Discussion in 'Pop & Justice' started by xOJakeXo, Dec 15, 2020.
He is also weirdly obsessed with American Girl dolls and commissioned romantic fanart of himself and Bill Hader, which is obviously not as bad but very funny.
I completely get that, it's just that 95% of the time when someone posts a Pitchfork review on here it results in everyone complaining that the score is too low and that they (Pitchfork) always get their scoring and reviews wrong. At least that's how it comes across lately. So I guess I just don't see why some people still continue to hype up the incoming Pitchfork review for a new album when most of the time it causes outrage.
Maybe daddy should stay in prison on this one.
What a weird review? Glowing until the paragraph about some of the lyrics being tone deaf.
I get what they're trying to say but it's not like she listed Nina alongside random US weekly fodder. Joni Mitchell and Tori Amos are hardly just celebrities. It completely ignores the context of the song. It feels like such a shoehorned criticism.
I feel like Pitchfork is...astonishingly bad at any sort of social commentary lately and this review is no exception
You already know the reviewer would have critiqued her if she'd listed only white female singers in the lyrics, too. It cracks me up that reviewers want St. Vincent and Hozier to somehow include or expand upon Nina's anti-racist activism within a 4 minute song when the songs... aren't about that? Reminds me of that article where the journalist said Lana's Brooklyn Baby should be criticized because she didn't address gentrification...
Fantano also did an interview with her and it is quite a nice watch. They get deep into the album, its influences and inspiration. I cackled when she explained how My Baby Wants a Baby started out.
Im glad I saved my first listen for a stoned late night setting cause what a perfect way to experience this masterwork!
After living with this album for a week I prefer Masseduction.
“One time I had a sound guy put on John Mayer’s Gravity and I fired that sound guy” I screamed!
Very much in love with this album. Just reiterating that run from Somebody Like Me to Candy Darling is bulletproof.
She also debuted at #4 in the UK, her highest chart position there yet!
It's so different from the last one that I'm still having trouble ranking them, but when I return to it I remember how much I love it. I'm even fine with the title track now. It's such a consistent, dependable listening experience. That's exactly why the 70s sound works so well for these songs, because that sonic palette is also dependable. You'll get warmth, emotions, grooves. It never dips low enough to lull you, minus the interludes and Candy Darling which serve as moments to breathe.
It's so good! Much better than I expected.
I play this album once every day. I did the same with Masseduction.
Masseduction is still her best work for me but this slots nicely into the third slot next to Strange Mercy. It's not like she has anything even close to resembling a mediocre album.
...this is her worst album to date, isn't it?
It's certainly got some of her worst songs. The title track is especially poor, and I really dislike the Us and Them remake- just so draggy, uninteresting, and boring, which is a word I would never have imagined could be used to describe a St Vincent song. It's also when the production is most egregious- not a fan of this Antonoff/Annie pairing at all, and his bland homogenous style is a sanitized facsimile of the 70s style that inspired her. However, the album certainly improves as it goes on. Down is the sole attempt at funky that actually funks a bit, My Baby... is one of the most moving songs in her catalogue, and the latter half is consistently good, although the pointless interludes do their best to fuck up the flow.
Overall as a longtime fan, the Strange Mercy/self titled era is still when I think she was at the top of her game. There's more pathos in the song Strange Mercy, and a hell of a lot more mystery, than in the lyrics that more blatantly reference her father in Daddy's Home. I think the reviewers have missed the mark here. It's not her most honest or personal album- if anything, like Masseduction, it's another performative role that doesn't always work, although this time the performative angle is mostly musical, in the misguided attempts at recreating the dirty groove and vibe of those 70s classics. Her earlier work was always quite personal, it was just wrapped up in stories and characters and metaphors, and musically it sounded far more unique. I'm not surprised that her work with Antonoff hasn't really broken her into the mainstream- indeed, Daddy's Home is her lowest-charting album in the US for a decade.
I'll admit there is one very strong record to be cherrypicked out of the last two albums, but ultimately I find the St Vincent of the Antonoff era to be a less interesting beast than her previous guises. I really hope she drops him and goes back to Congleton, or moves onto someone more sympathetic to her idiosyncracies.
Genuinely her best for me.
I cannot fathom thinking this.
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