Natalie Grace Alford's "Type Of Wound" EP
A series of looped keyboard triplets amidst the marching rhythm of drums summons forth a wave of electricity, beckoning the curious, starving individual to answer a call she soon to grace her ears. The buzz of a synthesizer joins the drums and keyboard before Natalie Grace Alford's voice sings the first lines of "Type of Wound," the title track to her debut EP of electronic indie pop.
Collectively, the EP "Type of Wound" is an examination on the burdens our society and economic system place on the poor and working class individuals . Each song starts out intimate and personal as Alford's voice sits atop a minimal foundation of instruments, observing her precarious circumstances. Reaching up to new heights with choruses of harmonies layered soundscapes, her songs take on an epic tone, reminding the listener that the struggles go beyond the individual injustices that plague our society, that others are suffering the same tragic circumstances, and that many more will continue to be victimized by corporate interests if we fail to raise our voices.
The title track, "Type Of Wound," succeeds at creating a massive canvas to make the case that our society is now reeling with, that the success of the corporate elite comes with a cost and that the working class are the ones who carry it. It is an abusive, cyclical relationship of codependency witnessed again and again as the worker labors to better her own economic position, making dimes to the dollar compared with those she works for. Offering us a look at Alford's strong, fearless voice, "Type of Wound" also showcases her ability to layer harmonies on top of one another, which she recreates at her live shows on the fly. Having experience in a professional choir before getting a degree in music helped provide Alford with the skills and knowledge of music theory, timing, and gain structure her performance demands.
Picking up where her last song left off, "Too Big To Fail" bares witness to the housing market crash in 2007, the devastation it wrecked on the working and middle classes, and the eventual bailing out of the banks by the federal government. There is fire in Alford's voice as she sings a sentiment shared by thousands of Americans, that the banks' actions were criminal, but the people paid for it. Drums echo out into the vacuum of space around Alford, reinforcing the idea of how big these corporate financial entities are, and the last lines of the chorus
we'd give you hell
but we lost the trail.
reveal the helplessness that sets in when the individual stands powerless against these structures. The drums drop out at the end of the song, and now Alford's voice stands alone and defiant, an organ and a group of harmonies holding her up, a survivor of a world-shattering crime, still fearless and determined to carry herself forward.
"I Can't Help But Wonder" brings the funk and hip lifestyle of a self-medicating individual cut off from the socially acceptable avenues of health care. A constant sense of dread is juxtoposed with a bouncing, lively rhythm and upbeat melodies. The music can be in the face but never sounds like too much is going on. Alford describes her style and sound as "loud and abrasive but somehow makes sense," and it was a revelation of sorts when she finally found the sound that fit her.
Where "I Can't Help But Wonder" is the funk of "Type of Wound", "Breaking Noise" is the soul and features some of the finest vocal work on Alford's part, with beautiful harmonized prechoruses and a midsong rap. Knowing she had a great song on her hands, the rap leads straight back to another soulful verse followed by the atmospheric pre chorus and then the funkified chorus that's hard not to dance to. "Breaking Noise" is also this album's dark horse for me, the song that doesn't win me over right away but is so rewarding once it has won my ears and love long enough. Alford has delivered a strong debut record, crafting beautifully layered soundscapes and songs without compromising the provocative and serious topics they cover. Check it out on bandcamp now, and follow her on facebook to find out when her next show is.
