Al naibii nu e niciodata doar naibii. In Bluets , autorul Maggie Nelson scrie, „fututul lasa totul asa cum este”. Al naibii nu inseamna a face dragoste sau a face sex; este visceral, imediat si cataclismic. Poate fi autodistructiv; o implozie necesara pentru a incepe. Al naibii este o parte din ceva mai mare si confuz. Gorele emotional si (o multime de) sex se afla in centrul celui mai nou triumf care raspunde de St Vincent, Masseduction . Sexul si dorinta sunt evidente din fund in colantii roz calzi care acopera arta (nu St. Vincent, ci prietena ei Carlotta) la titlul albumului ( seductie in masa pronuntata) la versurile scintilante ale lui Clark, precum o contemporana Anais Nin, peste riff-uri de tip „pelvic-thrust-inducing-guitar”. Este o provocare, dar mai multa provocare, cum ar fi un zambet si o lovitura aruncata intr-una – o invitatie care spune ca te indraznesc si vreau asta . Miscarile emotionale fataliste se simt atat de bine .
Da, Masseduction se remarca mult mai mult pe banda pop decat lucrarea ei anterioara cu super-producatorul de inregistrari Jack Antonoff la carma. Este si glam rock si synth; un colaj al tuturor celor mai sexy fiinte rock care il inspira pe Clark, inclusiv un indiciu al dramei Freddie Mercury amestecat cu Marc Bolan. Puterea lui Masseduction este insa tematica, ceea ce se spune cel mai bine in piesa de titlu a albumului: „Nu pot opri ceea ce ma porneste”. Masarea este hedonista si investigheaza si se apleaca in teorie: ce se intampla daca renunt, sufland totul in proces, pentru a incepe din nou?Distrugerea poate aparea. Nu este un gand nou: rock ‘n’ roll’s este construit pe lucrurile mut, uneori satisfacatoare, pe care oamenii si le-au facut singuri. Masa de Clark este o privire revigoranta asupra dorintei si a epavei emotionale ulterioare. Ne cere sa calatorim pe calea seductiei si al naibii catre urmarile sale existentiale dezordonate si sa vedem cum putem merge mai departe din carnaval.
Clark a mentionat intr-un profil extins cu The New Yorker, in august, ca acesta este recordul ei cel mai sumbru din discografia ei de pana acum. “Este vorba despre sex si droguri si tristete”, a spus ea. In timpul lansarii albumului, configuratia St. Vincent … meta-interviuri (un “kit de interviu”) despre inregistrare si ea a raspuns la intrebarea ce inseamna pentru ea seductia. “Seductia este atunci cand invitatia este mai buna decat petrecerea in sine”, spune ea. Si, in timp ce raspunsurile la aceste interviuri ar putea juca in mod ludic (si pe buna dreptate) jurnalismul jurnalismului muzical contemporan, acel raspuns in special are o anumita pondere. Seductia, cel putin modul in care o auzim in aceasta inregistrare, este imediat satisfacatoare, deoarece ceea ce se intampla ulterior este potential mai catastrofal emotional.
On “Pills,” Clark is playfully destructive—adlib moans, lyrics about pill consumption, giving head, going to bed, and getting back onstage. It’s indulgement; a debaucherous, upbeat track with extremely dark subtext. The gentle guitar strum before Kamasi Washington’s mournful sax cues up is the song’s comedown. Nothing can stay that high forever. It’s the first instance we hear of the true consequential darkness that comes after recklessness. That sentiment plays out for the rest of the album; careening up with temporal satisfaction before plunging down again into reality often in the form of forgiveness, from both whomever Clark’s narrator is (her?) or unknown love interest(s.) The album’s title track gets us to go up again, listing characters and things—her narrator’s turn-ons—like a checklist: Lolita, punks, maici streseaza fumatul. Clark razboieste „Nu opresc ceea ce ma aprinde”, nu cer permisiunea dorintelor ei – consumand totul asa cum vine.
Cu „Hang on Me”, o melodie poetica si co-dependenta de dragoste cu versurile, „cause you and me / we are not destined this world”, ea este ca o vazatoare.
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Mile deasupra actiunii, privind in jos, prezicand ce fel va fi. “Cantecele sunt ca profetiile. Ele pot fi mai puternice decat tine”, a spus ea pentru The New Yorker. Fizzy, echoing drum beats hover behind her almost suffering sounding vocals. “I can’t stop the taxi cab from crashin’/ And only lovers will survive,” she croons. “Slow Disco,” too, has Clark proclaiming, “There’s blood in my ears and a fool in the mirror/ And the pain of mistakes couldn’t get any clearer.” She is chaotic and messy, an agent of kink with “You dress me up in a nurse’s outfit/ It rides and sticks to my thighs and my hips” on “Savior.” The track is the album’s climax. Clark snarls, almost, on the song featuring a plucky guitar riff. It drips with sex but the song is also incredibly self-aware of what, with prior tracks’ debauchery, what happens when seduction leads to dependence and when desire is no longer temporary but someone else’s heart. Clark’s evangelical sounding refrain of “but then you say ‘Please'” is an ache, a desperation. Clark does find power in her vulnerability after the desire, the fucking, on “New York,” conceding almost as she sings the “only motherfucker in the city who’d forgive me.”
Clark’s Masseduction is Bacchanalian, luxurious and welcoming; a fever dream of epic pop proportions. It’s seductive and climactic. While desire and sex are refuge, they are also a place to implode. Real consequences, so often very emotional ones, happen there and Clark isn’t afraid to show us the immediate satisfaction and its aftermath. And that’s important because it’s human: not pretty or “sexy” in a traditional sense but messy and real. We don’t always know how to treat sex as sex, an act, without the addition of love or lust or any emotional projection. “What could be better than love, than love, than love?” Clark posits to us on the album’s final song, “Smoking Section.” She doesn’t give us the answers after the dust settles. She only goes through it and we go through it with her.
Sarah MacDonald is an Assistant Editor at Noisey Canada. Follow her on Twitter.
