11 Songs, 43 Minutes

EDITORS’ NOTES

There’s a sense of freedom and adventure to Nicole Atkins' third album, Slow Phaser. The blues and country reference points that were so evident in the singer/songwriter’s initial work are skillfully blended in with fresh techno and prog-rock textures to create a striking hybrid at once edgy and elegant. Atkins’ vocals have the richness and kick of aged burgundy, veering from erotic insinuations to stinging kiss-offs (sometimes in the same song). Molten basslines and tremolo guitar dabs give “Who Killed the Moonlight?” and “Girl You Look Amazing” a seductive slink that underscores their conspiratorial tone. Skirting the border between temptation and torment, Atkins connects with her inner soul diva on “The Worst Hangover” and flashes a steely disdain worthy of Chrissie Hynde on “What Do You Know?” Tracks like the sarcastic yet bubbly “Cool People,” the jittery “We Wait Too Long,” and the spiritually twisted “Sin Song” unsettle even as they satisfy. Atkins leaves the listener in the throes of moody rapture on “Above as Below,” bringing this artistically bold and emotionally striking collection to an evocative close.

EDITORS’ NOTES

There’s a sense of freedom and adventure to Nicole Atkins' third album, Slow Phaser. The blues and country reference points that were so evident in the singer/songwriter’s initial work are skillfully blended in with fresh techno and prog-rock textures to create a striking hybrid at once edgy and elegant. Atkins’ vocals have the richness and kick of aged burgundy, veering from erotic insinuations to stinging kiss-offs (sometimes in the same song). Molten basslines and tremolo guitar dabs give “Who Killed the Moonlight?” and “Girl You Look Amazing” a seductive slink that underscores their conspiratorial tone. Skirting the border between temptation and torment, Atkins connects with her inner soul diva on “The Worst Hangover” and flashes a steely disdain worthy of Chrissie Hynde on “What Do You Know?” Tracks like the sarcastic yet bubbly “Cool People,” the jittery “We Wait Too Long,” and the spiritually twisted “Sin Song” unsettle even as they satisfy. Atkins leaves the listener in the throes of moody rapture on “Above as Below,” bringing this artistically bold and emotionally striking collection to an evocative close.

TITLE TIME
4:02
3:44
3:56
4:06
3:37
4:21
3:42
4:43
4:19
2:10
4:48

About Nicole Atkins

With her throaty vibrato and lushly orchestrated pop songs, Nicole Atkins made her debut in 2006, bringing to mind a blend of Roy Orbison, Loretta Lynn, and Jenny Lewis. She was raised in Neptune, New Jersey and relocated to North Carolina during her late teens to study illustration at UNC Charlotte. After befriending members of the Avett Brothers and logging several years with the alt-country band Los Parasols, Atkins briefly returned to the tri-state area, where a series of open-mike performances in Manhattan's East Village helped her hone a sound that was more indebted to pop music than her work with Los Parasols.

Atkins spent the following years traveling between North Carolina and the Northeast, eventually settling in New Jersey at her parents' house. Performances in New York City helped her attract the attention of several local musicians, and she began piecing together a backing band comprised of guitarist Dave Hollinghurst, bassist John Flaugher, drummer Dan Mintzer, and keyboardist Daniel Chen. Operating under the name Nicole Atkins & the Sea, the band secured a residency at Piano's -- a popular nightspot in the Lower East Side -- and struck a deal with Columbia Records on the strength of Atkins' demo recordings and impressive performances. Atkins released the Bleeding Diamonds EP in 2006, and the group decamped to Sweden later that year to work on a full-length album. Featuring the songwriter's self-professed "pop noir" sound, Neptune City arrived in late 2007, followed by an EP of cover material in 2008.

After lending her vocal talents to A.C. Newman's album Get Guilty, Atkins went through a period of transition during the making of her second album. She parted ways with her original backing band, broke up with her longtime boyfriend Paul Ritchie (of the Parlor Mob), and found herself at odds with Columbia. As a result, Mondo Amore wasn't released until early 2011 (via Razor & Tie), and the album found Atkins exploring new influences, including blues and vintage psychedelia. She toured extensively in support of Mondo Amore, playing shows for close to a year, and then began work on a third album, writing new material with producer and percussionist Jim Sclavunos. In 2012, Atkins' home in New Jersey was hit by Hurricane Sandy; she was in Memphis when the storm battered the East Coast, but was still left temporarily stranded. Word of Atkins' troubles got back to Tore Johansson, a producer and musician who had worked on Neptune City; he invited her to join him at his residential studio in Sweden, and there Atkins sorted through the lyric ideas and song fragments she'd stored in her iPhone and fashioned them into an album, the ambitious and eclectic Slow Phaser. Rather than deal with yet another record company, Atkins opted to release Slow Phaser through her own label, Oh Mercy! Records, financing the project through a successful crowd-funding campaign. The album was released in January of 2014. Atkins later revised her opinion of record labels, signing to the Florence, Alabama-based Single Lock Records for her fourth studio album, Goodnight Rhonda Lee. Released in 2017, it was recorded in Fort Worth, Texas, with production trio Niles City Sound, and had a lush, retro vibe with flavors of country-soul and jazz-funk. ~ Andrew Leahey & Mark Deming

  • ORIGIN
    Neptune, NJ
  • BORN
    October 1, 1978

Songs

Albums

Top Videos

Listeners Also Played