Natalia Kills – Perfectionist

August 16, 2011 at 10:22 am | Posted in Natalia Kills | Leave a comment
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  1. Perfection
  2. Wonderland
  3. Free (feat. will.i.am)
  4. Kill My Boyfriend
  5. Break You Hard
  6. Zombie
  7. Love Is A Suicide
  8. Mirrors
  9. Not In Love
  10. Acid Annie
  11. Superficial
  12. Broke
  13. Heaven
  14. Nothing Lasts Forever (feat. Billy Kraven)
  15. If I Was God
  16. Free

In 2009 I came across a video by Natalia Kills that piqued my interest. Her dark music and look had me instantly hooked and I loved that she embraced it fully. Earlier this year when the release date for Perfectionist was announced I started to be interested in her again and after hearing the previews it became my most anticipated album of the year. Natalia has gone through a few name changes in the last couple of years but after being discovered by will.i.am and being signed to Interscope/Cherrytree Records she was finally given the creative control to go in the direction she wanted with her music. Natalia takes a mainstream approach to her music but she infuses it with a dark and edgy sound. It’s rare for an artist to take on such a dark sound for a debut album especially for a pop artist but Natalia has crafted her whole album based on it. Her music is labeled as “dark pop” but Natalia refers to it as “pop with an opinion” or “axe-wielding pop.”

The introduction, Perfection, highlights the album’s themes and Natalia’s vision in the form of a medical diagnosis. While intros usually feature music or singing, this one is void of all of that. Some people might pass on it because of that but I wouldn’t recommend doing that because many of the album’s concepts are brought up, “the subject seems/obsessively concerned with power/having control/suffering from neurotic impulses/experiencing feelings of extreme satisfaction and/disappointment within moments/possible fantasist/extremely volatile/opiniated/and self sentimental.” It’s a clever way to bring up the subject matter of the album and it’s interesting how it turns the idea of being a perfectionist into a disorder. Natalia makes it clear what her concept is and she sticks by her vision right from the introduction. Wonderland is one of Natalia’s most popular tracks and for good reason. This track leaked last year and I can’t believe I ignored it until this year because it’s phenomenal. It’s one of the darkest and most twisted pop songs I’ve ever heard. She removes love from it’s associations with fairy tales and puts it into a realistic perspective. The electro opening leads into brutal drum beats for the verses and the bass is really powerful. I love how she takes fairy tales which are associated with happy endings and brings them back to their dark past to fit in with her dark world, “I’m not Snow White/but I’m lost inside this forest/I’m not Red Riding Hood/but I think the wolves have got me.” During the second part of the verse, a gothic choir is added to the background and her vocals are so maniacal, “who needs true love as long as you love me truly.” In the pre-chorus, the electric guitars provide a great flair and her strong vocals are just a pleasure to listen to, “I don’t believe in fairytales/but I believe in you and me.” The heavy beats explode back into the chorus and it’s quite repetitive, “take me to wonderland,” but it’s simply irresistible. The edgy synths blend well with the heavy bass and her vocals are amazing. It’s such a dark and in-your-face chorus that you just can’t ignore it and it’ll be stuck in your head for ages. The song becomes so gloomy during the bridge because of her haunting ad-libs and the foreboding synths. The chorus is repeated until the end of the song and Natalia’s vocals keep getting better as the song goes on. This is one of the best songs I’ve heard all year and it’s a perfect song to start the album because it throws you right into her world.

While the album is extremely dark, Free (feat. will.i.am) is the lightest moment on it but it still manages to fit in with the rest of the tracks. The percussion is much lighter than it was in the previous song and the piano melody is vibrant and addicting. The quick verses are amazing and the fresh melody is contagious especially the rapid percussion and the underlying synths. Natalia’s vocals have a hollow quality to them and I really enjoy how they sound. This is a very materialistic track with lyrics that reflect the album’s themes, “call me a perfectionist addicted to immaculate/the hair right, shoes tight/got to look the dress the part.” I love the nod to Christina Aguilera, “need a genie in a bottle,” and her vocoded vocals when she sings “gotta stretch that dollar bill, stretch that dollar” sound cool. The chorus is crazy infectious and her bright vocals are really good, “I’m free/I just spent all my money/but I rock that like it don’t cost a thing.” There are a few throwbacks to her pre-Kills days such as the “get ya 5´s, get ya 10´s, get ya 20´s out” lines which are from Shopaholic and her rap in the bridge, which is wicked cool, is also reminiscent of her old style. The line “I could look fresh in a potato sack” is amusing and it’s taken from one of her demos called Hot Mess. The rap shows off her versatility as a singer and it’s just a whole lot of fun. Many people have said that Natalia’s image is contrived but the throwbacks show that she’s still the same person she was before. The downside to the track is the inclusion of will.i.am because he adds nothing to the song. He was added to create a buzz for the worldwide release of the album which I understand but I can’t stand him. His sections do not carry the same feel as Natalia’s parts and he sounds pretty bad. Good thing he only appears at the beginning and during the bridge. Natalia concludes the song with ad-libs and she sounds so good. Even with will.i.am, this is a must-hear track.

