St. Vincent - Strange Mercy (2011, 4AD)
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“I don’t wanna be a cheerleader no more”
That line in the aptly named “Cheerleader”, the third track on Annie Clark (AKA St. Vincent)’s third album, Strange Mercy, sets a very simple tone. But, oh how complex it truly is. Ms. Clark has touched on a number of dark themes throughout her previous two albums, which is what initially attracted me to her work. Songs like “Paris is Burning” and “Black Rainbow” just by their titles give you a pretty easy understanding of what her themes seem to revolve around. But for the most part her albums, while brilliant, have felt almost disconnected from the artist herself. Strange Mercy is far and away the most personal of Annie Clark’s work under the St. Vincent moniker. It’s an understandable step in the normal progression of an artist, but she was so adept at the sardonic style she used on previous albums, that it actually feels like a slight letdown. The album focuses much on her breaking out from the sheltered and protective life of a “safe” woman in society (the cheerleader, the housewife, etc). It also focuses on some of the feelings of hopelessness that not only young women, but young people in general feel. Naivete, ignorance, delusion, and subjugation are themes that crop up throughout the album. It is an album that is at times darkly personally, but also liberating.
That line in the aptly named “Cheerleader”, the third track on Annie Clark (AKA St. Vincent)’s third album, Strange Mercy, sets a very simple tone. But, oh how complex it truly is. Ms. Clark has touched on a number of dark themes throughout her previous two albums, which is what initially attracted me to her work. Songs like “Paris is Burning” and “Black Rainbow” just by their titles give you a pretty easy understanding of what her themes seem to revolve around. But for the most part her albums, while brilliant, have felt almost disconnected from the artist herself. Strange Mercy is far and away the most personal of Annie Clark’s work under the St. Vincent moniker. It’s an understandable step in the normal progression of an artist, but she was so adept at the sardonic style she used on previous albums, that it actually feels like a slight letdown. The album focuses much on her breaking out from the sheltered and protective life of a “safe” woman in society (the cheerleader, the housewife, etc). It also focuses on some of the feelings of hopelessness that not only young women, but young people in general feel. Naivete, ignorance, delusion, and subjugation are themes that crop up throughout the album. It is an album that is at times darkly personally, but also liberating.
Track 1: Chloe In The Afternoon
Annie's guitar playing on this album is relatively unique. It's apparent right in the opening of the first song. Very layered and heavy. Which I liked a lot about this album. This song is much better instrumentally than it is lyrically. Something about the chorus being the repetition of the track title kind of irks me. Just a weird thing to make a chorus out of. Annie's ability when it comes to composing songs is still top notch, which makes this a good song despite my reservations.
Verdict: 7/10
Track 2: Cruel
I would say that this is probably my favorite song on the album. It exemplifies what i love about St. Vincent. The dark and clever lyrics ("they could take or leave you, so they took you and they left you") as well as the weirdly upbeat composition for a song about cruelty. This song plays into the themes I laid out in the introduction pretty fittingly. Seems to mostly tell the story of someone being taken advantage of. Also, the video plays into the theme of breaking the social norms for woman. In it, the narrator is kidnapped and forced to be a housewife for a family, and when she does the job poorly, she is buried alive (I've included the video at the bottom of this review if you'd like to watch it). Overall, probably the most complete song on the album.
Verdict: 10/10
Track 3: Cheerleader
This song seems to throw "Cruel" on its head. It begins with Ms. Clark discussing how she herself has been cruel and manipulative. She then goes on to say that she's tired of having to act like she is a good person, and just want to be who she is, bad or good. This is probably the most personal song on the album, with the exception of possibly "Strange Mercy".
Verdict 8/10
Track 4: Surgeon
This song opens with the line "I spent the summer on my back". This is the point where I realize that this album is very feminine, and that I sometimes have a hard time relating. This is a very sexual oriented song, which almost seems sarcastic coming from St. Vincent, but who knows for sure. Another interesting song instrumentally as well. I don't know if there is anyone that is creating music quite like her at the moment. The breakdown at the end is particularly spectacular.
Verdict 9/10
Track 5: Northern Lights
After all that praise about uniqueness, here is what comes closest to a basic rock song on the album. This doesn't make it bad of course, because even when she is doing straightforward rock, Ms. Clark does it with aplomb. She makes an analogy between the Northern Lights and the possible end of a relationship. An apocalyptic analogy is made. That's the Annie Clark I know and love!
Verdict: 10/10
Track 6: Strange Mercy
This is one of the slower songs on Strange Mercy, and what feels like one of more personal tracks as well. The narrator is speaking to an intimate friend, partner, or relative, only named "little one". I think this could easily be interpreted as a male or female lover or a close female friend. There has been some kind of assault, apparently by a cop. Which seems to me to be inferring how people in position abuse their power. I'd take it even farther to be a male position of authority on a female. The lyrics get very personal later in the song ("If I ever meet the dirty policemen who roughed you up, no I dont' know what...").
Verdict: 8/10
Track 7: Neutered Fruit
Here is my delusional track ("did you ever really stare at me, like I stared at you?"). In all honesty there really isn't much going on in this track. It fits pretty well in our running theme though, for whatever that is worth. It just seems to really plod along for about a minute too long. Not enough interesting instrumentation to warrant the 4 and a half minute length.
Verdict: 6/10
Track 8: Champagne Year
I think this song fits in really well with "Cheerleader" (even though it would make sense for it to fit more with "Northern Lights", considering that song referenced a champagne year, but I digress). It seems like the narrator in this song has broken out of her shackles, and is making a living taking advantage of people ("I make a living telling people what they want to hear"). It would make sense if this was autobiographical, where the narrator is Annie herself, leaving behind the possibility of domestic life to pursue a career as a musician. It's another slow song, but I think this one comes out as much more beautiful, albeit still a little boring.
Verdict: 8/10
Track 9: Dilettante
We're definitely in the dull point of Strange Mercy in these last couple of tracks. I'd say the most interesting thing about this song is the drum and bass pattern. Which is pretty weird for a St. Vincent song. There is some interesting lyrics in here ("you're like a party I heard through a wall"), as well as some OK guitar work. So there is redeemable qualities to it.
Verdict: 7/10
Track 10: Hysterical Strength
This is an interesting one. Were finally moving into a little faster pace. The first thing I noticed is the meter of this song feels strangely off. "Hysterical Strength" has a very synth-pop feel to it. Which definitely feels strange. Not bad, just strange.
Verdict: 8/10
Track 11: Year of the Tiger
Other than the absurdly personal introduction ("When I was young coach called me "The Tiger") this is a great song. I wonder if that first line has anything to do with being a cheerleader (themesss)? This is another track that is very reminiscent to Annie Clark's earlier work. Certainly a sold end to the album. The tonal shifts are pretty interesting throughout, shifting from guitar riffs to plodding drums in several areas.
Verdict: 9/10
Cohesiveness Score: 10/10
Stays consistent sound wise even while experimenting. Lyrical themes and narratives are present throughout.
Final Score: 100/120 = 8.3
Final Thoughts:
I think this is an album that is hurt by the song-by-song review structure that I normally use. While it's not a concept album by any means, it can really only be appreciated as a complete album. It is still a very solid album, and one of the best of 2011 so far.
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