Send "Natalie Walker " Ringtones to your Cell 
| Dmusic |
 Natalie Walker's debut album was entitled Urban Angel, hauntingly befitting as her voice truly is heavenly. On her newest electronica release, Spark, her voice manages to stand out while still meshing with the music perfectly.Imagine a less angsty version of Fiona Apple, or a more recent example, Norah Jones. While Walker doesn't exemplify a mindblowing vocal range, her melodic singing is soothing and tranquilizing. Her voice is put through a vocoder, but it enhances the quality rather than making it sound freakish as it does with some popular artists today, i.e. Britney Spears and Ke$ha. "Mars" is slightly reminscent of Katy Perry's hit "E.T.," if not only for the airy, spacey feeling it gives off. The lyrics are deeper though; whereas Perry sings playfully of a love interest, Walker's song deals with bigger issues such as life and what we're doing with our time here on Earth. Arguably one of the coolest songs on Spark is "Cool Kids." It has a funky, danceable beat and the effect of layering Walker's voice really ups the ante for the rest of the album. It shows the greatest vocal variation on the album while still keeping Walker's breezy, delicate voice front and center. The lyrics on this album aren't just filler. Listeners get a glimpse into Walker's life on "I Found You" and "Sunday Afternoon," the latter, a track that lets us in on her search for a higher being. Things get a little less introspective, yet a little more steamy on "Against the Wall": - Kiss me up against the wall right now, right here/ Kiss me like I know you've wanted to for so long...Tell me that you want me/I'm right here-I don't know if "Uptight" was the best choice for the first single. There aren't any standout qualities, and the pace is quite sleepy for an opening track. Walker's voice is gorgeous though, which brings the enjoyability level up significantly....full text |
| Muumuse |
| I was first introduced–sorry, introduuced to Indiana-born singer Natalie Walker back in 2006. Formerly a member of the trip-hop troupe Daughter Darling, Walker debuted amongst a surge of fellow indie-pop songstresses that dominated the blogosphere (not to mention the soundtracks of nearly every trendy television show of the time, including Grey’s Anatomy, Ugly Betty and The OC)–songstresses like Imogen Heap, Rachael Yamagata and Bat For Lashes. Her 2006 solo debut, Urban Angel was a stunning showcase of atmospheric electronica and wisps of airy, romantic vocals, resulting in several successful soundtrack inclusions as “Circles” (Grey’s Anatomy) and the gorgeously lush Thievery Corporation remix of “Quicksand” (Sophia Coppola‘s Marie Antoinette). Quite simply, I was smitten. Two years later, Walker released her follow-up effort With You, an equally mesmerizing release that came packaged with the same ambient sounds and hushed vocals as her debut, but bolstered with some slightly bigger, pop-focused productions. Walker once again received the soundtrack treatment thereafter with the album’s soaring title track “With You” appearing on several shows, including The City and 90210....full text |
| Sputnikmusic |
| Natalie Walker began her career as the vocalist for trip hop group Daughter Darling, but it didn’t take her very long to decide to go solo. Her first solo release, though, didn’t turn out to be much different than the band she had just left – mainly due to the fact that it was supposed to be the second Daughter Darling release. It wasn’t until her second album, With You, that she stepped away from the chill trip hop of her initial band, and towards a much more upbeat pop direction. The tempos were increased, the melodies were cheerier and the vocal hooks were infectious, but it also relegated the trip hop influences to a supporting role. Natalie Walker’s third album, Spark, definitely still brings the pop influence of the previous release, but it does so while employing a prominent trip hop blueprint. Opening track (and first single) “Uptight” features the kind of subdued trip hop that Natalie Walker hasn’t created since her Daughter Darling days, but it is feels much more developed. The chorus is instantly memorable and the accompanying melodic layers – including acoustic guitar, violins, and keyboards – add a fullness that her music has previously lacked. In fact, the album is dominated by this more fully-developed take on Natalie’s trip hop roots. Just about every track makes use of a solid trip hop foundation, a warm layer of melodic elements, a subtle pop undercurrent and Natalie’s poignant vocals. The difference between these songs and Natalie’s previous endeavors is that everything feels much more complete and nothing feels awkward or out-of-place. In fact, the only song to take on the upbeat nature of the previous album is the catchy “Cool Kids”, but even that song is much better than anything she has done previously....full text |
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