Daddy's Home is good shit to snort coke on a yacht to.
LOL. Great line.
Daddy's Home is good shit to snort coke on a yacht to.
I think it's her weakest since Marry Me. Cool vibe, but it's the first time that her music has felt kind of toothless since the beginning. I was a little bored, honestly. And that's strange to say because I don't think I disliked anything on it. It's just that the overall experience wasn't very exciting.
At its absolute worst, Masseduction was revealing and risked putting fans off. Daddy's Home is good shit to snort coke on a yacht to, like the last Arctic Monkeys record. But I know she's capable of better.
Not feeling the new St. Vincent record, guys. And I'm a sucker for that kind of sound. There are some nice moments for sure (I really love Down), but overall it's a bit...meh.
I'm more annoyed by her reaction to that interview where she got asked about her dad, and her preciousness when she's come from a fair bit of privilege, and her inability to be open to the view that perhaps she hasn't had the absolute hardest life, and that I see weird ads offering Masterclasses in songwriting run by her, than I am by the left turn she took on Masseduction, the album's nonsensical tracklisting aside.
All Steely Dan albums up until Two Against Nature are either very good or excellent, and that album is also pretty good. One of the most consistent bands of their time.
Not to derail the St Vincent thread, but I did just listen to it, and Laz is pretty spot on about their being a difference in quality between the first three tracks and Pretzel Logic and the rest.
A reference to Nina Simone’s “Mississippi Goddam” in “The Melting of the Sun” is similarly ill-considered. Like Hozier before her, Clark dilutes Simone’s fierce and intentional anti-racist activism by listing her alongside white celebrities. The album’s title track deploys a sticky bassline, a syncopated funk groove, and the voices of seasoned Black back-up singers Kenya Hathaway and Lynne Fiddmont to tell the story of Clark and her father, a white man who committed a white-collar crime. Why deploy the conventions of Black music to reckon with his sins? Why wear a mask at all?