Made of Bricks

~ Release group by Kate Nash

Album

Release Format Tracks Date Country Label Catalog# Barcode
Official
Made of Bricks Digital Media 12 Fiction Records (not for release label use! please use "Fiction" for that instead) 600753095546
Made of Bricks CD 12 Fiction Records (not for release label use! please use "Fiction" for that instead) 1743143 602517431430
Made of Bricks CD 12 Fiction Records (not for release label use! please use "Fiction" for that instead) 1745207 602517452077
Made of Bricks CD 16 Polydor (worldwide imprint, see annotation) UICP-1087 4988005491879
Made of Bricks CD 12 Universal Music Ltda. (Brasil) 60251745515 602517455153
Made of Bricks Digital Media 14 Polydor (worldwide imprint, see annotation)
Made of Bricks (US censored version) CD 12 Geffen Records B0010536-02 602517455153
Bootleg
Made of Bricks Digital Media 13

Relationships

Allmusic: http://www.allmusic.com/album/mw0000495646 [info]
Discogs: https://www.discogs.com/master/149530 [info]
Wikidata: Q2012764 [info]
Wikipedia: en: Made of Bricks [info]
reviews: http://www.bbc.co.uk/music/reviews/nbvr [info]

CritiqueBrainz Reviews

There’s 1 review on CritiqueBrainz. You can also write your own.

Most Recent

It would be very easy to dislike Kate Nash's Made Of Bricks. The debut album of a wannabe stage school girl who only turned to music to keep herself amused while recovering from a broken foot has disaster written all over it. Throw in her begging-to-be-mocked scenester anthem and first single "Caroline's A Victim" plus the 'Lily Allen's MySpace friend' tag, and the house that Kate built would appear to rest on very shaky foundations indeed.

However any fears are somewhat unfounded. For a 20-year-old, Nash has constructed an album of surprising verve and variety. Whether breaking into spoken word over beats on opener "Play" or, displaying her dainty side on the jaunty piano-driven "We Get On", she displays a unique tone and style. Let's be honest, it's all delivered in a singing voice that would hardly charm sailors to their death but no matter, it's Nash's lyrics which take precedent here.

At times her honesty and self deprecation are startling and her words bristle with the intimacy of a private diary entry. Whether the tortured secret longing of "Nicest Thing" – 'I wish I was your favourite girl/ I wish you thought I was the reason you are in the world' or literally laying herself bare on "Mouthwash" – it's a revealing ride.

However, at times Kate's simplistic soul baring is also her undoing, especially when it slips into the mundane territory of making tea. The same colloquial style that makes her charming can also make her somewhat dull and a propensity to swear at every turn occasionally breaks the spell.

Nash is to be praised for using Regina Spektor's piano riffing and vocal eccentricity as her template and combined with Paul Epworth's fine production ear, she's constructed an album which despite its flaws is one of this year's more interesting offerings.