Author Archives for Andrew McNally

Perfect Pussy – “Say Yes to Love”

(Photo Credit: Pitchfork)

Grade: A

Key Tracks: “Driver” “Interference Fits”

“Stop me if you’ve heard this one before,” Meredith Graves coyly sings on “Advance Upon the Real.” But there’s no stopping Perfect Pussy – there isn’t anything quite like this. In fact, it’s one of the only decipherable lines on the album. Perfect Pussy’s raw, cheap and ferocious punk energy is breathing life into music. The noise-punk band came together after Graves was asked to form a fake band to play in a scene of the 2013 film “Adult World,” and they ended up recording. They released their first EP, “I Have Lost All Desire For Feeling,” rather unceremoniously. But it was quickly picked up by major markets and by the time this debut LP came out (which wasn’t long), it was already hotly anticipated.

The first EP was four songs and roughly 13 minutes long. “Say Yes to Love” is double that – eight songs and 23 minutes. The whole album is characterized by relentless and chaotic energy and teasing intros and fade-outs. The volume is pushed to the max throughout, surrounded by reverb, power chords and lo-fi production. The chords themselves are deceivingly pop-punk, but Perfect Pussy are far too riotous to be considered it. The only song that isn’t all-out is the keyboard-prevalent closer, the ominously named “VII” (ominous because the EP’s song titles were in Roman numerals, suggesting parts V and VI exist). Even then, it’s a booming closer. The band’s intensity is thanks in part to the muffled production. It’s like the medium between Melt-Banana and Potty Mouth, recording with the production quality of Teen Suicide.

Fade-outs, reverb and tempting intros are a large part of this album. The opening song, “Driver,” waits a very teasing eleven seconds before the opening chords. “Big Stars” and “Interference Fits” have long periods of reverb at the end of the song, as if providing a quick break for the listener. And “Advance Upon the Real” has a little over three minutes of tape delay, at the end, in which some notes and chords in the background are just barely audible.

The vocals are improved on this album. On “Feeling,” Graves’ voice was so buried under the music that it was barely audible. They’re at least audible here, although the lyrics are almost entirely unintelligible. They might be taking a Lightning Bolt approach, burying the lyrics under fuzzy vocals to add a shroud of mystery. One of the album’s only other truly unmistakable lines is in “Interference Fits” – “Since when do we say yes to love?” – just intelligible enough to let the listener know what a red herring the album’s title really is. What follows, is Graves dubbed twice over herself, singing three different things at once.

Perfect Pussy have been one of the biggest bands to watch for 2014 and, no, they’re probably not going to become a household name, but they’re making waves in the music world. “Say Yes to Love,” even in its lighter moments, is intense. 23 straight minutes of vicious energy, fronted by Graves’ shout-singing (and Garrett Koloski’s machine-like drumming). Perfect Pussy have emerged from an otherwise empty Syracuse scene, and they’re here to stay.

If you like this, try: Potty Mouth’s “Hell Bent.” It’s not half as intense, but it matches PP’s pop-punk chords and lo-fi production.

-By Andrew McNally

Nepotism – “Black Sheep”

(Photo Credit: bandcamp)

Grade: A-

Key Track: “New American Drugs”

Nepotism are a very eclectic group from South Carolina, taking the best parts out of 90’s punk, modern rock, metal and more, to make a distinct alt-metal sound. The five track EP jumps all around, making sure each song is unique, nearly all of which are successful. What makes Nepotism immediately attractive is the catchy quality of their music. While a lot of louder guitar-based alternative bands aim for discord and noise, Nepotism look for harmonies and memorable rhythms within volume.

The album’s stand out is “New American Drugs,” the most punk-influenced of the five songs. The song has a speedy and relentless central guitar rhythm, that’s equal parts funky, catchy and angry. It wouldn’t sound out of place on your favorite 90’s throwback radio station, but that doesn’t mean it sounds old. Closer “Nobody Knows” is another great track, in the same vein. It’s ferocious and non-stop, but still comfortably accessible. The song is nuzzled in rock radio – fit for radio, but not fit for all of radio’s audience.

