The British music press raised its collective eyebrow when the release date for Made of Bricks was brought forward two months to cash in on Festival success and the hype surrounding the first single, “Foundations.” It was suggested that getting the album on shelves was given precedence over tip-top production values. The rough approach to the album does, indeed, seem a little strange when put alongside Nash’s glossier contemporaries. An early association between Nash and her MySpace buddy, Lily Allen, immediately prompted comparisons. Whereas Allen’s debut record was stuffed with samples and highly polished light-hearted ditties, Nash opts for more subdued teenage shoe gazing. Similarly, compared to the other woman-of-the-moment and cockney chops cohort, Amy Winehouse, Nash comes across childlike with her preference to sing in primary colours.

The first track stands-out, not necessarily because it’s good, but because it is strikingly different to everything else. Sounding more like her early 2007 single, “Caroline’s a Victim,” Nash softly syncopates the words “I like to play” over drum beats, organs and guitars. Perhaps the intention is to sound a little raunchy, but the song grinds to a halt before she has the chance. The opener, whilst ill-fitting, provides a launch pad for the unabashed sparkly “Foundations.” Neither this song nor the following “Mouthwash” (also a UK hit single), can claim to be classics but with her exaggerated “Laahndan” accent, Nash exudes an irreverent charm which holds up throughout the rest of the album.
The simplicity of the songs is reflected in the musical arrangements although, ironically, the fleshiest track is “Skeleton Song,” in which producer, Paul Epworth (Bloc Party, Futureheads, Maximo Park), adds a string section and a convincing wall of sound. It is also this song, with its scattered plosives, where it becomes truly apparent that Nash has learned from the Regina Spektor book of quirky singing.

The paucity of subject matter – no great surprise from someone so young – leads to such songs (namely “Dickhead” and “Shit Song”) which she might discard in future, more mature projects. Nash’s focus on the mundane must be put down to inexperience but it is this kitchen sink approach which makes her so engaging. The soft, sweet vocals might not match her potty mouth, but therein lies the attraction. The sounds and words on Made of Bricks betray someone hiding between teenagedom and womanhood; a simple, yet far reaching appeal.