Harkening back to the tunes and styles of the 70s, Daddy’s Home, the latest album by St. Vincent (stage name of Annie Clark) is a major departure from Clark’s past work, revealing a more intimate side of the singer-songwriter in one of the most fascinating records of the year.
Lyrical nods to the 70s are apparent in several tracks. In the second single, “The Melting of the Sun,” Clark pays homage to her past musical inspirations (Joni Mitchell, Nina Simone, etc.) while lamenting her feelings of insecurity as an artist. The final track, “Candy Darling,” is itself a tribute to muse Andy Warhol and trans icon Candy Darling, who died tragically from lymphoma in 1974. In a moment of escapism, Clark declares to Darling, “I never want to leave your perfect candy dream.”
One of the album’s greatest strengths is its production, which helps to bolster its nostalgic feel. While maintaining St. Vincent’s signature stylistic guitar riffs, the album shifts away from the experimental, high octane instrumentation of her last albums in favor of a more groovy and psychedelic sound. In “Down,” as Clark takes a stand against an abusive lover, the commanding pangs of a sitar help to bring extra strength to her words. Other songs like “At the Holiday Party,” which describes Clark’s encounter with a troubled friend, are made more intimate with soft strums of the guitar and the vocal chimes of a background chorus.
It’s easy to dismiss the album as a simple 70s pastiche. But behind the rich nostalgic atmosphere, St. Vincent displays a wide range of emotions throughout the album, helping to make this album one of her most personal and touching.
Songs like “The Laughing Man” and “My Baby Wants a Baby” show Clark at her most honest and intimate; consequently they shine as some of the strongest moments in the album. “The Laughing Man” follows Clark’s thoughts after the death of a childhood friend. Amidst distorted instrumentation, St. Vincent’s singing creates a powerful feeling of disillusionment and melancholy. In “My Baby Wants a Baby,” Clark expresses her nervousness about commitment and starting a family, This feeling of anxiety builds up to the end of the song as she cries out, “No one will scream that song I made… they’ll just look at me and say ‘Where’s your baby?’”
Even in the album’s more cheerful tunes, this sense of honesty is still present. The album’s titular track, which recounts Clark’s feelings during the time of her estranged father’s release from prison, sees Clark take on a playful tone, punctuated with energetic organs and yelps. As the song progresses, however, she reflects on her father’s criminality, asking, “Well, hell, where can you run when the outlaw’s inside you?” This contrast between playfulness and vulnerability is further built on in the lead single, “Pay Your Way in Pain,” where Clark tells her audience to “Sit down, stand up, heads down, hands up” while simultaneously divulging feelings of ostracism from society.
St. Vincent’s new album is one that benefits both from its escapist excitement and emotionally heavy songwriting. Looking to both the past and the present, Daddy’s Home is a strong and entertaining record that sells the splendor of the seventies and the struggles of everyday life.
Image courtesy of Loma Vista Recordings