“In Disguise” might be the only weak song on the EP. It is the EP’s slow song (hesitate to call it a ‘ballad’) and although it’s a completely successful song in it’s own right, it sounds a little too close to 311’s “Amber,” in many ways. It also suffers from being placed too early on the EP. As the second song, it kills the momentum brought up from strong opener “Let It Out.” All that said, those criticisms are easy to ignore, and I found myself humming on the second listen.

Nepotism are like many alt-rock bands today, taking their inspirations from eclectic groups and genres. This EP shows hints of Incubus, Tool, the Stone Roses and many 90’s alt-rock bands. While those bands all created molds and became victims of their own product, bands like Nepotism are using the molds made by everyone from 311 to Green River and turning them on their heads. “Black Sheep” is five songs that are definitely recorded by the same band, but really don’t sound alike. And that makes for a pretty unique release.

The album can be streamed and downloaded here.

If you like this, try: Pissed Jeans’ “Honeys.” Not really all that related, but there were certain moments where I was reminded of the post-rock band’s excellent (and equally diverse) new LP.

-By Andrew McNally

Supastition – “Honest Living EP”

(Photo Credit: bandcamp)

Grade: A-

Key Tracks: “Honest Living” “Two Weeks Notice”

One of the criticisms of hip-hop that’s arisen over the past couple years is a disconnect with the audience. Drake said something recently – and accurately – about Jay-Z not being able to go four bars without referencing fine art. Jay-Z and Kanye may be at the top, but their tales of luxury and fine living have become off-putting. That’s what makes rappers like Supastition so important. “Honest Living” is dedicated to and directly inspired by the working class. The EP’s inspiration comes from North Carolina becoming the first state to eliminate federal unemployment benefits last year (come on, North Carolina, how evil do you have to be?). As the state’s economy crumbled further, Supastition himself was looking for work, documented in this release. “Honest Living” is a cohesive EP, about the pain felt through North Carolina and the discord felt between the comfortably rich and the poor that have been hurt by the state.

Although “Two Weeks Notice” starts with a a snarky bit of a businessman talking about golf, this EP isn’t exactly ‘angry,’ even though it easily could be. It instead has an aura of passive and informational aggression. Supastition wants to teach listeners, in a way that anger would not allow. He wants to teach listeners what it’s like “living in areas they won’t even deliver pizza to,” as he says in the song “Honest Living.” The EP retains a consistent, relaxed tone, even if the lyrics are thematically heavy and rightly emotional.

Rap that tells stories and has a serious sense of purpose like that on “Honest Living EP” is usually less focused on the skill and impressiveness of the rapper and more focused on the lyrics, but Supastition is an exceptional rapper. It might almost go unnoticed, with how important the lyrics themselves are. But he’s clear and concise, a no-frills artist. The EP’s producer, previous collaborator Croup, acts as the same. The EP is perfectly produced, filled with simple beats and no theatrics.

“Honest Living EP” is an inspired and honest work. There is no boasting, no violence, no NY vs. LA, and no Tom Ford namedrops. It is a vintage, down-to-earth release about economic struggles in North Carolina. Simple music for complex lyrics, and a cohesive EP from a man just trying to make a living. While there’s nothing wrong with big-shot hip-hop royalty, it’s so far removed from what rap used to be. “Honest Living EP” goes back to an old school sound, with lyrics of honest struggles.

The album can be streamed and downloaded for free on bandcamp, but doesn’t it deserve a few bucks?

