raising awareness for the importance of mental health. ‘Musical Theatre’ is Nash’s personal interpretation of struggling with mental health”. Good to have verification. (Sample lyric: “I can’t remember ‘A-B-C’ correctly.”)
  • Note to self. Find a source that is not Wikipedia to back up this focal point.
  • She is herself. I know I have used this line before, but this is one of the many reasons I like Kate Nash so much. She is not afraid to take chances and fall flat on her face, if need be.
  • Reception. The Guardian (see above) calls her pop music “slightly stale” but perhaps I enjoy slightly stale. Jesus. We can’t all be Father John Misty. As Drowned In Sound puts it (I will rephrase this), “whimsical, playful, experimental and wildly fun”. I would shy away from calling this honest or authentic, because I am not a great believer of either within performance, but…

And then I would grab a couple of mugs of coffee and write the review.

But, like I said earlier, who the fuck is going to be interested?