Album reviewNatalie Bergman's latest, My Home is Not In This World, is a masterclass in beautifully winding songwriting, delicately enclosed in lushly nostalgic production. It would slot in nicely among other contemporary artists like Jessica Pratt, Weyes Blood and Cate Le Bon in any record collection.
Thematically, the album tells of men who are no good, or have become distant. Despite the emotionality of Bergman's singing, there's a wry observational distance at times that makes the sentimentality a bit more complex than traditional love songs. There's a real compassion to her words, and the ability to see from both sides.
This means that the Los Angeles songwriter's second release is not overtly religious like her debut, Mercy, although it does carry some of her gospel stylings. And while demonstrating similar songwriting chops and production prowess, Bergman now approaches her arrangements in a more joyous, inventive and expansive way.
Alongside sunny '60s pop, there are Dana Gillespie-esque touches in Bergman's earthy voice and in her soulful choruses that rise up to meet the heavens. On "Gunslinger," such choruses provide a welcome moment of raw adrenaline amidst her otherwise relaxed sunshine pop.
There are a few more surprising additions to Bergman's palette, like the title track's lo-fi Afropop synth in its refrains, and especially its William Onyeabor-evoking rhythmic swagger.
Bergman tries on yet another production hat for "Didn't Get To Say Goodbye," which sounds more like a lost '80s pop demo with its endearing drum machine patter and echoing synth melodies that ebb and flow along with her vocals. Lesser songwriters might get lost using so many different textures, and at first, it is a little surprising to hear. But Bergman is able to make the diversity of her influences sound coherent as a whole.
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Lottie Brazier/Qobuz 
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