-By Andrew McNally

Pharrell – “G I R L”

(Photo Credit: Hollywood Reporter)

Grade: B+

Key Tracks: “Hunter” “Gust of Wind”

This was a risky time for Pharrell to release a solo album. He’s riding the waves of one of the most successful years someone in music can have. He had guest spots on the two biggest songs of last summer – “Get Lucky” and “Blurred Lines,” and he co-wrote and produced two songs on Beyonce’s instant-legend self-titled album. He wore a silly, hip-hop-historical and now famous hat to the Grammy’s, and he released a 24 hour music video for his big hit, “Happy.” Pharrell is, nowadays, now famous for producing and guest spots, hugely overshadowing his solo work and his music with N.E.R.D. and the Neptunes. So if “G I R L” were to be underwhelming, it would likely derail the ever-increasing speed of the train that Pharrell is at the helm of. Luckily, “G I R L” is a sufficient pop release. It isn’t the most memorable of albums, but it strongly benefits from an all-inviting sound, a consistent feminist agenda, and huge name guest spots from Pharrell’s long, long contact list.

Pharrell tried to hit all bases with “G I R L,” and he certainly succeeds. It’s sexy – like the sweaty “Hunter.” It’s classy, with opener “Marilyn Monroe.” And it’s friendly – centered around the smash hit “Happy,” which seems to actually be stylized on the album as “Happy (from Despicable Me 2).” You know, the kids movie. The very next song is “Come Get It Bae,” featuring the not-family-friendly Miley Cyrus. Whatever your fancy is with pop music, “G I R L” likely hits it.

The guest spots, though usually not the focus of a review, are something to marvel at. As mentioned, Miley drops in. And so do Alicia Keys, Daft Punk, Kelly Osbourne, a very falsetto-y Justin Timberlake, Timbaland (relegated to beatboxing) and, unpredictably, JoJo. And the strings on the album – arranged by Hans Zimmer. The cast on this album reads like a Wes Anderson movie. And just like an Anderson film – some of the appearances are solely based on “look who I got to be here!,” while some, especially Daft Punk, add a whole level of depth and help separate each track from the next.

And it’s good that each song is distinct enough to stand out – because Pharrell, on his own, isn’t actually all that strong. The rare moments when he raps on the album work, but otherwise, his voice usually just blends into the background. Think about “Happy” – his voice only overpowers the music because the music is minimal during the chorus, and it’s catchy because of how his voice acts as an instrument, not for the lyrics. There are moments where he ups into falsetto, and he really doesn’t hit the notes. There are a couple moments were it resembles watching a Top 12 American Idol giving what you just know is their last performance. It just isn’t quite there, overall. But it’s a boatload of fun, so it’s never an issue.

“G I R L” is all linked together by a distinctly feministic tone. It’s almost possible to see this – and “Get Lucky” and his work on Beyonce’s album – as an apology for the gut-wrechnigly misogynist (and possibly divorce-causing) “Blurred Lines.” Pharrell sometimes skirts the lines of male pop feminism – respecting women’s bodies and sexual desires, etc., and sometimes fully delves into actual feminism. It helps to create a consistent tone, and let’s be real, it’s just nice to hear. Inviting feminist-leaning artists like Daft Punk, Timberlake and the severely misunderstood Miley Cyrus only helps that. The era of patriarchal sex-pop is coming to a close, and Pharrell seems to be the one locking the doors.

So “G I R L” only suffers from Pharrell himself not being the most talented singer. And given that this is his first solo album in eight years, it’s not his specialty. He produced the whole album, and wrote every song, much more his strong suits. The album is not the most memorable, because it all feels familiar. But it’s still enjoyable and every song is unique. It sounds by the books, if every song was taken from a different book than the one previous. “G I R L” is a listen for those of all ages and musical preferences. There’s something for everyone, and his “music for everyone” approach helps to bolster the feminist themes. “G I R L” won’t be one of the albums of the year, but it’s a more than decent pop release, and one that will help Pharrell continue his unstoppable reign.

-By Andrew McNally

Ross Hammond – “Humanity Suite”

Grade: A-

It’s important to think of “Humanity Suite” not as a live piece of music, but as performance art, or even a score. Acclaimed guitarist Ross Hammond was invited to play at the Crocker Art Museum in Sacramento. His performance coincided with an exhibit of the work of Kara Walker, whose honest works were largely known for black and white silhouettes, sometimes even over other artists’ works. Hammond did not know which works would be on display during the performance – so “Humanity Suite” acts as a score to exist alongside Walker’s broader themes. The free-form jazz album does not get as dark as some of Walker’s works, but it is every bit as diverse and frayed.

