Review ·

With a faux Cockney accent more phonetically convoluted than an Irvine Welsh novel and a proclivity for cocktail dresses and "trainahs," it’s hard not to Pitchfork Kate Nash aside as another Myspace-generated Britpopstress a la Lily Allen -- though the melancholic sway, clever wordplay, and woozy pop ingenuity of “Foundations” should make you pause before doing so.


The remainder of this four-song EP doesn’t have nearly as much fight. Crossbreed the short-story lyrics of “Navy Taxi,” the weird plastic sexuality of the synth-riddled “Caroline’s a Victim,” and the whimsical airiness of “Habanera,” and the result would be just one whole song that comes close to the sharp, winking metapop of Allen’s illusory lower-middle-class narratives, which Nash’s title track replicates and occasionally betters.


But that’s more Baudrillard (or is it the Kooks?) than Welsh, innit?






Various Artists - The Complete Motown Singles, Vol. 8: 1968 The Mass Holocene #6

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