After a couple singles and a few sold-out shows at Los Angeles club The Mint, Nina Shallman ’18 released her eponymous first album on Aug. 11.
I saw her perform live last semester at the Iron Horse Music Hall in Northampton and was amazed enough by her strong vocals and smooth music to write a glowing review. Much of my praise applies to her new album too. The album is a great show of her musical talent, a delightful treat and a pleasant listen; it’s a reminder that music was meant to decorate silence.
Shallman’s album includes some of her more memorable singles: “Daisies,” “Marionette” and “Never Years Old.” Echoes of Ella Fitzgerald and the Beatles can be heard between chords, and Shallman’s voice reminds me of Nora Jones.
This album uses more instrumental background than her live show, but none of the instruments overpowers or drowns out Shallman’s voice. There is an emphasis on simplicity: Some songs use only a couple of piano chords punctuated with a drum kit that keeps time in the background. This allows Shallman’s voice to shine. It’s as if her vocals draw lyrics in cursive.
The album starts off strongly with the upbeat single “Daisies,” one of Shallman’s more memorable songs. Apart from the chorus, in which she croons, “And you say our time is ticking, ticking, ticking / And you say that your heart is kicking, kicking, kicking,” not many of the lyrics are discernable. Fortunately, the song is so beautiful that the lyrics seem almost irrelevant. “Nina Shallman has such a lovely voice, it almost doesn’t matter what she’s singing,” LA Weekly’s Falling James wrote, and that remains true.
The tone moves from the upbeat “Daisies” to the contemplative “The Moon Can Stay,” a favorite of mine. “The Moon Can Stay” was made for those emotional, lonely nights when you desperately want comfort and company.
“Never Years Old” features a pleasant duet between Shallman and Jacob Snider, another newcomer to the music world. Their voices intertwine and then separate like two intersecting rivers.
“Arms” would have a perfect place on the “Chicago” musical soundtrack: It’s romantic, intimate and luscious. The background brass and slow beat accentuate Shallman’s sly crooning. A jazzy piano adds some flair that renders “Arms” a uniquely showy addition to an otherwise subdued album.
Shallman glides effortlessly through a cover the Beatles’ “Dear Prudence.” This song is particularly improved in the album. The extra instrumental and embellishments decorate the simplicity of the song. “Dear Prudence” also allows the artist some more room to showcase the versatility of her impressive vocals.
The shortest song on the album also ends up being the sweetest. “Nice to Hear” plays with the idea of whispered sweet nothings: “You say you need me, and hold me close / Whisper, ‘never let me go’ in my ear / But I don’t buy it / Still, can’t deny that it’s nice to hear.” The end result is one of the most delightful songs on the album, reminiscent of Michael Bublé in its romantic cleverness and dancing instrumentals. The combination of strings, brass and ukulele makes for a memorable song.
Ambling along after is “The Lonely Piano,” a shuffling, pleasant tune. Again, Shallman’s vocals amaze in their effortless ascensions and falls.
“Ask,” a Smiths cover, features a ukulele and gives a fresh take on the plodding original. Shallman’s voice is stronger and less smoky here, accompanied by a supportive harmonica.
“Float This Way” is a delightful romp filled with mostly quaint lyric-less harmonies. While it is one of the more forgettable tunes on the album, it’s not a bad song.
Another of the album’s singles showcases Shallman’s writing. “Marionette” explores the relationship between a puppeteer and a marionette. I particularly liked it at Iron Horse concert, and it does not disappoint in subsequent listens. If there is one Nina Shallman song you need to listen to, it’s this one.
“The End” is the album’s closing song. It’s a meaningful goodbye to listeners. Subtle, gracious and reverent, “The End” serves as a proper finish to a fantastic debut.