Unfortunately, I always stream music to review, so I was unable to fully appreciate what the physical LP is like, but I can imagine that it has a reluctant crispness to it. Releasing the Suite on vinyl (and with the cover, pictured above) was a throwback to jazz albums of the 70’s, the best of which had a very loose feel similar to Hammond’s.

The album’s loose feel is very intentional. Hammond scored outlines for six pieces, that were thematically consistent with both each other and Walker’s art. But many of the contributing musicians were not based in Sacramento, so each movement was left with a large amount of room for improvisation. What follows is two pieces, each in the 23 minute range (perfect for an LP), that are grounded in writing but take a new and stronger form through inviting and free improvisation. The beauty of this is that “Humanity Suite” has the right amount of restraint – the improvisation is based off pre-written rhythms, so it never goes off-the-rails, but it doesn’t just stick to a formula, either.

The musicians picked by Hammond are multi-instrumentalist Vinny Golia, saxophonist Catherine Sikora, bassist Kerry Kashiwagi, trombonist Clifford Childers, and drummer Dax Compise. They sound fluid together, working off each other during improvisation, not against each other. Sikora gets a nice, extended feature around the nine minute mark of the first side, and everyone is given their moments to shine. Hammond himself isn’t always to be found on the first side, letting the other musicians have their moments. (The second side is more guitar-centric, though, at least at first).

“Humanity Suite” was recorded in front of a live audience, at the Crocker Art Museum. Having an audience present and audible helps the album have a smooth tone. “Humanity Suite” might be based around Walker’s art, but you don’t need her art to appreciate it. It is a standalone album – two winding compositions that know where to start and not where to end. Each side brings the listener through chaos and stability, loud and soft. “Humanity Suite” may have been composed as a companion piece, but it takes on a life of it’s own.

The album will be available on vinyl and as a digital download through Prescott Recordings on May 9th.

-By Andrew McNally

Mystics Anonymous – “Dreaming For Hours”

(Photo Credit: bandcamp)

Grade: A-

Key Tracks: “Made of the Time” “Vanishing Phase”

Mystics Anonymous, aka singer-songwriter Jeff Steblea, approaches music “where nothing is off-limits.” Indeed, nothing is more limitless than dreams. “Dreaming For Hours,” his first project under this moniker in a decade, is a transient mix of indie rock and dreamy, electro influences, finding a healthy balance. “Dreaming For Hours” sounds like a 90’s product – but one that we would have then said was ‘ahead of it’s time.’ It’s experimental, but very accessible, carving itself a home in between conventional indie and experimental dream-pop.

There are points on the album where Steblea’s music does become just standard singer-songwriter type music. One of the standouts, “Made of the Time,” is essentially a straight rock song. There’s plenty of tracks on the album like this, and a majority of them are strong. Steblea, and his backing band, are not afraid to sound familiar – there are alt-rock songs with big choruses and folk-minded acoustic tracks. But there are outside elements. The first track, “Sinner’s Lament” starts with a 90’s house-like rhythm, and there are “dream” interludes throughout the album, some sounding like video games, some like nightmares. Some songs, like “False Voices” and “The Fifth Business,” blur the two into original, dream-like songs that intersperse the straighter alt songs.

Steblea’s vocals are not the most powerful, but they seem to dominate most of the songs. The straight tones balance the dreaming quality of some of the music, and it helps to establish a 90’s-type alt-sound. Likewise, the backing band sound effortlessly talented, but they often reserve themselves to simpler music. “Dreaming For Hours” acts almost as an exercise for musicians – advertising the fact that talented musicians can create rock songs that are just as good as complex, electro ones (and there’s plenty of both). (It’s also worth noting that the band includes Daniel Hales).

