Album Review: Natalie Imbruglia - Come to Life (4/5)

It's been 4 years since Australian pop singer Natalie Imbruglia released her last album, Counting Down the Days. That album boasted one major hit--"Shiver"--but unfortunately faltered after that, and "Glorious," the single from her 2007 greatest hits set, also was not a major hit. Then she divorced in 2008. Things were definitely looking down for the singer, who 12 years ago conquered the world with her first single, "Torn."

Thankfully, things are looking up on Come to Life, her engaging fourth album, which takes a new direction from her previous work. Where Counting Down the Days was mostly warm and sounded calculated to appeal to the masses (and radio), Come to Life is more experimental and darker.

If it's the case that CDs and digital media have destroyed the ability to divide albums into 2 parts (since you no longer have to turn them over), Come to Life is argument for preserving that ability, for the album divides rather neatly into two programs--the first half being more acoustic and traditional Imbruglia territory, and the second being more electronic and experimental.

The first half also features two tracks written by Coldplay, both of which are apparently leftovers from earlier albums. "Lukas" is even produced by Viva La Vida or Death and All His Friends producer Brian Eno, and its clear musically that's where this song originated. "Fun" is their other track, produced by Ken Nelson, who worked with Coldplay on their first three albums. Of the two, "Lukas" is superior, bright and broadly scored like so much of Viva La Vida, it pulses with a warm piano and guitar melody. "Fun" is good too though, quieter and emotional, as the singer reflects on a failed relationship ("I know it hurts like hell when you can't be with someone").

"My God," although it's not one of the Coldplay tracks, reminds me of their "God Put a Smile Upon Your Face," as it has a similar insistent guitar and drum rhythm. Its' a real rocker of an opening track. "Twenty" has a lot of power behind it too, while "Scars" is old-school Natalie guitar-based pop.

"Want" kicks off the rougher and more experimental second half. It's a remarkable song, dark and driven, with lush strings and an insistent, robotic beat. The song is based on Imbruglia's "Be With You," a track from her greatest hits collection, going as far as recycling that song's beat and using its first verse in the middle section. It's meaning is quite different though--whereas earnest "Be With You" finds the singer pining that she can't be without some guy ("I don't want to live if I don't want to be with you"), "Want" is a sarcastic kiss-off, and given the recent divorce, probably quite personal ("I hope you get all that you want, 'cause I didn't").

"WYUT," which stands for "what you up to," is another charging song, this time driven by the unusual coupling of a prominent bass beat and acoustic guitar, with the later addition of synths. "Cameo," a '80s throwback, also has a surprising edge, dominanted by synths and processed guitar. "All the Roses" is a lovely ballad, with piano and milky synth chords. "Wild About It" closes the album on another strong note, its plucky rhythm underpinning a rousing sing-along melody.

This is a really great album. So why isn't it a bigger deal? What's with the soft release in the UK? The album arrived "digital only" with barely a whimper--no major British music outlets have reviewed it yet--with a physical release supposedly on the way early next year. I hope it gets a fair chance.

Best: Want, Lukas, Fun, Wild About It, My God

Best of 2000s: Natalie Imbruglia - Counting Down the Days (4.5/5)

Under-rated and mostly over-looked, Natalie Imbruglia's third album was a classy pop affair that suffered from bad promotion. While the album launched an the back of the brilliant first single "Shiver," it produced no other hits and quickly faded from the limelight, along with Imbruglia's career (we've barely heard a peep from her since). Too bad, for she's a pretty fantastic pop artist who deserves to be known for more than just "Torn." Most of the best songs on Counting Down the Days are bright-sounding blends of mostly acoustic instrumentation and Imbruglia's smooth vocals. Co-written by Kara DioGuardi, "Starting Today" is a delightful track that balances its guitar melody and with Imbruglia's clear voice. Upbeat "Satisfied" and "Sanctuary" are similarly, instantly likable. "Counting Down the Days," while a bad choice for a single, is not a bad album track, alternating between piano-backed versus and louder choruses. Slower songs are good too, like the moody "I Won't Be Lost." "Perfectly" sounds like it was made to air over TV promos for the CW, which is to say that it would sound great on the radio too. Quirky "Honeycomb Child" is less immediate, but give it a second chance and its music-box melody will charm you. In short, there's little not to like here.

Best: Shiver, Starting Today, Sanctuary, Satisfied, Perfectly, Counting Down the Days

Natalie Imbruglia - Glorious: The Singles 1997 - 2007

The fall season for greatest hits releases is here. First up is Australian actress turned singer Natalie Imbruglia with Glorious: The Singles, the sort of hybrid greatest hits collection that's be in vogue lately, along the lines of what we got from Dannii Minogue and Hilary Duff: not quite substantial a catalog for a proper greatest hits but not enough new material to make a full album.

Glorious features all nine of Imbruglia's previous singles; new release "Glorious," which made a tepid bow at #23 on the UK singles chart last week; and four other new tracks. Included of course is her massive breakout, "Torn," which made her an instant international star. Unfortunately, she never lived up to it, and her third and very likable album, Counting Down the Days, never saw a US release. Here are the highlights:

1. "Torn" (from Left of The Middle). This 1997 single, her debut, became a massive hit in Britain, hitting #2 and spending 11 weeks at #1 on the airplay chart. A few months later it became a massive hit in the US, also spending 11 weeks at the top of the airplay chart. It's since earned a permanent home at adult top 40 radio stations, where the upbeat, easy to sing with track will always have a home.

2. "Shiver" (from Counting Down the Days). Something went terribly wrong with the promotion of her third album. "Shiver" is a glorious pop single, one of my favorites from 2005, and deserved to be an international smash on par with "Torn." It has a cool video too--a spy-themed chase across Europe in the vein of the Bourne films. It became a #1 hit on UK radio, but managed only #8 on the sales chart. Sadly, it was never released in the US, where I swear it would have been a hit. Interest in the album quickly waned as second single "Counting Down the Days" was released rather late and didn't chart well. We never whether "Perfectly," "Sanctuary," or "Starting Today" could have been hits.

3. "Beauty on the Fire" (from White Lilies Island). Imbruglia's second album wasn't nearly as successful as its first, and this, its third single, is the lowest charting of her 10 singles in Britain. Too bad, as the darker track with a mild downbeat influence, was the best single released from White Lilies Island.

4. "Big Mistake" (from Left of the Middle). This was the moody UK follow-up to "Torn," which followed its predecessor to #2. Strangely, it wasn't released in the US, in favor of "Wishing I Was There." Too bad, because it was much better. More of a rock song than poppy "Torn," it was also all over UK radio.

5. "Wrong Impression" (from White Lilies Island). A modest hit in both the UK and the US, this was the best White Lilies Island could offer. Not a classic, but a good song nonetheless.