Okay, so, usually I would do a little intro about something generally unrelated to the piece but I feel that Kate Nash’s ‘Yesterday Was Forever‘ doesn’t deserve my creativity. Here’s why:
So, the album would have been a solid hit in 2006/7, what this means is that Kate Nash has not matured as an artist since then and that in 2006/7, I had terrible music taste. To be fair, she was never going to be topping ‘Foundations‘ but she doesn’t need to try to top it, just not produce terrible music.
The entire album sounds like if Weezer had sex with the inventor of the kazoo and it somehow produced a person, who then went on to produce an album about the constant pain they were in for merely existing in a world that doesn’t understand them, that has shunned them for being different and about the price of Private Health Care.
That said though, I still feel that would have been a better sounding album, whilst this sounds like a trip down memory lane in a Jeep with no breaks that is careening into a herd of cattle.
I know objectively, it isn’t a style of music that I subscribe to often, but I feel that shouldn’t matter. What I like about a lot of songs is their lyrical content, something that this album severely lacked. If it isn’t an attempted catchy pop melody over anxious lyrics pertaining to being ‘quirky’ (like a Zooey Deschanel wax clone that has melted in the sunlight), then it’s lyrics about romanticising alcoholism in the vain attempt to cover up liking, but not liking, whatever reject has haphazardly found their way into bed with her.
Lyrically, this is what you get if Regina Spektor had a transporter accident with a bowl of rice (a joke for all you Star Trek fans out there. I know you read this!). The dry, lifeless lines of attempts at faux intellectualism echo the writing teams behind such pop hits as that Kelly Clarkson that song everyone knows, that hit song by One Direction (you know the one) and Backstreet Boys’ ‘Backstreet’s Back‘ (admittedly, a guilty pleasure of mine which, if it hasn’t been done yet, deserves a metal style cover).
The only difference is that I think Kate Nash wrote this album herself, which would be like me writing a new book by compiling poems I wrote as a teenager and then everyone telling me they were good, when they are clearly not.
Also, for some reason, she seems to be shouting bad poetry at the listener quite a lot. Quite literally shouting, I’m not exaggerating.
I don’t have much to say about that, I like shouting, in music that is, not so much IRL (an abbreviation for ‘In Real Life’ for anyone who may not know – Down With The Modern Trendy Youth Lingo Editor), so please don’t shout at me in the street. It just seemed a touch odd.
The production is also quite bad. Evidently aiming to return back to her Indie-Pop roots, Nash falls into the trap that ‘less is more’ and looks to have had less musicians play their instruments more badly (yes, I know that is grammatically incorrect but it is late and this review needs to be in by the morning).
This mixed with a wailing vocal mix, terrible lyrics and shoddy, uninventive melodies make for an all round listening experience best described as a bit rubbish.
What I would advise is that you listen to it yourself, agree that I am right, and feel bad for her fans that ran the ‘GoFundMe‘ page that afforded this album.
Judging by the sound of it, they raised a tenner.