“Dreaming For Hours” certainly resembles a dream. Some ideas are over in a minute, many stretch over six. There’s something very unexpected about the album, hidden amongst more familiar themes, just like a dream. The album’s only real fault is it’s length – a little too much of a good thing. It’s problematic, because there are few songs that overstay their welcome, and the album is cohesive as a whole. But five of the album’s fourteen songs are over five minutes, and it makes for a lengthy listen. For a musician, that’s about the best problem to have. “Dreaming For Hours” is an achievement; an original yet familiar piece, centered around the great songwriting of Jeff Steblea.

The album can be streamed and purchased on the Mystics Anonymous bandcamp page. It is also available on Amazon, iTunes, Spotify, and most major sources.

-By Andrew McNally

No Man’s Valley – “…And Four Other Songs”

Grade: B+

Key Track: “Happy?”

It’s tempting to call No Man’s Valley a throwback band for today’s music. The Dutch group has the constructs of a typical rock band – vocals, guitars, bass, drums and keyboard. But the band prides themselves on incorporating 60s’ style rhythms and moods into their songs, and there’s elements from many different eras. The songs have a garage rock energy to them, and there is a frequent use of soundclips. When the whole package comes together, it becomes a band taking many different influences to become their own unique sound.

No Man’s Valley hails from the Netherlands, but their feelings are universal. The band sings of common themes like work, not fitting in, and, on the opener and best song “Happy?,” societal pressures to seem happy. “Happy?,” serving as a single of types, is the most 60’s-inspired song on the EP. The guitar-and-synth at the song’s beginning sounds like something the Zombies would have jammed on, if they sang about struggling to be happy instead of an actual happy song. it has a slow-burning energy and has a classic feel to it. “Sleeping on the Job” is a much more ‘recent’ era song – another slow-burner, but one that angrily takes on the tediousness of working (specifically, at an ad agency). Again, the song’s guitar/synth combination is a winner, this time taking on a 70’s feel.

“Moon” is definitely the most experimental song on the release, to the point where it almost doesn’t fit. But it’s a great song. The nearly five-minute song is slower, and has a hefty instrumental midsection played over soundclips, before erupting into a big, synth-heavy climax. Lyrically, the song tackles a feeling of loneliness, with the frequently repeated “The moon is a good listener” speaking volumes. The follow-up, “Black Sheep,” the quickest, shortest and most energetic track. It might be the least interesting one, but it does capture the band’s 60’s inspirations pretty dead-on. Finally, “We Have Lost the Way” serves as a fitting finale. The midtempo song strips away the vocals for a majority (save a soundclip, again tackling the ad agency), for a rousing sendoff, before bringing them back in and ever so slowly fading out.

Listeners could strike many comparisons to No Man’s Valley. One of the most immediate would be Nick Cave. Cave’s music is eclectic, but with a strong personal identity. “…And Four Other Songs” has a consistent tone and energy, combining many styles while staying original. The vocals might be compared to the vocals of Scott Walker – deep, and almost crooning at times. It doesn’t always work on this EP, but it often reinforces the dark and introspective lyrics. No Man’s Valley find originality in established influences, and “…And Four Other Songs” only goes to show that.

“Happy?” is streaming on their bandcamp page, and the EP will be available for free on March 23rd.

-By Andrew McNally

Lakutis – “3 Seashells”

(Photo Credit: bandcamp)

Grade: A-

Key Tracks: “What the Fuck” “Too Ill For the Law”

Is “3 Seashells” a mixtape, or a debut album? It’s been billed as both. It’s the first full-length work dropped by Lakutis, and it has the cohesiveness of an album. But it has two >15 second skits, the longest track is only 3:06, and it was dropped on a Thursday mid-afternoon. So it’s both, or it’s neither, or it’s whatever it is. And that’s exactly what it should be.

This album/mixtape is exactly what we’ve come to expect from Lakutis. It’s short; not a single song overstays it’s welcome. And it’s diverse. Lakutis is known for being involved in Brooklyn’s Greedhead Records (started by Heems – Lakutis is on the Das Racist track “Booty in the Air”), but he’s in the hardcore scene too, and it comes through in the most subtle ways. Each song seems to have a rapidity to get to the end, like hardcore groups. And there’s a certain dark tone running throughout the album, especially towards the album’s second half.

