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St. Vincent带来了70年代家园的声音,情感更富裕'爸爸的家':专辑评论

圣文森特爸爸的家
礼貌的洛马维斯塔录音

为了圣文森特,“家”是一个相对的东西;她不经常触及完全相同的基础,音乐上,没有人会指责她做了相同的专辑两次。所以,如果你喜欢2017年《大众诱惑》(Masseduction)那种细腻、发自内心的电子张力,以及它近乎歌剧般的艺术摇滚高度,那么《爸爸的家》(Daddy 's Home)会有完全不同的感受。如果你是她的粉丝,你可能已经做了愉快的准备工作,因为几个月前她就已经开玩笑说她要探索1970年的影响,就像这一次史蒂夫汪达。再加上一点斯莱和斯通家族的故事《爸爸》就应该是家庭故事了,对吧?

即使你支持自己的变革,你所接受的“爸爸的家”是更复杂的,特别是如果这些初步的票据可能会为一个肮脏的节日炒作。夏季的热点乐趣,这张专辑并不是作为安妮·克拉克和她的舞台改变自我的焦虑,或者她在她的其他科目上投入的那些仍然完好无损。缺乏2020年代风格或我十年的砰砰声。这可能是她最易于兴奋的记录,或者至少她的音乐最平静,因为她的前摇滚女王起源起源。但它确实可以提供她的承诺带来克拉夫球回来(或者是在听到她陈述的参考点后,我们对此抱有的希望)。自从你的Spotify播放列表被“Steely Dan”卡住以来,你肯定没有在一个地方听到过这么多Wurlitzer电子钢琴。长笛和萨克斯管出现在舞台上,除了一两个插曲外,每首曲子都有一对哀嚎的女伴唱歌手在伴奏。这是现代的第一张专辑,也可能是任何时代的第一张专辑,在这张专辑里,我几乎要说出以下几个字来抱怨:“锡塔琴太多了。”

因此,问题可能归结为:所有这些上世纪70年代的醇美是黄金吗?我敢说确实如此,但我不会责怪任何人,因为在《Masseduction》(《Masseduction》)露骨的合合器兴奋性之后,它模糊的音调让人失望——当然,有些人觉得这是对2014年《St. seduction》中喜欢吉他的摇滚乐队精神的背叛。文森特。(也许喜欢那段时间的人现在会转而说“她找回了魔力”……或者这要等到下一次再说,谁知道呢?)纯粹是声音层面,她和联合制作人杰克安东尼奥夫— the superproducer (Taylor Swift, Lana Del Rey) who’s returning from “Masseduction,” but unrecognizably so — have pulled off the rather tricky stunt of using instrumentation that is 100% out of a mid-1970s liner-notes checklist in the service of coming up with something that really doesn’t sound anything like a 1970s record, in the end. Well, it does and it doesn’t. You’d need more than the fingers on two hands to count the times you will be thinking to yourself: “Those tom-toms sound非常模拟。”但是Antonoff并没有打算拒绝使用所有的混响和其他效果来创造空间品质,从而使这张唱片永远不会成为博物馆里的一件作品,因为它的荣誉告诉你它有一半想成为。

抒情地说,对“奔驰”的提及是唯一的明确建议,即在20世纪70年代可能正在发生这种专辑;此外,参考在游戏机上长大的参考,并作为女主角的Tori Amos喊叫,实际上是唯一一个肯定不是一个时期的原因。对于大多数意图和目的,克拉克穿上金发碧眼的假发和(在视频中)并在她出生之前几十多年的音乐般的图标,可能会归结为美味的装扮 - 并给予我们所有人都谈论。相册是对她父亲的纪录收集的事实致敬,尽管他只进入了现在的当天冠军歌曲?Is it more about using her newly adopted look to come off as a cross between actress Gena Rowlands (“Like the heroines of Cassavetes, I’m underneath the influence daily,” she sings at one point) and long-gone trans icon Candy Darling ( subject and namesake of the album’s big closing ballad)?

