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Pop - Erschienen am 27. April 2015 | Spacebomb

Auszeichnungen Pitchfork: Best New Music
Based in Nashville and a veteran of Jenny Lewis' touring band, Natalie Prass certainly has her share of Americana roots, something that's evident on her eponymous 2015 debut. It's a bit too easy to make too much of those Southern-fried roots, however, a move that would suggest the album is steeped in the humid reaches of the Delta and that Prass possesses a bit of a husky growl in her voice, neither of which is true. At times, Natalie Prass does indeed proceed at a slow, sultry crawl that suggests such earlier blue-eyed soul masterpieces as Dusty in Memphis, but Prass is a pretty, delicate singer whose exacting phrasing pushes her album toward the West Coast in a manner not dissimilar to Jenny Lewis. This, in turn, brings the record closer to the confines of Laurel Canyon of the '70s and sometimes even the epicenter of the Hollywood of the '60s, particularly when the record ends on "It Is You," a note of whimsy that's a tip of the hat to Harry Nilsson. All this means is that Prass -- with the assistance of Spacebomb head Matthew E. White, whose success with his own Big Inner in 2012 delayed the release of Natalie's record by nearly three years -- has created an appealingly classicist work that draws heavily from a singer/songwriter tradition instituted in the '70s (it even lasts a brisk 40 minutes and nine songs, just like an LP from 1971) but isn't weighed down by its heritage. Whenever the album floats upon its orchestrations or sighs along with its rich swaths of brass, there's a lightness to Natalie Prass, a lightness that also reflects in songs that are sweetly melancholic, not sad. So enveloping is the sound that it can sometimes be easy to overlook Prass' songs, which are as exquisitely crafted as her album's production. Her eye for telling romantic details and gift for gorgeous, lilting melodies mean this debut sinks its hooks in deep and soon seems to belong alongside the classics it so plainly resembles. © Stephen Thomas Erlewine /TiVo
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CD11,99 €

Soul/Funk/R&B - Erschienen am 1. Juni 2018 | ATO Records

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2015 landete Natalie Prass mit ihrem Debütalbum in der vordersten Reihe unter all den Konkurrenten, die qualitätsvolle Soul Music zu bieten hatten. Die aus Cleveland kommende und in Virginia ansässige Musikerin war der Schützling des inspirierten Produzenten und Frontkämpfers Matthew E. White, der sie bei seinem Label Spacebomb unter die Fittiche nahm. Sie trat mit ihrer schönen, verwirrenden Stimme das Erbe dieser Sängerinnen von damals an, die von Soul, aber auch von Country und Pop umgeben waren und es sich mit viel Feinfühligkeit inmitten schwelgerischer Streicher- und Bläserarrangements bequem gemacht hatten. Es gab ein bisschen Diana Ross und ein wenig Minnie Riperton, ja sogar Mariah Carey (aus der Anfangszeit) bei dieser Sängerin, die eine Melancholie vermittelte, die berührend, um nicht zu sagen, umwerfend war… Ihr sanftes Timbre, das kaum hohe Töne zuließ, entfaltete sich in stilvollen Arrangements, die perfekt zu ihr passen. Obwohl man dabei vergessen konnte, dass man schon das Jahr 2015 schrieb, kam bei diesem gleichnamigen Debütalbum nie das Gefühl des Schwerfälligen, Althergebrachten auf… Drei Jahre später findet man Natalie Prass immer noch behaglich ausgestreckt in ihrem extra breiten Soul-Sofa, aber ihrem Groove hat sie eindeutig Schwung verliehen. Bei The Future & The Past steht Matthew E. White wie immer an den Reglern, aber er führt die zarte Soul-Sister auf Wege mit eindeutig mehr Groove. Dieses zweite Album ist funkiger als der Vorgänger mit seinen schwungvollen Rhythmen des R&B, ja sogar des Disco. Ununterbrochen denkt man an Diana Ross, aber auch an Janet Jackson und Chaka Khan. In den Balladen Lovers sowie den Tracks in eindeutig höherem Tempo präsentiert die Amerikanerin mit ihrer nervös und sanft klingenden Stimme vor allem einen perfekten Soundtrack, bei dem nichts überflüssig ist. Kurz und gut, man kann einfach nicht sitzen bleiben, wenn man sich ein solches Wunder anhört. © Marc Zisman/Qobuz
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CD7,99 €

Internationaler Pop - Erschienen am 27. April 2015 | Spacebomb

Based in Nashville and a veteran of Jenny Lewis' touring band, Natalie Prass certainly has her share of Americana roots, something that's evident on her eponymous 2015 debut. It's a bit too easy to make too much of those Southern-fried roots, however, a move that would suggest the album is steeped in the humid reaches of the Delta and that Prass possesses a bit of a husky growl in her voice, neither of which is true. At times, Natalie Prass does indeed proceed at a slow, sultry crawl that suggests such earlier blue-eyed soul masterpieces as Dusty in Memphis, but Prass is a pretty, delicate singer whose exacting phrasing pushes her album toward the West Coast in a manner not dissimilar to Jenny Lewis. This, in turn, brings the record closer to the confines of Laurel Canyon of the '70s and sometimes even the epicenter of the Hollywood of the '60s, particularly when the record ends on "It Is You," a note of whimsy that's a tip of the hat to Harry Nilsson. All this means is that Prass -- with the assistance of Spacebomb head Matthew E. White, whose success with his own Big Inner in 2012 delayed the release of Natalie's record by nearly three years -- has created an appealingly classicist work that draws heavily from a singer/songwriter tradition instituted in the '70s (it even lasts a brisk 40 minutes and nine songs, just like an LP from 1971) but isn't weighed down by its heritage. Whenever the album floats upon its orchestrations or sighs along with its rich swaths of brass, there's a lightness to Natalie Prass, a lightness that also reflects in songs that are sweetly melancholic, not sad. So enveloping is the sound that it can sometimes be easy to overlook Prass' songs, which are as exquisitely crafted as her album's production. Her eye for telling romantic details and gift for gorgeous, lilting melodies mean this debut sinks its hooks in deep and soon seems to belong alongside the classics it so plainly resembles. © Stephen Thomas Erlewine /TiVo
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CD6,99 €

Soul/Funk/R&B - Erschienen am 26. September 2016 | Spacebomb

"Her take on Baker's 'Caught Up in the Rapture' does away with those awesomely '80s gated drums and sparkling filter sweeps, instead pushing the tempo and adding guitar for something a little more lively." © TiVo
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CD1,49 €

Alternativ und Indie - Erschienen am 21. Februar 2018 | ATO Records

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CD1,49 €

Alternativ und Indie - Erschienen am 1. Mai 2018 | ATO Records

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CD0,69 €

Alternativ und Indie - Erschienen am 25. Oktober 2018 | Domino Recording Co

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CD2,49 €

Alternativ und Indie - Erschienen am 23. Oktober 2015 | Columbia

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CD1,19 €

R&B - Erschienen am 22. Juli 2014 | Spacebomb

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CD1,49 €

Alternativ und Indie - Erschienen am 27. März 2018 | ATO Records

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CD2,49 €

Alternativ und Indie - Erschienen am 30. Oktober 2015 | Columbia

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CD1,99 €

Pop - Erschienen am 30. Oktober 2015 | Spacebomb

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CD1,99 €

Pop - Erschienen am 23. Oktober 2015 | Spacebomb

Pop - Erschienen am 23. März 2015 | Spacebomb

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