Nina Nastasia – Songs for a World of Trouble Review

What does Nina Nastasia sound like?

Honest, direct, folk that cuts through to the bone.

The review of ‘Songs for a World of Trouble’ by Nina Nastasia

After a 12-year hiatus, Nina Nastasia returned in 2022 with the emotionally charged ‘Riderless Horse‘. The album was born from personal tragedy, and that theme strikes again with Nina’s latest album. Last year, Steve Albini, Nina’s closest collaborator and friend, passed away. The news was devastating, and Nina had thought it might take all the joy out of writing and performing music again. Inspired by a conversation with Will Oldham, she returned to writing with a new purpose and perspective.

Becoming unmoored and searching for community, be it in the arts or where you live in the world, is the overarching theme of the album. Everything in the world is complex. The world is full of trouble, and Nina is trying to find her new place in it, having recently moved and lost a close friend. This album of 8 tracks is concise, at 20 minutes, but it crams in a lot of thoughtful lyrics and some classic Nastasia front porch folk musings. That said, there is a brighter hue to this album than most of Nastasia’s catalogue to date.

‘Ocean Front’ opens the album with a folksy lullaby of sorts. The chorus vocals remind me of nursery rhymes. They have a pleasant lilt, whilst the rustic acoustic guitar, bass, and brushed percussion gently skip underneath. ‘Happiness’ is an uptempo acoustic rock anthem, using warm, glassy glockenspiel to back up the acoustic strumming and stompy chords. I don’t think I’ve heard Nina ‘la-la-la’ing with abandon quite as freely as this in her music before. It is possibly the most approachable single material she’s produced to date, whilst still being totally Nina.

Being totally Nina involves fingerpicked acoustic guitar riffs that hang heavy in their sliding sway. ‘No Communication’ showcases this with a very simple riff that rotates around one sedentary string and a second note change every other pluck. Nina is able to play with calm tension, and the riff’s unresolved, questioning tone matches the direct, honest lyrics perfectly. ‘Family of Three’ is a true American folk piece. Simple, clean, slow arpeggio plucked guitar chords over a folksy vocal delivery. The vocal crooning reminds me of Tanya Donelly’s love of a falsetto whoop. We then change tone to the cute ‘Old Goat’, a marching skipping beat with Nina asking the goat to marry her. It has an old country tune quality to it that you’d sing in the barn to after a few drinks.

The album takes a minimalist turn for the final three tracks of the album. ‘Stop A Train’ is a short piece that brings a sawing cello towards the end, gently pulling tension against Nina’s voice without getting too theatrical. It is the a cappella performance of ‘A Blazing Fire’ that captures the attention best. There is so much emotion in the naked vocals and strong melody of this performance; it deserves to be mentioned amongst some of her best work. Similarly, ‘North Dakota’ closes the album as a vocal and double bass duet. The sparse delivery and the bass’s bent strings and curious curved notes bring bewilderment and excitement to the song. I feel like it’s about to veer off track, but it always returns home to safe folk and blues chords again. Alongside this album, Nina Nastasia has crafted a 32 page ebook of artwork, poems, thoughts, and lyrics. It brings more depth to the album to see its genesis from different perspectives. In an age where linear notes and CD booklets are rare, it is a very welcome addition to the album package.

‘Songs for a World of Trouble’ has Nina Nastasia trying out new ideas and musical clothes to see which fit her best. They all carry her unique guitar playing style, and they all showcase her made-for-folk voice. This may not be the easiest place to start discovering Nina’s music, but it does serve as a short form dip test, as it is so short. Fans of most rootsy, sparse, stripped-back acoustic folk will find plenty to enjoy here. Like most of her work, this album feels like one of those word-of-mouth albums that is designed for intimate performances and smaller gatherings. More importantly, I hope this album allows Nina to continue exploring music on her terms, in the hot seat. This album shows she is more than capable of doing it on her own if she wants to. The music speaks for itself. I’d just love a few more minutes of sound next time, pretty please.

Recommended track: Old Goat

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