Kill My Boyfriend lives up to its title but in a totally unexpected way. Instead of being dark like I imagined it would be, it’s the complete opposite. It is introduced with the chorus which is bright and positive. Natalia’s vocals are divine and she sings with a happy-go-lucky attitude. It sounds like it’s going to follow in the previous song’s footsteps with its old school piano riff which only appears in the chorus and bridge but when you pay attention to the lyrics, it turns out to be the most psychotic song on the album, “I’m rolling the dice, got the wind in my hair/I’m gonna kill my boyfriend, yeah/‘cause he’s only nice, when there’s somebody there.” The song does a 180 for the verses because they’re more upbeat and contain a tinge of darkness. The composition is aggressive with its hard percussion and guitar riffs. Natalia sings energetically and I love her ad-libs because they’re so addicting, “but now I got an another,/I got a ring/I got a lover/I’m about to have a mother in law/and things are kinda perfect,/but I know you’re fucking worth it/there’s only one thing I can do to break it off, come on.” The verses contrast greatly with the rest of the song but it works because of the subject matter. The chorus after the verses contains a post-chorus that has Natalia happily chanting “kill, kill, kill/I’m gonna/kill, kill, kill/so we can run away just like we said.” It’s disturbing but it’s amazing at the same time. In the second post-chorus a delicious synth line is incorporated into the melody and she begins ad-libbing fantastically. The bridge finds her falling deeper into insanity as she sweetly sings “and I’ll do the time/you’re my sweetest crime/you know that I’ll wait for you baby,” accompanied by serene backing vocals. The bridge starts to pick up as the beats come back in and the song ends with the chanting as well as some fabulous notes from Natalia. The fact that the song has a happy vibe to it makes it twisted and completely unpredictable. It’s like Natalia took an axe to a love song. It’s pure genius.

I’m about to break you,” Natalia states after a blast of guitars at the start of Break You Hard and this is followed by the sound of glass shattering along with a distorted scream. This leads into a slow progression of creepy synths and after the maniacal laughter that sounds like it was taken out of a horror movie the song explodes into hard drums, claps and synths. The track shines because of its slick production and it’s the most aggressive song on the album as well as one of the tracks with a rock influence. The rock sound pushes it over the edge and it compliments Natalia’s aggressive vocals. The song is all about breaking someone’s heart and her strong vocals in the verses are incredible, “this is not a love song, honey if you want one better turn it off.” In the pre-chorus, she comes off as cold and detached which suit the strong and independent nature of the lyrics, “don’t need your heart cause I’ve got mine/I got mine/I got mine.” The chorus is a wonderful marriage of guitars, synths and heavy beats with Natalia singing with soaring vocals, “take my love before I go/cause you should know/I’m about to break you hard.”  Her vocals gradually get stronger as she repeats the hook, making it one of the most powerful choruses on the album. It’s cool that as she repeats the title it ends up sounding like she’s saying “break your heart.” After the second chorus the creepy laughter comes back and Natalia begins chanting for the bridge, “lipstick, lies, tears, tragedy,” while in the background she talks in a sinister manner, “shhh darling, hold still/it’ll only hurt for a moment/and before you can open your eyes/I’ll be gone.” You can hear her accent during the bridge and it sounds very sexy. The final chorus is even stronger due to the ad-libs and backing vocals.