有一件事是肯定的:这些怀旧的陷阱借给了一个感觉玩,这不仅仅是圣文森特的变色职业的商标,而且是一种质量,这是贷款与沉重主题的余额相当关键 - 羞耻,孤独,死亡,未实现的梦想。所有这些处理,为什么不是把一个假发放在上面?

专辑的开放轨道和第一单一,“支付痛苦的方式,”可能已经为专辑听起来的样子建立了略微误导的印象;它是第一个和最后一个曲目,以便提供合成线。(模块化合成,信用谨慎指出。)电子Throb确实在最后一张专辑和这一个之间提供了有效的SEGUE。它建立了这一点,对于所有有趣的追捕。圣文森特将意味着它,当她转动最后一个“我想成为loooooved变成17秒的绝望嚎叫,其原始程度足以确保这首曲子不会成为你附近星巴克的背景音乐。

打开轨道的建议,破产的妇女可能“羞耻地支付的方式”之后是女主角,在“下街和街市”中享受早晨的地铁散步。That song’s opening line, “Last night’s heels on the morning train,” follows a similar reference to shoes in the opening number, where the narrator makes a visit to the local park to enjoy the innocence of children at play but “the mothers saw my heels and they said I wasn’t welcome.” Come the third song, “Daddy’s Home,” she’s visiting her father in prison, and even there, her footwear somehow betrays her:你仍然在你的政府绿色衣服中得到它/我在我漂亮的意大利鞋中看起来。“在某个地方,有人在专辑中的四分之一结束前,有人已经开始工作了“安妮克拉克的工作中的工作中的工作中的课程中的毕业生”毕业论文,但在它陷入泵的政治之前,它将继续“融化太阳“和月亮的黑暗面。

“生活在梦中”是圣文森特真正特定于音乐事务的一条轨道,而且它不是史蒂夫或狡猾:这是粉红色的弗洛伊德。The track starts off sounding like it’s riffing on the riff of “Us and Them,” before she rouses someone to consciousness with the soft words, “Hello, do you know where you are?,” and suddenly it’s “Comfortably Numb” — a touchstone that doesn’t seem any less relevant when she uses the song’s final minute to launch into the album’s only guitar solo, which just happens to be as close to David Gilmour as she’s ever going to get. It’s unlike her to get this blatant in a shout-out…

…until, that is, you get to the following number, “The Melting of the Sun,” which, after glancingly referencing the actual title Floyd’s most famous album, moves on to some of the women you imagine being more crucial to St. Vincent’s lineage: “Saint Joni ain’t no phony / Smoking reds where Furry sang the blues,” she sings, admiringly, before calling up Amos’ historic “Me and a Gun,” and Nina Simone, as part of her roll call: “Brave Tori told her story / Police said they couldn’t catch the man / Proud Nina got subpoenaed singing ‘Mississippi good goddamn.'” And then, as a self-aware punchline, acknowledging her own image as a cooler cucumber, she adds: “But me, I never cried / To tell the truth I lied.” Although at first the line might seem an admission of a shortcoming, it’s really a kind of boast: St. Vincent has always been a proponent of the school that putting on a costume can be as personally revelatory as getting naked. “To tell the truth I lied” isn’t just a double entendre — for someone with as big a closetful of personas as Clark, it’s a statement of purpose.

很难抗拒这样的美好时刻。但我很高兴地告诉大家,《爸爸的家》并不依赖这些,就像它最终依赖于20世纪70年代的自负一样,这张专辑充满了一些相当直白的情感真理。你可能不会认为,一张以丧亲之痛和羞耻为主题的专辑,在不断发展的过程中需要挖掘得更深,但《爸爸的家》确实如此,因为这首歌触及了一系列普遍存在的伤痛。

一路上,一点迂回到纯粹的沉默作为对伤害的反应 - “下来”,它讽刺地尽可能近在咫尺。Having suffered a flesh wound, Clark sings, “Tell me who hurt you, no wait, I don’t care to hear an excuse why you think you can be cruel,” and then a couplet for the ages: “Go get your own shit / Get off of my tit.” We are well outside the realm of her vaunted art-rock here and well into something like therapy-funk, with “Down” also settling into a harder-hitting groove that’s closest to what those Sly and Stevie promises might’ve had you imagining.

