Review Summary: The fourth, the fresh, the fun and the fantastic – Imbruglia pertains them all here.
Natalie Imbruglia is just a girl (now woman) who just wants to have fun. Given her last three have felt somewhat drab in their acoustic pop-rock lure;
Come to Life illustrates Natalie some distance from her comfort zone, but naturally enjoying herself a little more than previously. In the end, it’s a good feeling, and she represents it gracefully through both a varied array of partly electronic tinged acoustica and her sweet vocal delivery, far from claims of the hoarse
Alanis Morisette semblance of yesteryear. Interestingly the album’s most easily attained compositions are straight from the head of Chris Martin (
Coldplay for those under rocks). Arguments as to whether he can write an substantial song stop with within
“Lukas”,
“Fun”, the former of which came direct from
Viva La Vida’s back catalogue and
Brian Eno’s mastermind -- hearing them in this setting is attractive to say the least.
“My God” and
“Want” (also Martin’s) utilise classic dance beats, synth and darker melodies as their impellor arguably becoming album’s best moments by supplanting typical stylishness with sonic buoyancy.
These 37 short minutes ensure listeners can experience this during average work commute, or just in a single sitting without the strings attached. They also allow the cautious to nibble at the edges before taking the scoff into a solid core. Those who only remember her for 1997 may find this a leap of faith, without remembering she’s had 24 other songs follow the same line as those on
Left of the Middle did. In a twist, these songs could have quite possibly been written during the late 90s, with some grooves sounding reminiscent of dance and pop movements swelling in Europe during the time. This fresh looking glass breathes life into her liberation (or as she’d like you to think her coming to life), complementing it by being simple, yet effective and casual, yet playful in all departments. There’s a timely balance of new founded alterations and older introspection; between sundry dance-pop and ruffled ballads respectively. If there’s one thing for sure it’s that Natalie has allowed the lyrics of Want (“I hope you get all that you want”) a genuine possibility for her followers, but the more important passersby, which is where this album certainly appeals towards in all dimensions, not forgetting to finally proclaim that she’s just
“Wild About It”!
