Pensive, Drifting, Broodingly Hypnotic Acoustic Tunesmithing From Natalie Jane Hill
A cynic would say we’ve heard this a million times: girl with acoustic guitar singing sad songs of loneliness and abandonment. Add to that a pervasive Joni Mitchell influence, and you get hundreds of thousands of acts who go back forty years and more. That being said, songwriter Natalie Jane Hill manages to use that tradition as a stepping-off point without sounding obvious, which is more of an achievement than it might seem. She has a keen eye for detail, leaves some of her best punchlines unsaid, likes open tunings and has nimble fingers on the acoustic guitar. Her latest vinyl album Solely is streaming at Bandcamp.
Throughout the record, Hill’s vocals are more contained and less jazz-influenced than Mitchell’s. In the sarcastically titled opening track, Euphoria, Hill’s narrator is driving just to get away from it all, “Avoiding the street home till the low fuel light glows.” Consider: she’s got such a troubled mind that she’s not even paying attention to the gas gauge. Musically, the songh sets the stage for the rest of the record, just Hill’s brisk, clustering fingerpicking lowlit by stark violin, pedal steel and glockenspiel in places.
The central image in Little Teeth is how Hill envisions flower buds floating on the breeze, with glockenspiel tinkling delicately in the background. She works a familiar, circling open-tuned riff in the bucolic guitar-and-violin tune If I Were a Willow. Hill follows a stark, Britfolk-tinged minor-key theme in Plants and Flowers That Do Not Grow Here, subtly colored with steel, violin and what could either be a wood flute or a mellotron patch.
As a portrait of predawn solitude, To Feel Alone is even more spaciously drifting. Despite the calm, hypnotic backdrop, there’s unexpected venom in the album’s title track: as she tells it, breakup boyfriend is a fool’s errand.
Hill creates a similar dichotomy in the even more cynical Pretty View. The steel guitar sighs and swoops throughout Orb Weaver: spiders have seldom been portrayed so sympathetically. There’s more nocturnal gleam and glisten in the warmly enveloping empowerment anthem Listen to Me Tomorrow: “The older you get, these words are left unsaid,” Hill cautions. She winds up the album with Better Now, a mea culpa of sorts from a chronic depressive who’s self-aware enough to recognize how secondary trauma works. It’s an apt way to wind up an album that grimly evokes the emotional toll of these past twenty months.