Discussion in 'Pop & Justice' started by xOJakeXo, Dec 15, 2020.
'Down' is THE funky bop of the album. That production is insane!
I absolutely adore this album, and I can’t even really explain why beyond “it’s weird”. Its familiar-yet-disconcerting atmosphere is so immersive and layered, I feel like I could dive straight into it. The Laughing Man is my immediate favourite, but pretty much every song besides Candy Darling is a standout. I can’t wait for the nuances of this record to reveal themselves to me over time.
The interludes are utterly pointless though. You could delete them all and lose absolutely nothing from the experience.
I know I've said it once already, but I love the 70's psychedelia on this album. Apart from the interludes, which I don't care for, everything is perfect! WHAT AN ALBUM!
This is a “Live in the Dream” fan post. It’s got a Pink Floyd, hazy, amazing vibe. It’s the star of the show for me. I like the whole album but that’s the one for me.
Okay, after a couple more listens I'm happy to say that I'm really getting into it. I think the initial shock was caused by how it feels sparse and disjointed and chaotic all at the same time. The mood is there, but the flow is so unusual, it's almost like there's two albums hidden amongst these tracks. Both of the opening tracks sound like an album opener in their own right, but they could hardly lead into one another. The psychedelic front-section is something most artists would put in the second half of the album, but here you have Live in the Dream and The Melting of the Sun early on. Even though the tracklist could use some tweaks, I think she actually pulled this off successfully, as Live in the Dream is almost like a Venice Bitch moment in the sense of a really expansive and immersive track early on in the tracklist, and it's not exactly clear how it works but it does. Bonus points because it works on an album this disjointed. I don't understand the Humming interludes, especially why they are all tacked in the second half.
My least favorite might actually be the title track, and it's hardly for anything from the music standpoint, but rather conceptually. There's something about this amount of cynicism and camp that really takes away from this experience instead of adding to it for me. I'm always up for Annie with her tongue firmly in her cheek, her gallows humor and her wit, but this track really goes nowhere: it doesn't provide an insight, it doesn't delve into the subject matter, it doesn't illustrate a point, it just deflects. It feels more like a gesture in a way that makes it seem hollow, almost like it was forcefully tried to be made into a mission statement of the sorts to connect the rest of the album together.
I feel the album is even a bit weighed down by this narrative, because if you take it out, there is quite a bit of wonderfully layered insight on so many different things. The one I found most fascinating is exploration of our delusions and their functionality. I remember that during one interviews she spoke of how she sees love as a mutually-agreed-upon delusion, and she explores this so beautifully on Somebody Like Me and My Baby Wants a Baby, one of them seemingly doe-eyed and naive, the other one frantic after her delusions clash with reality. I also really love how she deals with revenge fantasies on Down and masks we put on in social circles in ...At the Holiday Party, again, exploring why we need those imaginary creations to cope. As someone who's built her career on exploring artifice and its different uses, it's so wonderful to see Annie delve head first into the core of this subject, because it's such a layered one: it ranges from our daily coping mechanisms to why we need art as such. In a world so driven by materialism, we are often pushed to dismiss delusions, tell ourselves to be less idealistic, keep grounding ourselves, so much that I feel we often lose sight of how functional they can be and how artifice is inherent to us as human beings, if nothing else than as a creative activity. They are so integral to how we function and I love that she reframes it as "I can't live in the dream, the dream lives in me."
I see how her dad's story fits into this as well, I just think it does the whole album a huge disservice by being presented as kinda the main point, while it's really an episode at the most. It shouldn't be what this album will be remembered for, because there's so many more layers to unpack here. All in all, I can't wait to get even more into it!
Some of these vocals are giving me major Shirley Manson vibes.
It kinda blends all into one for me at the moment but I’m really enjoying this.
I liked the singles but wasn’t massively into them. They just felt odd to listen to out of context of an album.. but the whole things is such a vibe together.
I played the shit out of this yesterday and now it’s looking like an album of the year contender for me.
I listened once and it felt like a grower, the type you know is going to be great later.
I'm hoping this will appeal more to me on a second listen. I do often have to warm up to albums. Not a lot of music is instant to me.
I've had probably 5 full listens at this point and it definitely keeps getting better. The title track remains my least favorite, but Live In The Dream has grabbed me more. It works so well as a listening experience and the lushness comes out in layers. I loved Masseduction, but it's hard to even compare this album to what came before it. If anything, this feels like it belongs amongst the first three records she made.
My Baby Wants A Baby is the clear standout for me at the moment, what a gut punch.
On a first couple of listens, I don't know how to feel about the album just yet other than appreciating how downtempo it is as I feel that it's a bold and unexpected move from her. The standouts, other than the pre-release tracks, have been …at the Holiday Party, Somebody Liked Me and Down and Out Downtown
Wow the title track really isn’t it huh
Oh yeah Daddy's Home is the one where she goes into full parody mode and I don't think it pays off at all
Heard the album and really liked it. Since I certainly intend to give it further listens and form proper thoughts, for now I'll just say that it's definitely St. Vincent's most cohesive and perhaps even most consistent album, both sonically and conceptually. Also the most daring soundscape she's explored so far.
Upon first two listens, my favourite out of the non-single tracks is either "Down and Out Downtown" or "My Baby Wants a Baby", while my least favourite is the title track.
I knew it sounded familiar!
It's extremely bad. I'm not a fan of this album right now but I wouldn't say the material is poor. I just haven't warmed to it (whether I ever will is an open question). But Daddy's Home is the exception. It's probably the worst thing she's ever put her name to.
What I like better about Masseduction is that the tracks REALLY stood out from one another on first listen whereas this album blurs together something fierce.
Oh, and can we talk about her falsetto along with that extended baby-yyyy... in "Somebody Like Me":
A moment. Probably my favourite 10 seconds of the entire album.
My Baby Wants a Baby sounds like she held down Sheena Easton’s classic and force fed it horse tranquilliser. Whew. An album.
I literally wouldn't change a single note on this album. It's sheer perfection.
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