Zombie is the song that introduced me to Natalia but I wasn’t obsessed with it until I listened to it in the context of the album. This is the darkest song and it utilizes synths amazingly well to create a horrific and eerie atmosphere. The opening beats alone will hook you right in and the horror movie feel it gives off is so unique. The arrangement quickly changes to a tribe-like beat with buzzing synths. Natalia’s vocals are heavily distorted throughout the entire track and it is the only track to utilize this much vocoder but it’s one of the best uses of it in pop music that I’ve heard in a long time. The vocodor isn’t employed to hide her vocals but to enhance the mood and effect of the song. It really adds to the creepy feel of the melody and her vocals sound great. Natalia relates the man she loves to a zombie and it’s a fitting comparison for her dark approach to music, “I’m in love with a zombie/can’t keep his hands off me/I think he’s looking at me/but he’s looking right through me.” The chorus is repetitive but it’s beyond addicting and the creepy synths work so well with her distorted voice, “I’m in love with a zombie boy/I’m in love with a zombie boy/I’m in love with a zombie boy/but his heart is so cold.” The post-chorus is sung with monotone vocals that produce a chilling effect. Once again, Natalia raps in the bridge and it’s my favourite part of the entire track. She nails it and it’s unbelievably catchy, “baby all I want is an answer when I walk past ya/why you gonna act like I’m Casper?/every boy wanna know/irresistible, kissable/but you think I’m the invisible girl.” This is such a hot song and it was an excellent decision for Natalia to introduce herself with it.

Love Is A Suicide was an instant hit for me and it’s one of my favourite songs on the album. Love is something that is highly praised and its pleasurable aspects are always romanticized in pop music. It does become linked to heartache but Natalia is the first artist I’ve come across to describe love as a suicide. You put everything you have into a relationship and end up giving the person you love power over you. In the end, you are the cause of your pain and it’s such an original way to describe love. It opens with a gothic choir that quickly becomes joined by delicious and dark synths. Natalia’s vocals are flawless and they exude emotion and pain, making for a very believable performance. The use of gruesome and violent imagery in the lyrics is one of the reasons this track stands out so much, “you like the smell of blood/when it’s pumping like a factory/you like your words to cut/you like to choose the best artillery.” The highlight is the pre-chorus where the composition increases in tempo and more synths are added with Natalia’s vocals being slightly vocoded, “I wonder who you’re thinking of/who am I?/am I the epitome of everything you hate and you desire?/you love me like an enemy.” The second pre-chorus references acts of suicide and it really pushes the dark and uneasy atmosphere, “but when I’m on the edge you won’t let me fall/rope around my neck but you won’t take it off.” The chorus isn’t as crazy as the pre-choruses but it’s still incredibly infectious, “you can run, you can hide/but sooner or later/it’s gonna cut like a knife,” and when she starts to sing the title more synths burst into the arrangement. The atmosphere in the spoken bridge is unsettling due to the gothic choir and Natalia’s eerie tone, “close your eyes/count to ten/take the bullet out again.” The music immediately transitions back into the hectic synths and she closes the song with great ad-libs. Natalia can craft ridiculously catchy as well as deep music and this song is proof of that.

Mirrors is her first single, Natalia’s most well-known track and it’s the one that started to make me a huge fan. It takes a modern mainstream electropop sound and infuses it with her personal touches. The song has been compared to Sweet Dreams (Are Made Of This) by Eurythmics and it lyrically deals with the ideas of being obsessed with one’s appearance and the power and control one gets from sexual activities. This is one hell of a sexually charged song and it’s extremely aggressive. The composition is dominated by edgy synths, guitars and hard percussion that’s very in-your-face. It is filled with references to s&m, sadomasochism, which really pushes all the ideas of vanity and control to the forefront, “shut your mouth and close the door/I wanna watch you while you take it off/I’m gonna take the blindfold, put it on/and then I drop the leather to the floor/I said shut up.” The percussion disappears for the steamy chorus which is synth overload and with hot vocals Natalia aces it, “turning the lights out/tighten the handcuffs/and the mirrors gonna fog tonight.” The second verse is longer than the first and it has her going on a power trip, “squeeze hard, hold that pose/you know I like it, do it/sweet heart I’m the boss.” Not only is the second verse better and even more captivating, the chorus features more instruments and sounds more epic than it did at the start. The music tones down in the bridge where she repeatedly chants, “sex, love, control, vanity.” As it progresses, parts of the chorus play over it and the music picks up again. Before the final chorus, the latter half of the second verse is used and it’s great that it’s used again because it’s my favourite part of the song. This is a deliciously crafted piece of dark electropop and it’s not a surprise that it’s been well received. This was a smart choice for the first single because it has a mass appeal sound and still remains different from everything else out there.

