St Vin­cent

The Guardian - G2 - - Reviews Pop - Rachel Aroesti

Masse­duc­tion LOMA VISTA/CARO­LINE ★★★★★

Me­chan­i­cal beats and abra­sive synths un­der­pinned by pro­ducer Jack Antonoff’s feed­back-pocked soundbedof-nails: An­nie Clark’s sixth al­bum as St Vin­cent is not im­me­di­ately invit­ing. But it is fas­ci­nat­ing, some­times grimly so, with Clark re­lat­ing scenes from a re­la­tion­ship with a drugged-up Young Lover. Yet the frank con­fes­sions

– of trans­gres­sive de­sire, patho­log­i­cal anx­i­ety and ro­man­tic re­jec­tion – that pep­per Masse­duc­tion tran­scend gos­sipy in­trigue. (In­evitably, peo­ple will as­sume some of the ma­te­rial is in­spired by her breakup with ex­girl­friend Cara Delev­ingne.) Son­i­cally, the record un­furls into some­thing cap­ti­vat­ing, as Clark ditches the gui­tar rock for pop that is rich, nu­anced and sur­pris­ing. Sin­gle songs jour­ney across gen­res. Pills, for ex­am­ple, be­gins like a bass-heavy remix of a nurs­ery rhyme and ends up a big bal­lad with a Ka­masi Wash­ing­ton sax sec­tion – while bizarrely amus­ing in­gre­di­ents are con­tin­u­ally added, from par­o­d­i­cally funky synth lines to shrill vo­cal gym­nas­tics that would have Mariah Carey cow­er­ing on her chaise lounge.

St Vin­cent’s frank con­fes­sions of ro­man­tic re­jec­tion tran­scend gos­sipy in­trigue

Long-dis­tance bond … Courtney Bar­nett and Kurt Vile; be­low,

St Vin­cent

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