This track got my ear the second I heard it since it reminded me of Tom Jones’ It’s Not Unusual. However, this is not Vegas, it’s Paris baby! With swanky guitar riffs, organ chords, sweet string stabs, and the frenchie-esque vocals of one Mary Elizabeth Winstead (actress from Scott Pilgrim vs. the World).
Got A Girl’s enthralling debut album, sees Nakamura – whose innumerable, inimitable credits include influential production (Kool Keith/Dr. Octagon, Gorillaz) and membership in such visionary collaborations as Deltron 3030, Lovage, and Handsome Boy Modeling School – cooking up one of the most exuberant sonic confections of his brilliant career, a giddy and impressionistic setting for Winstead’s — known for her work in the films Scott Pilgrim Vs. The World, The Spectacular Now, and next seen in Kill the Messenger — sweetly detached vocal delivery and nuanced lyricism.
Winstead and Nakamura first crossed paths while both worked on 2010’s Scott Pilgrim vs. The World, the actor acting and the musician contributing to the score. Right from the jump, the two seemingly disparate artists found they were both surfing similar waves of inspiration. Each were especially enthused by the daft, dewy and even slightly degenerate sounds of 1960s French pop, that uniquely Gallic soufflé of girl group soul, café jazz, lush arrangements and groovy eroticism. They soon commenced writing together, collaborating on lyrics as they learned more about each other’s creative strengths and interests.
I Love You But I Must Drive Off This Cliff Now is a perfectly realized union of atmospheric ambience and ambitious songcraft. The Automator is of course a master of genre subversion and experimental futurism, effortlessly transmogrifying hip-hop, psychedelia, found sounds, and all manners of pop and world music with his singular taste for prolix wordplay, multiple personas and conceptual adventure. For Got A Girl, he has assembled a rich, enveloping sound world all its own, with hints of Laurel Canyon folk, yacht rock, and sunshine pop stylized and synthesized through sumptuous arrangements, intricate electronics, and unfettered melodic invention. The sonic landscape calls up far flung locales both real and imagined, knit together by restless grooves, elastic dubby beats, and Winstead’s complex characterizations.