The album’s first down-tempo is Not In Love but that in no way means it’s not as dark as the previous songs. The melody is made up of low synths and guitars that come off as monotone but spine chilling. Some pulsing percussion is added and Natalia’s vocals, compared to the composition, are somewhat bright but they contrast well with the dark lyrics, “thought that cupid shot me with love/it was only an arrow/just ‘cause we ain’t deep/doesn’t mean we can’t enjoy the shallow.” I really like the little touches of synth that are employed in the verse when Natalia stops singing. The atmosphere completely changes in the pre-chorus where the melody becomes busier with synths and Natalia sings in a darker tone, “never gonna make me want/make me want/more than fun.” The haunting, bizarre synths in the chorus change the mood of the song again and Natalia performs in gloomy and twisted vocals. It’s the darkest moment of the song and as it moves further into the chorus the melody begins to increase in tempo and it becomes even darker, “but we’re not in love/no matter what/it’s not enough/we’re not in love.” There is more going on in the second verse because of the added beats and backing vocals. I really enjoy her backing vocals due to the deep tone of her voice, “the stars above, staring at the stars above” and “no I’m not in love, honey please don’t fall in love.” Male backing vocals are included in the second chorus and for some reason it increases the gloominess. Despite the chorus being so simple and repetitive, it manages to work with its creepy and sexy vibe. Natalia’s repeats “we’re not in love, trust me” in the bridge and as she continues the pre-chorus plays over it. I love how the pre-chorus is used as backing vocals for the final chorus because it adds a little twist to the song. It’s a fantastic laid-back track that still manages to be intense.

This is 911 what is your emergency?/there’s been an accident.” The first time I heard Acid Annie I wasn’t sure what to think about it. I felt like it didn’t fit with the rest of the album at all and it was the first track that didn’t really have a catchy hook. After taking my time with it and after some repeated listens, I started to appreciate how different it sounded compared to the other songs. The intro consists of a 911 call and this sets the mood for this revenge anthem. It has quite an edgy composition with guitars and synths that produce a rock oriented sound. Natalia gives off a vengeful, stalker vibe throughout the track and this is the main reason the track started to grow on me. She plays the role perfectly and she’s very believable. There’s a strong Alanis Morissette feel to this track due to its aggressiveness. The verses are performed with vindictive vocals and you can just feel the intense emotions she puts into it, “I followed you to the mall/I pulled up right by your car/and darling I saw it all yeah.” She gets extremely violent in the pre-chorus where she sings about her vengeful actions, “if your wondering why your windows smashed/your shirts are slashed/your house is trashed, me/don’t you know that it’s me me me?” The chorus has a stronger rock feel than the rest of the song and while it isn’t that catchy of a hook the strong vocals and distorted backing vocals make up for it, “Acid Annie don’t be bitter for the rest of your life/he can hurt you, don’t deserve you/but he can’t make it right.” In addition, this is the only song that moves from the first person perspective in the verses to the third person in the chorus. This is also the most explicit track on the album and in the context of the song it works with the stalker role that Natalia plays, “and if you’re wondering why your brakes are cut/and everything is fucked, it’s me/mother fucker it’s me!

Superficial is the first track since Free to deal with money and materialistic wealth. This song, as the title suggests, is about superficiality and it’s the most mainstream song on the album. In contrast to the light and optimistic Free, this song follows in the footsteps of the darker tracks. The intro has very distinct Natalia sounds such as the gothic choir which is accompanied by delicious, buzzing synths. As the intro fades, it transitions into the verse with Natalia laughing and she immediately begins singing about her love for superficial frivolities while the composition is made up of a variety of beats, “credit cards/I can’t leave the house without my lipstick on (lipstick on, lipstick on)/it’s like a runway show/Monroe (yeah Marilyn) you would be proud/honey you would be.” She makes a reference to Eurythmics in the first verse and her girly vocals are very enjoyable. She riddles the verses with backing vocals and they add to the catchiness of this track. While the first chorus deals with her own obsessions, for the second verse she focuses on the superficial aspects of the man she has her eye on, “he’s got the lacquered hair/the blackest lashes honey hold that stare/inside your eyes I could go anywhere/straight from the alley to your daddy’s jet/honey come on now.” When the song moves closer to the chorus, pulsing synths creep into the composition and it explodes into the chorus which is comprised of even more synths. Natalia employs deep vocals for the majority of the chorus but she moves to a higher tone near the end and I like the contrast that it creates, “superficial/you know it, you know it, you know it/I think about you all the time/my love is something money can’t buy/don’t tell me that I’m superficial.” The melody from the intro makes an appearance again before the infectious and irresistible chanting bridge. This chant might be my favourite on the entire album and the constant pulse of synths is great, “love cars, love shows/I love beauty beauty/love boys, love boats/I love beauty beauty.”