This album’s (arguable) best song, “Too Ill For the Law,” was actually #6 on my subjective list of the best songs of 2013, one of the only four hip-hop songs (which also included kitty’s “R.R.E.A.M,” from her EP that he shows up on). For someone with so little material, Lakutis has the energy and confidence of a seasoned rapper. Throughout this album, Lakutis proves himself a better, more inventive and quicker rapper than nearly anyone out there today. “What the Fuck” directly channels old school rap, when it was just starting to get profane. “Black Swann” has more of a frightening vibe to it, pairing with the screaming at the end of “Skeleton”. And “Too Ill For the Law” has a verse done entirely in thirds. It’s a bold, bold verse, and it’s downright perfect.

“3 Seashells” has been awaited for quite some time, and Lakutis proves himself to be one of the most formidable underground rappers working today. The almost unassuming man formally known as Aleksey Weintraub might not seem like it, but whether it’s the simplest of rhymes or a complex triplets rhythm, Lakutis is simply one of the best out there right now. Get on it, people.

-By Andrew McNally

(Side note: I once had the pleasure of meeting Lakutis at a Heems show in a museum, but he looked like he was so turnt that he could barely see. Got on stage and did a perfect verse. What a hero).

Beck – “Morning Phase”

(Photo Credit: http://www.spin.com)

Grade: B+

Key Tracks: “Say Goodbye” “Wave”

Since revealing that he would finally be releasing a new album, Beck has been promoting “Morning Phase” as a sequel to his 2002 album “Sea Change.” Beck’s music before that album, and most of it since, has been characterized by boundless energy, an almost unnecessary amount of instruments, samples, and verses that were often made up on the spot and never replaced. “Sea Change,” however, is a moody, acoustic work inspired by the break-up with his girlfriend of nearly a decade. “Morning Phase” is definitely a sequel – but the kind of sequel that tells a new story, not one that just rehashes what was done before.

“Morning Phase” is marked by it’s lack of instruments. “Morning,” the album’s first track (save a brief string intro), is a haunting and almost painfully-timed song, and starts with just an acoustic rhythm. It characterizes the album – it’s slower, calmer and more emotional than any of Beck’s most recent albums. But unlike “Sea Change,” which got too moody and self-indulgent (justifiably), this album has a wide range of emotions. Although the whole album sounds dry and down – it’s deceiving. There are tracks like that, certainly, but “Don’t Let It Go” and “Blackbird Chain” have a subtly popping vibe. It’s hopeful, at least. “Morning Phase” is certainly a thematic sequel to “Sea Change,” in the proper way a sequel should be.

One of the things to analyze on any Beck album is how many instruments are present, and how they’re being used. To say “Morning Phase” is a largely acoustic work does not equate to it being less interesting musically. “Say Goodbye” and “Blue Moon” are marked by unpredictable guitar strumming and rhythms, “Unforgiven” trades the guitar for a warped, piano drone, and finale “Waking Light” suddenly erupts into a full band setting, for the first time on the album. But the shining light is the album’s midpoint. “Wave” is far and away the album’s best song, and already stands up to the best songs in Beck’s discography. The song has no percussion, instead driven by a full string section, composed by Beck’s father, David Campbell. Beck’s voice flies loud and long over the strings, accompanied with almost no other music. It’s a dark song, centered around some of the album’s lighter tracks, and it’s one of the most ambitious songs Beck’s ever done.

While “Sea Change” was a relentlessly dark album, brought on by one sharp event, “Morning Phase” is a more diverse work, and seems to be inspired by years of reflection in the first album’s aftermath. It’s a rare sequel that’s better than the first. It might take a few more listens than most Beck albums to really get into, but it’ll be just as memorable as his better works. Beck fans were probably waiting for another crazy album, and we got the opposite, and it’s every bit as pleasing as hoped for. It’s been a long six years, but Beck leaves no need for an apology.

