St. Vincent: MASSEDUCTION — Complete

It has been awhile since I have written any of my musical musings and it’s not for a lack of words. I have discovered TONS of great music over the past few months. My job went crazy and my life went into an awkward spiral, but now I’m back.

Over the last few months I decided to rejoin Vinyl Me, Please. I was once a member and I don’t particularly remember why I stopped. Through Facebook, Twitter, and Instagram reading all my browsing history and spying on my personal life, I received many advertisements for Vinyl Me, Please, and November’s record of the month, St. Vincent’s MASSEDUCTION, caught my eye.

Vinyl Me, Please Special Edition

Now, who hasn’t heard of St. Vincent? The record stores back home in Oklahoma take pride in her career because she was born in Tulsa, but my research tells me she moved to Texas before she was 5. I’d like to call her an Okie, but I don’t know if she would accept it.

Anyways, MASSEDUCTION quickly took me by surprise. Although I had seen a lot about St. Vincent’s music, this is actually my first foray into her catalog. I already have more of her albums on order.

To be candid, I really love¬†MASSEDUCTION. This album served perfectly as an intro to St. Vincent’s work. I understand her earlier work is different, but this record has served as my gateway drug.

There are many reasons why I love this album, so many that it is hard to pinpoint exact reasons. Each song is like an impressionist painting. St. Vincent lays out what she sees, yet she leaves much to the imagination. Like many impressionist paintings, this album is also full of color as the orchestration ranges from heavy synthesizers to basic piano.

This album explores many themes, especially in relationships and self-discovery, but the reigning motif for me was self-acceptance. St. Vincent asks to be someone’s flawed foundation in “Hang On Me,” while calling BS on this world’s standards with “Pills” and “Los Ageless.” She knows what it’s like to be lonely and how her decisions have impacted her plight in life with “New York,” Fear The Future,” and “Young Lover.”

Curtosy of The Telagraph.

At the end of all these emotions and trials, she is working on accepting herself, because ” “she can’t help what turns her on” in “MASSEDUCTION.” Although this doesn’t result in her over confidence, because she is still completely vulnerable in tracks like “Happy Birthday, Johnny” and “Smoking Section.”

For me, MASSEDUCTION¬†is not a musical journey, yet a musical process, set to the tone of purposeful “pop” if you will (Disclaimer: I think being “pop” is one of the most freeing “genres” of music. It is never a diss in my writings). Through this album’s instrumentation one can find influences of rock, dance, jazz, and electronica. This is easily seen from the rapid tempo of “Pills” to the string arrangement of “Dancing With A Ghost.”

One last note, St. Vincent’s vocals are nearly pristine on this album. Ballads, like “Happy Birthday, Johnny” really show off her “classic” vocal talent. She may be considered an indie or alternative artist, but she can sing circles with the best of them.

MASSEDUCTION completely accomplished it’s title, as it has completely seduced me into the world of St. Vincent and, apparently, I’m not alone. I was online today trying to buy tickets for her shows in New York City this weekend and they are completely sold out. Off to StubHub I go!

Check out St. Vincent’s official website here.

Check out St. Vincent’s Twitter: @St_Vincent.

Check out St. Vincent’s Instagram: @St_Vincent.

Check out St. Vincent’s Facebook here.