The theme of money is brought up one last time for the most surprising song and my favourite on the album, Broke. I was in complete awe when I first listened to it because it’s the album’s first ballad. I was definitely not expecting this type of song from Natalia and she nails it. It opens with a soft gothic choir, haunting and tragic synths as well as dramatic beats. When I first heard her vocals I was totally captivated. On this track, she delivers her best performance with deep, luscious, vulnerable and melancholic vocals. Natalia constantly comes up with unique ways to describe love and this time she relates a bad relationship to poverty, “my love is priceless, can’t buy my time back/so let’s forget all our regrets and keep the change/you don’t define me, only remind me/I’d rather beg than live that lie with you again.” I love the lyrics and the whole concept of the song is amazing. The music picks up in the pre-chorus and her sad vocals become stronger, “if I am giving/I’m giving up/I’m empty handed/you took enough.” The chorus is dramatic, flawless and it’s stunningly gorgeous. It’s loaded with rhetorical devices dealing with money and this makes the song irresistible because it’s so creative, “but if I had a dime for every single time you ever made me cry I’d be a millionaire/and if I had a dime for every single time I should have said goodbye I’d be a millionaire/but I don’t cause you left me broke.” It’s simple but its effective and it’s one of the more depressing moments on the album. I just can’t get over how emotional she sounds and she really showcases the beauty of her voice. In the bridge, Natalia moves into a more confident tone and sings with vocals that are laced with sadness, “so I’m taking back my heart/I’m richer without you/with nothing, nothing, nothing.” The song closes with passionate ad-libs and her vocals are to die for. This is easily the best ballad I’ve heard all year and it’s shocking to see that it comes from Natalia.

Heaven is another ballad and it’s just as brilliant as the previous one. The previous ballad was dramatic and dark but this one is the complete opposite because it’s tender and light. The soft synths create a beautiful atmosphere and the music box melody creates a lullaby effect. While the music is sweet, there’s a touch of darkness to it and it really comes out in the lyrics. This song is much more tragic than the previous one because it deals with death and the lyrics are so touching, “they say a picture says a thousand words/but I would trade a thousand pictures to hear one of yours/and I’ve been saying prayers like I was writing you letters/‘cause if heaven’s far like I think it is you wouldn’t get ‘em” and “they say that God is full of mysteries/sometimes I wonder if you tell him that you’re missing me?/‘cause I miss you everyday like they took summer away/like they took colour away and this grey needs to get the hell away from me.” The chorus is jaw-dropping and its Natalia’s most tender moment. The lullaby melody and the lyrics blend together to make a beautiful hook with sincere vocals. What I love about the chorus is that it can be viewed as either depressing or hopeful because of the nature of the composition and lyrics, “I know heaven must be beautiful right now/since they got you babe/since they got you babe/I know heaven must be beautiful right now/since they got you babe/since they took you babe.” The bridge adds a whole different feel as Natalia sings in a fragile voice, “I’d give my life for one last time with you,” and her rap is totally unexpected but fits really well. It prevents the song from being too repetitive and it’s a breath of fresh air for a singer to do their own rap, “parachute gone and I’m falling fast/my heart has stopped but I’m still breathing/feel numb but still I’m feeling.” Overall, this is another excellent ballad that demonstrates how great of an artist she is.

