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And Ann Marie Lastrassi is OUT! After Taylor, our second core participant has left the rate, but does so with a murderous flourish with Daughter - ooh mama, the
DRAMA on this one. Mama, this is campery at its
finest, dialled right up to 11 as she has zero chill here whatsoever house down the cunty bloody boots yas.
Ahem.
Daughter sees Ann Marie dip back more into something of a character study, akin to prior tracks in her discography such as 6 Inch, albeit she's talking from a first-person perspective here. And, similarly to the likes of Flawless, it reminds the girls that she could hit us with an opera album at any time should she wish - thankfully, her musical side quests over the years have all been relevant and enjoyable, so I think that possibility is relatively unlikely (although, fun fact, her ability to sing opera impeccably likely comes from the fact she studied under an opera teacher during her time at HSPVA in Houston).
Daughter follows on from Jolene, evidently a through-line narratively speaking for any naysayers who really didn't think she'd take it
there (was this co-written by Solange?). And, to match the unhinged nature of the lyrics, Ann uses this middle portion of the album to really fuck around and find out from a sonic perspective, pairing this with the equally deranged Spaghettii. It's deliciously fun to see, this far into her career, that she still has so much fun with her writing, and whilst this perhaps borders on being a little pastiche to the point of teetering novelty, it's still very enjoyable having her play around with a full palette of sounds and reference points - more on this album alone than
certain rate competitors have achieved in their entire careers.
Perhaps the slightly less obvious thread that connects to Daughter to her previous works would be references to her father, which tugs firmly on the one established by 2016's excellent Daddy Lessons - her previous firm foray into country. On that track, Beyoncé (I'm giving up on the already annoying bit) references the life skills she learned from her father, whereas here, she draws parallels to the qualities she shares with him. Virgo daughter, Capricorn mother and father? It's not hard to see why Beyoncé is
thee quintessential dominating force in music of the 21st century - unsurprising further that a few sociopathic tendencies and stray dark thoughts here and there would form the backbone of achieving such status.
The little licks of something resembling Für Elise and pained, delicate upper strings pair really nicely with the brooding, emphatic lower end of Daughter - almost like an external struggle not to betray the darkness within. Midway through, Beyoncé hits us with the following excerpt from the popular Italian aria, Caro Mio Ben:
My dear beloved
Believe me at least
Without you
The heart languishes
Your faithful one
Always sighs
Cease, cruel one
So much rigor
Chirpy stuff!
Daughter perhaps isn't a track that I habitually dip into for a bit of easy-listening, and works much better as part of the wider Cowboy Carter feast - possibly the final remaining track from the album that I could put forward this observation for. It's an impactful moment indeed, but requires a certain kind of headspace* to be in for me to not shuffle onwards when I'm having a lighter listening session.
*walking through Covent Garden on a weekend