Review Summary: This sophomore release from St. Vincent (aka Annie Clark) showcases even more complex and catchy compositions than her debut and proves that she still has plenty to show us.
Actor marks the second release from former Polyphonic Spree/Sufjan Stevens guitarist Annie Clark. It's as much a departure from her first solo release, Marry Me, as a continuation of it. Actor shows Clark expanding upon the grand arrangements touched upon on Marry Me, but still retains an aspect of intimacy. Clark is largely influenced by film scores on Actor, an influence easily seen through the compositions. Her voice has the ability to drive a song forward or provide a rich and soothing addition to a track. As well as possessing a powerful and haunting voice, Clark is a proficient and effective guitar player. However, to the listener's pleasure she does not lean on her skills on the guitar when songwriting but instead melds seemingly simple progressions into haunting pop-infused masterpieces featuring a variety of instruments. Clark lays down the guitar, bass, and key parts and is helped by a conglomerate of friends including woodwind contributions by Hideaki Aomori (Sufjan Stevens) and Alex Sopp (Philip Glass, Björk). Actor doesn't shy away from dissonance and in true St. Vincent style traverses from melancholic to playful themes effortlessly, both lyrically and musically.
The Strangers
Beginning with a airy vocal and woodwind intro, The Strangers quickly transforms into a quick, seemingly lighthearted song with driven by the simple yet effective drum beat. However, the happy quality of the song is distorted by the constant lyrical refrain “paint the black hole blacker.” Instrumentally, the song catches up with the tone hinted by the lyrics and Actor displays it's first glimmer of the heaviness that Clark has brought into the studio before returning to the initial haunting vocal melody.
Save Me From What I Want
Save Me From What I Want opens with a synth melody reminiscent the beginning of a sci-fi movie played at 2 AM on Public Access. It melds into a structure similar to The Strangers with a driving drum beat and reverb-soaked guitar adding atmosphere. Also present again is the repeated background vocals, this time proclaiming “watch your step.” Save Me From What I Want doesn't rely upon a plethora of accompanying instrument, it features mostly the basic drums/bass/guitar combo, albeit with a bit of St. Vincent flair. The stand out feature of this track is the catchy vocal line Clark sings in the chorus, instructing the listener to “save me from what I want.” The ethereal nature of the song is then interrupted by a foreboding interlude that quickly resolves and steers the listener back into the dream-like state.
Neighbors
The Neighbors seems almost ballad-like, but with an added heaviness. Annie's crooning vocals lay atop a foundation of drums, bass, and vocal accompaniment. It's yet another song that addresses the dichotomy ever present in the album, it highlights the contrast between the lighthearted themes as seen in the song's form and somewhat dark vocal themes as Annie sweetly asks the questions “what would your mother say?” and “what would your father do?”
Actor Out Of Work
True to her form so far, Actor Out Of Work starts with a driving beat, fuzz heavy guitars, and Annie's piercing voice. As the song progresses, it adds more and more instruments and vocals, allowing this somewhat simple song to remain interesting despite it's lack of any type of typical chorus. And once again, the lyrics display a contrast of moods with the pertinent line “I think I love you, I think I'm mad.”
Black Rainbow
Beginning with a nightclub meets electronica wind and guitar intro, Black Rainbow sets up the most intimate song seen yet on Actor. However, don't be deceived by the calm beginning, Black Rainbow progresses into an intense string-dominated build up, entirely abandoning it's former mood. Right when it seems like it's going somewhere, the crescendo ends as quickly as it begins. This sudden end is a bit disappointing, as the song ends right when Clark seems she could dive into some even heavier material.
Laughing With My Mouth Full Of Blood
Instead of cryptically hiding her contrasting themes in the music and lyrics, Clark states it clearly and succinctly with the title Laughing With My Mouth Full Of Blood. It's another song dominated by Clark's voice and vocal melodies. Laughing With My Mouth Full of Blood stands out because it successfully melds the quiet with the loud. Soft vocals and winds are joined by driving bass and drums and of course, guitar. Unfortunately, this song ends right when it become most interesting. Like Black Rainbow, it builds off and drops suddenly. Again, it seems that this song could have gone on into something much more than it already is.
Marrow
Marrow is the perfect mix of Disney musical meets rock n' roll. Beginning deceptively slow and delicate, it soon becomes dominated by a simple yet effective drum beat and distorted guitar/bass combo accentuated by brass and winds. It's like a march of dysfunctional children's movie characters, all the while proclaiming “H-E-L-P, help me!”
The Bed
Bed is the first song on the album that doesn't lean heavily on driving bass/drum beats, though it does not abandon them altogether. It features prominent wind and string parts that provide the basis for Annie's vocals. It is an intimate performance enhanced by Clark's appropriate arrangements.
The Party
Clark pulls out the piano for one of the most laid-back songs on the album. Another ballad-like song, Clark sings a simple vocal line atop a simple drum and piano melody. Simple, yet effective. Her vocal melody is enforced in the end and with the addition of more instruments. Not one of the most memorable songs on the album, but still a solid track.
Not The Same But Brand New
The longest track on Actor starts off with a guitar dominated, eerie mood. It's another song that might pass off for a somewhat troubled Disney song. It floats its way through the first two minutes with little sense of a solid beat. The listener is taken by surprise when halfway through, the drums suddenly grab the song and propel it forward. Once again, the mixture of the two differing musical styles allow this track to remain interesting and fit in well with the rest of the album
Sequel
Sequel begins in a way reminiscent of What Me Worry?, the closing track of Marry Me. The jovial woodwind intro deceives as the nature of the song which changes once the acoustic guitar is introduced. Clark plays the acoustic guitar in a driving manner, giving the song an all but lighthearted feeling despite it's sparse arrangement. The winds are still present as accompaniment and they add to mournful mood. The shortest song on the album, Sequel ends after less than two minutes with no resolution. The album seems to end on a question.
Overall, Actor is a solid album with no distinctly filler tracks. Annie Clark showcases her ability to craft highly memorable pop compositions as well as the unique quality of being able to stand out without heavy accompaniment. Actor stays interesting not only because of its music but also its presentation of contrasting themes that highlight the lyrics and music alike. Actor shows Clark improving her style of indie pop and shows that this former Illinoisemaker can still compose interesting and intriguing songs.
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