It's not like I ever got over this record. It was likely one of my first gateways into pop music, with pop structures and pop arrangements; for a record that is almost ten years old, I think about it quite often, and more so since Haley Henderickx's debut record.

There were faint memories of lush pop wonder, and the opening track quickly confirms it: delicate strings, velvety horns, aurally weaving in and out the voice and the words; this is masterful pop of the anachronic kind — preceding the revival of jolly synths of Carly Rae Jepsen, as Natalie aims for the Carpenters (I've also read Dusty Springfield!) — and it is so good.

I got to this record again thinking there were only a couple of songs worthy of note; but it stayed. Natalie Prass was released on Spacebomb, and this label had something special brewing at the time (Matthew E. White produced lots of stuff).