Annie Clark, better known as St. Vincent, has just released her fifth solo studio album, MASSEDUCTION. But will the Grammy-award winning artist be seducing us?
As a former member of the massive musical group, The Polyphonic Spree, St. Vincent makes their influence felt from the word go. “Hang On Me” may be short but is filled with masterfully woven natural and synthetic instruments and lyrics alluded to in the title of the track that belie St. Vincent’s strength in trying to keep a relationship together before leading us into the rest of the album.
“Pills” follows directly on the tail of the fairly peaceful opening track. However, it is a totally different beast. Having previously told Buzzfeed that she’d “lost people…lost her mind”, this album truly shows a woman who’s had enough. The track title is clue enough and with lyrics like ‘Pills to grow/Pills to shrink/Pills, pills, pills and a good stiff drink’. With these near relentless lyrics being accompanied by an electronic backdrop with a near clinical feel shot through with distorted guitars and drum fills, it almost seems to contradict Ms. Clark’s inner turmoil.
At this point it’s worth noting that MASSEDUCTION is, at its most superficial, a real tour de force of electro-pop, particularly when listening to tracks such as “Fear The Future” and “Young Lover”, which in itself is still and excellent achievement. However, cut even slightly beneath this surface and you’re presented with a whole lot more. Pain, loss, fear, someone sick of most everyone around her.
The title track “Masseduction” is masterful work, and worthy of its place. The vocals and melody and laid over a sultry beat. “Los Ageless” and “Happy Birthday, Johnny” go straight for the jugular of loss. Though the two are adjacent to one another in the track list, they are juxtaposed stylistically. Whereas “Los Ageless” is so punchy that it’s almost traumatic, “Happy Birthday, Johnny” is quiet, minimalist and finds something brutal, honest and genuinely heart-wrenching in itself and in the listener. It feels longer than its short running length at less than three minutes. “New York” follows a similar vein of construction to “Happy Birthday, Johnny” although with less raw emotion. It feels as though it could be a bit more hopeful than the tearjerker before it.
With a total vocal shift that suits the title of the song, we are led out of the album by “Smoking Section”. The song gives us Clark’s huskier end of the vocal register, with minimalist, minor-key jazz piano and a pulsing drum beat that borders on industrial and leads us perfectly out of the album, despite the cries of ‘It’s not the end‘ as the song tapers to a close.
The album is solid work overall. There are some hugely moving sections to it and many parts that feel chaotic intentionally… and some not so intentional. Lyrically is where the album shines, however. You may have to delve through the madness of the electronica and effects-ridden guitars, but they’re golden when you hear them.
To really test out this complex album properly, make a demo room booking with your local Richer Sounds.
Author: Steve, Southgate store