It wouldn’t really be the 1970s, or ’70s-like, without some acoustic guitar finger-picking and steel guitar along with all that clavinet, both of which show up in healthy amounts throughout the wistful “Somebody Like Me,” which brings in no less a pedal-pusher than Greg Leisz for an extended cameo. “Does it make you an angel or some kind of freak to believe enough in somebody like me?” she asks, in about as vulnerable a question as anyone has ever slipped into a putative love song. There’s no good answer provided to that question, of course — “I guess we’ll see who was the free / Time tells us things that you and I can’t see” is all a restless lover can conclude — but these are the loveliest four minutes she’s ever put down on a record.

直到她在专辑中更进一步。《笑男人》(The Laughing Man)是一首任何经历过丧亲之痛的人都会感同身受的歌曲,因为她在悼念死去的儿时朋友,并对唧唧喳喳的鸟儿感到不满。“如果生活是一个笑话,那我要笑死了,”众人齐声说,几乎是在用悲伤制作一张贺卡。除了装饰之外,这张专辑真正的怀旧之情来自她把朋友送进天堂时浮现在脑海里的那些半搞笑的童年回忆:“所有的草渍、鸡肉晚餐、薄荷味的嘴、秘密缝线的半管以及Playstation上自杀的念头。”

“我的宝贝想要一个婴儿”从一个似乎的笑话中起来,相当认真地响起,因为它意味着选择不成为有父亲的旅的一部分 - 寻找愤怒的幽默以及在非父母中的真正恐惧life’s pros (“I wanna play guitar all day / Make all my meals in microwaves / Only dress up if I get paid”) and societal cons (“I won’t have no legacy… / Won’t even have your sympathy / No one will scream that song I made / Won’t throw no roses on my grave / They’ll just look at me and say, where’s your baby?”).

Amid all these mortal concerns, there’s something almost relaxed about the sense of sadness in the album’s best track, “…At the Holiday Party,” in which Clark trains her attention on a woman whose facade she sees cracking at a Christmas soiree: “Your Gucci purse a pharmacy / Pretend to want these things so no one sees you not getting not getting what you need.” The lyrics are dark —所以多么不合适的努力 - 但随着喇叭部分的温暖,节奏部分发现一个口袋,它也遇到了一个希望的口袋,如果只是因为那些永远存在的备份歌手很有希望,就像是一个希腊合唱者besties: “You can’t hide from me.”

圣文森特has done her own share of hiding over the years — starting with the nom de plume — and you’d be foolish to think of “Daddy’s Home” as some kind of all-out confessional coming-out, even if she does invite that reading by referencing her real-life dad’s jail stint (and her “signing autographs in the visitation room”) in the title track. Now, you could say, she’s hiding behind a Wurlitzer, a Mellotron and a period mini-dress. And she probably is, but it’s, as always with her records, hiding in plain sight. And maybe more on this album than others, because she’s turned down the volume — as much as you might miss something as thrilling as the “Pills”-popping of the previous album — it’s easier to hear the heart that’s long been there at the center of the slightly chilly guises.

但如果她现在更接近成为最好的朋友了,那么其中一个F肯定还是代表着怪胎。“试图让自己看起来理智,反而让你看起来很奇怪,”她唱道,就像一个长期接受自己是一个疯狂的少女的人一样,她是这方面更好的朋友和艺术家。

St. Vincent带来了70年代家园的声音,情感更富裕'爸爸的家':专辑评论

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