Daddy's Home, the sixth album from Annie Clark a/k/a St. Vincent, is the
latest facet of an ever-evolving artist regarded by many as the most
consistently innovative and intriguing presence in modern music.
In the winter of 2019, as MASSEDUCTION's title track won the GRAMMY for
Best Rock Song and the album won Best Recording Package, St. Vincent's
father was released from prison. She began writing the songs that would
become Daddy's Home, closing the loop on a journey that began with his
incarceration in 2010, and ultimately led her back to the vinyl her dad
had introduced her to during her childhood. The records she has probably
listened to more than any other music in her entire life. Music made in
sepia-toned downtown New York from 1971-1975.
Preceded by a foreboding teaser, the first full broadcast from St.
Vincent's synthesis of this era reaches us in the form of "Pay Your Way
In Pain," a slinky slab of sweaty funk—punctuated by a few examples of
Clark's ability to shred vocal cords rivaling her shredding on her
signature Ernie Ball Music Man guitar. The song plays like the result of
time travelers from the future having booked a session Electric Lady in
the early 70s. The video for "Pay Your Way In Pain," directed by Bill
Benz (director of the forthcoming The Nowhere Inn, co-written by and
starring St. Vincent), opens up Daddy's Home's visual world—a world in
which the most forward-looking artist of an era throws herself willingly
into a network TV variety hour rabbit hole.