St. Vincent - Actor

has crafted a haunting, but oddly comforting, musical landscape on ‘Actor’, her new record under the St. Vincent moniker. The songs have a definite texture and tone about them that is solicitous and inviting, but there are rough edges here, both musically and lyrically, which only adds to the compelling nature of this wonderful album. It is a cohesive, layered record that certainly shows the influence of her time with Polyphonic Spree and Sufjan Stevens, but builds off of that foundation of optimism and intricacy with sprawling, gorgeous arrangements and enough sonic surprises throughout that the listener can never be bored or assured of what will come next. Clark wrote and arranged all eleven tracks on the record, and also co-produced it with John Congleton, so this stands assuredly as the full realization of Clark’s artistic vision and ambition, and is a confident, captivating listen.

The stirring, angelic orchestration of ‘The Strangers’ sets a sanguine tone to the start of the record, but Clark hints at the more dour undertones that are woven throughout with the repeated lyrics ‘Paint the black hole blacker.’ And just when you realize this song isn’t quite as lighthearted as the melody would lead you to believe, Clark kicks in with an abrasive electric guitar solo that reiterates the harsh atmosphere at the heart of the song. It’s a bit jarring, but is an effective, inventive flourish that Clark makes work, and the album is filled with such potent embellishments. ‘Save Me From What I Want’ has a danceable R&B element to it, but features a subject that feels trapped by responsibilities that keep her from realizing her own dreams, no matter how many cold showers she takes. Clark at times seems conflicted by her ability to craft such delicate, harmonious tracks and her desire to shake things up a bit with some discord, and that tug of war is perfectly embodied on ‘The Neighbors’, which switches between a lovely, lilting lullaby and a cacophonous chorus filled with dissonant guitar and percussion.

Much of the listeners attention could gravitate towards the innovative arrangements, and rightfully so, but the real star of the show here is Clark’s celestial voice, which soars throughout the record and elevates each song with the passion and the subtle intensity of the singer. The album’s first single, ‘Actor Out Of Work’ is a fine example of this, for amidst the driving beat and 80s keyboards, Clark’s vocals are able to shine through and the song takes off as a result. ‘Black Rainbow’ could be a soundtrack to a darker, unreleased Disney film, and ‘Laughing With A Mouth Of Blood’ has the bleak subject matter that you would expect from the title, no matter how buoyant the melody is. That Clark is able to balance these two sides of her personality so effectively is a testament not only to her creativity but to her vision as well, knowing what mood and theme she is going after with each song, and coupling that with arrangements and vocals that work well with each other. And the songs are just brimming with that originality throughout ‘Actor’.

‘Marrow’ again finds Clark with her dancing shoes on, and the uptempo track features a driving, electric beat and a pulsing, catchy chorus. It stands as the highlight of the more pensive second half of the record, which has a slower pace and feel than the first half, and features heartbreaking tracks like ‘The Bed’ and ‘The Party’, which give nothing away with their titles, instead forcing the listener to dig deeper into the tracks, perhaps shocked at what they find when the curtain is drawn back. ‘Just The Same But Brand New’ is perhaps a cheeky response by Clark to the lofty expectations her audience has placed upon her new record, standing firm on the sound and style that merited such praise in the first place, but still giving her manner and method a modern twist. Album closer ‘The Sequel’ is one of many instances on the second half of ‘Actor’ that was reminiscent of PJ Harvey’s ‘White Chalk’, not only in it’s stark beauty, but also through the confidence shown by an artist completely defying an expectant audience with somewhat of a sonic curve ball that still manages to remain pure and poised.

The title of the album hints at many things, namely that Clark is trying her hand at many different styles and techniques, even playing the part of musician if you choose to get completely literal. But the title also speaks to the complicated set of characters that imbue her lyrics, and the parts they play in their own lives, whether successfully or not, and the tired nature that comes as a result of settling for a life that don’t allow them to be completely real. It’s an ambitious endeavor, and ultimately ‘Actor’ clearly hits it’s mark. The record never feels forced or weighted down by it’s lofty intentions specifically because of the talents of Annie Clark, who guides the songs through their rough terrain and atmospheric heights like a true maestro, orchestrating these sounds of both failure and triumph with equal dexterity. And in the process, she’s crafted a modern masterpiece that gives voice to the doubts and dreams inside all of our heads and hearts, even those we’re afraid to confront. Clark dons the masks of many diverse characters throughout ‘Actor’, but ultimately hides nothing from her audience, which is fundamentally what any great actor should aspire to. Bravo.