Truth to Power
Stella Donnelly
Beware of the Dogs
“It’s never too late to be on time.” When Stella Donnelly calls you out — and she is calling most of you out — it’s not so much finger-pointing as it is a wake-up call. Her full-length debut is a striking proclamation that holds the powers that be accountable for misbehaviour on all fronts. Unlike 2017’s Thrush Metal EP, the Perth, Australia artist has expanded her arsenal and now stands at the helm of a full band. The simple addition of synths, cello, bass, piano and (most notably) percussion has elevated her music to a place most of us were hoping she would reach — one that’s sonically diverse and a little more multidimensional.
Instrumentally, there’s a flair and excitement that was lacking on previous work, but when her message is best told intimately, she restricts everything else until it’s needed. And despite the emotional weight a lot of these songs carry, most are quite upbeat — even fun. Her vocals are also more daring on this record. Breeze-like melodies cruise through multiple octaves with ease, fluttering with vibrato at the tail end of her notes. Sometimes she’ll even drop them off early, pairing the attitude in her words with impatience in her tone.
Donnelly never beats around the bush, and because of that, there is a magnetism to this album. If she wants you to “fuck off and die,” for example, that’s exactly how she’ll say it. She’s blunt when saying “your personality traits don’t count if you put your dick in someone’s face,” on “Old Man.” On “Mosquito,” she’s explicit, telling a partner she “used her vibrator,” wishing it were them. And lines like “I get homesick before I go away” are as personal as they are relatable. And sometimes the honesty is tough; “Boys Will Be Boys” is not just the strongest song on this album, but one of the most powerful. Her tale of rape apology and victim blaming is a punch to the gut. It’s
Clark continues to alternate between studio and live albums, he strikes a balance on This Land that brings the 35-year-old Texan to new heights. Clark pulls no punches and wastes no notes across the album’s 15 tracks, delving into the most serious songwriting of his career. Race isn’t often tackled in the songs of modern guitar-slinging bluesmen, but on the explosive title track, Clark faces anti-black racism head on, as he sings: “In the middle of Trump country.” The chorus of “N—a run, n—a run, go back where you come from” is met defiantly by Clark, who responds with “Fuck you, I’m America’s son,” staking his claim with a backing of ripping fuzz tones. It’s a visceral anthem that feels genuine through its entire six-minute runtime.
The album explores elements of punk, reggae, funk, R&B and hiphop — but rather than bog down the record, Clark pulls them all together seamlessly. The production on This Land helps keep the embellishments in check — from Latin percussion to pitch-shifted samples, every sound finds a lane, melding but not muddling. As Clark weaves effortlessly from a gravelly growl to sweet falsetto, from punk rock energy to swampy blues, the one constant on This Land is his mas- POP devastating, yet beautifully conveyed.
Albums like these speak today’s truth for tomorrow’s circumstances. They don’t just point out the problems, they offer a solution. “It’s never too late to be on time.” (Secretly Canadian)
Who are the dogs?
The dogs are whoever it is I’m singing about at the time. And I mean, for me, in Australia, I think it’s the powers that be that are kind of running this country in a way and exploiting others to do so. It can be said in a really light way as well, or it can be as heavy as you want it to be.
Why is being plainspoken important to your writing?
I don’t have a choice in how I write. I’m pretty plainspoken in general, so it makes sense to me to write that way because I’m not so much of a wordsmith. I feel it’s easier to relate to people who talk about things in everyday ways.
sive guitar, powerful and commanding but never out of place. Gary Clark Jr. has already proven he’s the guitar hero for the modern age, but now he’s shown he’s got the songwriting chops to match. This Land is a triumph for Clark and a quantum leap forward for the blues. ( Warner Bros.) JAZZ FUNK offer up a sonic take on bliss. The Moroccan-inspired “Al-Mu’tasim” and last track “Song of Happiness” close things out on a virtuosic note. (Daptone) POP