Future And The Past, The

Natalie Prass returns three years after her self-titled debut with an album that’s a little bit sleeker and more modern. Baroque instrumentation is out; ‘80s-inspired production is in. It’s also more political, too, with Prass effectively rewriting the entire album after the 2016 election. The Future and the Past has pretty much everything you could want in a pop record, from deep grooves to smart lyrics to affecting vocal performances.

FCCs: None
Favorites: 1, 2, 5, 6, 7, 12

1) “Oh My” (3:16)* – The snappy, repetitive bass and drums are the most immediate things about this song, but every time I hear the guitar it makes me think of Michael Jackson’s Thriller. (You’ll know the sound when you hear it.) A groovy tune that hearkens back to the best of ‘80s pop.
2) “Short Court Style” (3:44)* – Smooth and crisp production on this upbeat pop song, with another airtight rhythm section. Vocals are kind of cooing and coquettish.
3) “Interlude: Your Fire” (0:33) – A short violin segue to the next song.
4) “The Fire” (3:28) – A more reserved tune—not quite a torch song, but it captures a similar feeling of longing. Think of something Madonna would have made early in her career, perhaps even more stripped-down.
5) “Hot for the Mountain” (4:32)* – Even more reserved than the previous tune. Muted beats and clicks and piano chords, although things perk up a bit around the chorus. Lovely bridge with strings after 2:34.
6) “Lost” (3:11)* – Lovestruck piano ballad with sweeping strings. Prass’s voice won’t physically knock you over the way, say, Adele’s will, but her singing on this track is plaintive and deeply felt.
7) “Sisters” (4:36)* – Feels like a throwback R&B tune, between the backing vocals and minimalist, repetitive piano, bass and guitar. As you might’ve guessed from the title, this is a “for the ladies”-type empowerment anthem.
8) “Never Too Late” (3:49) – Glossy, poppy song that leans heavily on its rhythm section. There’s also a synthesizer which curdles a bit when it gets to the chorus.
9) “Ship Go Down” (6:04) – Slow piano number with backing strings. The second half is an extended breakdown with a guitar solo and scat singing. Pretty skippable song.
10) “Nothing to Say” (4:26) – Starts as a spare piano ballad—albeit an upbeat one—but doesn’t really stay that way. Gets a little more instrumentally complex around the chorus, adding some synthesizer noodling. Instrumental outro after 3:44.
11) “Far from You” (3:34) – Actually a spare piano ballad, with strings. Very pretty, tenderly sung song.
12) “Ain’t Nobody” (4:22)* – Great song that deftly weaves piano, guitar, funky bass and glitchy synthesizer. Instrumental outro after 3:46.