Nothing Lasts Forever (feat. Billy Kraven) is the sexiest song on the album and it’s a fan favourite. The sexual vibe is mixed with a dark one and it’s very addicting. It immediately starts with a slick electronic beat with Natalia talking in distorted vocals. This leads to a thumping beat and a delicious synth melody. She performs with sexy vocals and there’s an urgent feel to them that matches the subject matter, “you got a face like a doll/will it last forever, no/I just want you beautiful/you don’t need to think about it.” She uses a higher register for the pre-chorus and the backing vocals make things even steamier, “we might never meet again (this might be the last time)/kiss me like the world will end (press your lips right up my spine)/pull that shirt I’ll pull the shade (dirty secrets, dirty lies).” This song features Billy Kraven and I’m not sure who he is but his verse is very good. His voice is heavily vocoded and he gives a nice flair to the track. The chorus is crack and it’s a massive earworm. The melody is edgy and it’s really in-your-face, “you’re beautiful, don’t know you’re name/it’s all the same/nothing lasts forever babe/you take it off/I throw it all away/I gave it to you first/nothing lasts forever babe.” Natalia sounds passionate and she becomes more desperate as the chorus progresses, especially when the chanting is incorporated into the chorus, “cash, cars, girls, boys/nothing lasts forever babe/hot nights, bright lights/nothing lasts forever babe/true love, first touch.” Everything is toned down in the bridge where Natalia is accompanied by a piano and performs a slow version of the chorus. Her high tone is marvelous and it’s crazy how much the mood of the track changes when it’s performed with heartfelt vocals. She starts to sing stronger as she repeats the title until she belts it out and the synths explode back into the composition. This is a hot song with a banging beat that will definitely get you moving.

The album ends with the deep and thought-provoking If I Was God. It opens with organ-like synths that change into hard beats. The lyrics are very personal and even though Natalia has a dark image, she’s stripped-down on this track and asks, “would you love me if you found out I never had/no clothes, cars, money/no clothes, cars, money/would you still want me if I told you I was not/a somebody, somebody/nothing special, nobody.” Her vocals are strong and I like the constant use of backing vocals throughout the verses. In the pre-chorus, her vocals sound even better and she puts more emotion into them, “I wish I was strong/I wish I was everything/I’m feeling inside my head/don’t let me wake up/the truth is my enemy/just tell me you’re still here.” The organ-like synths appear again in the chorus and I love the thoughtful lyrics, “if I was God, what would I change?/should we keep on or should we throw me away?” The chanting crowd between each line, “love, war, lies, money,” throws in a political feel to the song and it’s a nice little addition. The second half of the chorus is comprised of fantastic vocalizing from Natalia and it’s very beautiful. In the bridge, the melody remains the same and Natalia repeats, “I don’t really wanna live like nothing’s wrong/I don’t really wanna give up on our love.” The final chorus is much better because the chanting crowd is replaced by another set of vocals from Natalia and it makes the song even more meaningful, “would you still love me?/reality/If I wasn’t everything you thought I was/illusion/it’s not a lie/I just want to give you the best version of me.” There couldn’t have been a better song for her to close the album with because it brings her whole vision to a close perfectly. What’s great about this song is that it shows that Natalia Kills is not a persona that’s been created. She shows that regardless of what name she’s under she’s still the same person. It’s a perfect ending. The untainted version of Free is included as a bonus track and I’m glad because it’s vastly superior. The only major difference in terms of the song’s structure is the intro. Every time Natalia says “I’m” in the beginning, the piano cuts in and it just catches your attention. In addition, Natalia starts singing “get ya 5´s, get ya 10´s, get ya 20´s outwhich builds up to the chorus much better than will.i.am’s verse does. This is a great treat for the fans because I’m sure many people will prefer this version to the other one.

Conclusion: It’s not easy to make an incredible debut but Natalia has done it with Perfectionist. This is one of the best debut albums I’ve ever heard, it’s that strong. Natalia Kills may be new to the music scene but she demonstrates that she’s not someone to take lightly. Every song has the potential to be a single. Natalia’s vocals are amazing and her dark, sinister tone is like no other voice I’ve heard. It suits the type of music she does and it’s just so good to listen to. The album is dominated by infectious up-tempos and it’s great to know that she can make a ballad just as memorable. Her ballads really surprised me and they’re some of the best I’ve heard. Even though some people have issues with her appearance I love it because it really reflects her music. Not many artists stick by a theme so strictly but Natalia stays true to her vision from beginning to end which makes this a concept album of sorts. Perfectionist is a perfect album and it’s definitely a contender for album of the year. It’s been a long journey for Natalia as she’s had to switch names a few times but she’s finally made it and it was worth the wait.

Recommended Tracks: Broke, Wonderland, Love Is A Suicide, Mirrors, Heaven, Free, Nothing Lasts Forever (feat. Billy Kraven), Kill My Boyfriend, Break You Hard and Zombie

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