-By Andrew McNally

St. Vincent – “St. Vincent”

(Photo Credit: http://www.themusicninja.com)

Grade: A

Key Tracks: “Birth In Reverse” “Prince Johnny”

St. Vincent’s previous album, the 2012 duet with David Byrne “Love This Giant,” got a little more of a mixed reaction than her previous three albums. But I haven’t stopped listening to the record – I know the whole album by heart. On the album, Byrne takes St. Vincent, moniker for the multi-talented Annie Clark, and brings her out of her comfort zone. Her previous albums were already wholly separate from anything else happening in alternative, but with Byrne’s introduction of horns and a bigger accompaniment, he brought her out of her timidity and almost forced her to take bigger and more fearless risks. Pictured above is Annie Clark, once slightly awkward in old Youtube clips, now purple-haired, staring down at us. “St. Vincent” is bolder and more fulfilling than any of her previous albums – and that’s not exactly a small statement.

Before I get to into the album, I should say, as I have said when necessary, that I am a huge huge St. Vincent fan. I learned “Birth in Reverse” by heart within 24 hours of it’s release. This year and last, I’ve spent Feb. 14th celebrating St. Vincentines Day, an excuse to get away from any standards usually set towards that date. And as I write this, I sit anxiously knowing I’ll be seeing her in ten days. If you’re reading this in Boston, look for me at the show, screaming, singing and just generally embarrassing myself.

So, “St. Vincent” is a step in a new direction. It’s bolder, and although it technically isn’t all that different from her other works, it has a more boundless feeling to it. Without really changing her sound, she has managed to still take herself in a new direction. That’s no more apparent than on the album’s best song, “Birth In Reverse.” The rough, almost factory-machine opening is a staunch stance against most other reserved indie singers. The song’s opening lyrics: “Oh what an ordinary day / Take out the garbage, masturbate” don’t exactly hurt that stance. St. Vincent has never been one to shy away from topics that might be taboo or a little warped, but on “St. Vincent,” she sounds more confident than she ever has. And with songs like “I Prefer Your Love,” with a chorus centered around “I prefer your love / To Jesus,” confidence is a needed trait.

As a fan of every one of St. Vincent’s albums, I have felt that the latter halves often don’t hold up to the former halves – whether because they’re a little too slow, or the mix of synth and guitar does not hold up as well. But “St. Vincent” is just solid throughout. The album’s first half is definitely better – all three of the pre-released songs are in the first five – but there are few forgettable moments. As always, she combines a heavy amount of synthesizers with her underrated guitar work. It works well across the album, but might work the best on the penultimate “Every Tear Disappears.” Only the guitar-heavy “Regret” and the midtempo closer “Severed Crossed Fingers” lag behind the rest of the tracks, not quite as original or memorable.

Although a strong singer in her own right, St. Vincent’s songs usually focus more on the music and lyrics. But there’s one song on this album, “Prince Johnny,” that’s worth mentioning for the vocals. The song builds to a long climax that’s beautifully sung, and drenched in an encompassing vocal echo that’s almost bone-chilling. It’s refreshing, in a way, to hear Clark finally devote a song more towards her vocals. Clark’s voice has never sounded even close to subpar – but a song like “Prince Johnny” has been needed for a while.

This album’s eponymous naming was kind of a happy accident, but it’s very fitting. This album is what St. Vincent does best – synthy, guitar-heavy indie-pop; equally weird and beautiful, in the best ways of both. And it’s self-titled, because it’s her best album yet. Each song is unique. Some simple, some complex, all great. I know it’s only February, but I’d wager that this will go down as one of the best alternative albums of 2014.

If you like this, try: The National’s “Trouble Will Find Me.” Maybe it came to mind because Clark herself provides back-up vocals on the album’s/band’s/2013’s best song, “Sea of Love.” But the album is related in that it’s similar to everything they have done prior, but just even better.

-By Andrew McNally