Nat Vazer       

Nat Vazer is a singer-songwriter from Melbourne, Australia. At the age of 5, Vazer started learning classical piano but became fascinated with an eclectic variety of artists having grown up in a household with her family’s 60s and 80s record collection. A self-taught guitarist, she stole her father’s guitar during high school and started to learn Nirvana, The Strokes and Death Cab For Cutie based off internet guitar tabs.

She soon began writing songs in highschool bands and recording on her computer using built-in microphones and free software. From there, her DIY ethic and love for recording in unorthodox places was born.

Vazer has been described by the magazine WithGuitars as "a warm, charismatic, and contemplative singer songwriter with a penchant for writing charmingly rebellious tunes about the ironies of everyday life". Known to defy stereotypes, Vazer's music joins precise guitar melodies with "grungy yet blissful" vocals in "a mix of edgy, light and bubbly".   

 

Vazer’s debut album ‘Is This Offensive And Loud?’ has been named one of the best albums of 2020 by NME Australia and The Music (AU).

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Is This Offensive And Loud?

Perpetual Doom is pleased to present the cassette release of Nat Vazer’s Is This Offensive and Loud? Recorded with producer Robert Muiños (Julia Jacklin, Jess Locke) and mixed by Ali Chant (Aldous Harding, Soccer Mommy, Perfume Genius), the Melbourne musician’s debut album has been hailed by NME Australia and The Music (AU) as one of the best releases of the year.

 

Are you out of fucks to give? Nat Vazer knows the feeling. Few records capture the “Spirit of 2020” like Is This Offensive and Loud?, songs written for a year of uncertainties and doubts. Laying aside her career as a lawyer in Australia, Nat wrote this album on a sojourn in North America. As a result, the tracks bear the imprint of the uneasy work of self-definition. Don’t be fooled by the glimmering guitar and fulsome production—this is a record of hard things. Although “Like Demi” opens with a hushed voice over gentle strums, as Nat sings about cutting her “hair so short like Demi Moore in ‘Ghost’,” the nostalgia is only a cover for defiance: “And people would ask if I was a boy / And I would ask them ‘why?” As in: Why does it matter how I define myself? Why do you care? Why should I? It’s questions like these that propel this search for assurance, identity, and power. Questions like those that deride platitudinous overtures to diversity on the brazen jam-out “Grateful”: “I should be grateful? Grateful to my own mother? Grateful to fill the quota?” Or the questions that structure the mournful slow burn “Better Now,” which searches for hope amidst a litany of all-too-familiar forms of contemporary violence. Or those that underpin the struggles of familial illness on “Mother.” 

 

But Is This Offensive and Loud? suggests the best remedies for anxious uncertainty are a gorgeous sonic canvas, unrelenting hooks, and joyous creativity. Every track pursues honesty through craftsmanship. Lead single “Higher Places” wraps its melancholy within an indelible melody buoyed by tambourine. “Floating On A Highway,” a delicate love song, arrives awash in rain. It all adds up to a definitive personal statement and effortless pop pleasure. Is it offensive and loud? Of course it is. What else would you want?

 

Release Date: October 30, 2020

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© 2020 by Perpetual Doom

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