Natalie Imbruglia Albums (3)
'Counting Down the Days'
Release Date 1/1/2005
Tracks 12
Label Arista
See Album Tracklist and Review
What The Critics Say
Arguably the best of the plethora of soap stars turned pop stars, Natalie Imbruglia appears to have performed a rather frustrating musical U-turn for her third album. Whereas her difficult but underrated sophomore effort understandably attempted to break away from the commercial acoustic pop sound that saw "Torn" become one of the biggest singles of the '90s, Counting Down the Days actively embraces it. Whether this is a conscious decision to rekindle her former multi-platinum transatlantic success, or whether Imbruglia is just in a happier songwriting frame of mind, it's still a confusing and disappointing change in direction. For all the bittersweet melancholy and dark undertones of White Lilies Island suggested an interesting career ahead, yet only on a few occasions does Counting Down the Days veer into this territory. Instead, the majority is made up of fairly inoffensive radio-friendly pop songs such as opener "Starting Today" and the Eg White-produced "Perfectly," both of which are little more than "Torn" Mark Two. Even the presence of husband Daniel Johns, formerly of grunge outfit Silverchair, on production duties, can't save the Beatlesque "Satisfied" from lapsing into blandness. But when Imbruglia is allowed to stray from this formula, she excels. "Shiver" is a charming and obvious lead single fully worthy of its huge airplay success; the title track with its chiming bells sounds like a lost Christmas classic, and the brooding "Come on Home," with its chorus of "we can fall apart together" effortlessly manages to pull at the heartstrings. And as an artist, Imbruglia has never sounded better. The breathy Alanis imitations of her debut have now been replaced by understated but self-assured vocals that are able to convey intensity and warmth in equal measures. None more so than on the album's highlight, the Björk-influenced "Honeycomb Child." With its enchanting mix of music boxes, violins, and electronica, it sounds like it appeared from a different record entirely and is proof that Imbruglia can pull off edgier material when she wants to. Counting Down the Days will undoubtedly be a commercial success but its play-it-safe attitude undoes some of the good work done by its predecessor. A few more risks next time wouldn't go amiss. ~ Jon O'Brien, All Music Guide
What The Critics Say
Natalie Imbruglia was an instant charm with her 1998 debut single, Torn, and expectations for a follow-up to Left of the Middle were practically immediate. Imbruglia wasn't quick to rush, however. Instead of investing in the quick pop sound she made popular on her first album, she took her time in redefining herself as a songwriter with substance. Four years after becoming an international star, Imbruglia emerged with her finest work to date with White Lilies Island. It's a record that breathes something pure, and one can sense that she has complete control, lyrically and musically. Her spiritual and emotional connection remains the same, and White Lilies Island is her reflection of the reinvention. "Wrong Impression" is sweet with its twangy guitar riffs, and Imbruglia's softness is deceiving. She's quite dark, and challenges typical notions of love and acceptance. "Beauty on the Fire" and the heavy romance of "Do You Love" continue the fight. "That Day" and "Sunlight" are strikingly edgy, and Imbruglia's simplicity and energy are intoxicating. She couldn't have rushed this album. Imbruglia has made a brilliant pop record -- contemporary, yet timeless. White Lilies Island would have suffered without Natalie Imbruglia's perfectionism, and it would have lost sight of the elegance it so perfectly exudes. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Expectations for Natalie Imbruglia's debut album, Left of the Middle, were high because of the runaway success of the pre-album single "Torn" during 1997-1998. Fans of the single will be pleased to hear that the album is quite similar in approach and sound to the breakthrough single: laid-back alt-pop with sweetly melodic vocals. Admittedly, some of the material will be seen as pop fluff by certain listeners, but fans of popular latter-day female artists like Paula Cole, Sheryl Crow, and Meredith Brooks will find Imbruglia's debut most enjoyable. What separates Imbruglia from the aforementioned artists is her willingness to experiment with electronic sounds, no doubt courtesy of mixer Nigel Godrich (of Radiohead fame), which can be heard on such tracks as "Smoke." "Torn" proves to be the best song on the album, with its bouncy acoustic feel, but the pop/rocker "Big Mistake" is almost as good. Not all of the material on Left of the Middle fares as well, however, such as the Alanis Morissette sound-alike "Intuition," but Imbruglia need not worry about being lumped into the copycat category; for the most part, she has a style all her own. ~ Greg Prato, All Music Guide
