Sydney’s Natalie Slade lands on Alexander Nut’s esteemed label, Eglo Records this month with her second offering from upcoming debut album, Control. Over recent years it has become clear to see why London is making the most of the fruits of the Southern Hemisphere. There is a seemingly infinite pool of contemporaries, who enlist the artistry from their peers in collaborations that other nations can only envy. Slade, who has previously collaborated with Steve Spacek and Katalyst, and more recently performed live with Allysha Joy of Melbourne collective 30/70; is laying the foundations to a solo career, painting melancholy in styles that decidedly sound like a personal, reclamation of power for the artist.
“Gimmie Ya Love” abandons any traditional ‘love song’ aesthetic in favour of a frenetic drumline, which provides the backbone beneath soft, yet fierce lyricism. The energy of orchestral drum and bass, laced with neo-soul arrangements provided by Paul Bender on bass, and Alon Ilsar on drums – isolate your concentration to the power of her voice, as she travels upwards from debut, “Love Light” and toys with tempos though easy on the ear; loudly protest to being categorised to any one genre.
Produced by Simon Marvin of Hiatus Kayiote, he shines a light on the intricacies of Slade’s artistry, as she weaves between genres within the makings of a rawkus, full throttle love song. The track, though fundamentally harder-hitting than “Love Light”, very much mirrors its underlying narrative; with the beginnings of Complete pushing Slade to the forefront of an already expansive set of future-soul innovators.
“Gimmie Ya Love” releases Friday, prior to the release of her full length debut LP Control, on June 5th via Eglo Records.
Words by @rhimarilou.