teems with the kind of visceral imagery that sticks with you long after her songs fade out. There’s a “hungry little flea” ready to infect your “warm body,” a predator on the street turning aggression into an evil blues promise, a sink that runs red, a head that won’t stop banging, a dream that ends in hell. “I feel like graffiti on a urinal,” she sings. Hey, we’ve all been there.
Clark’s music has always been fearlessly intimate. Often, though, she gets at her hard truths by blurring the line between autobiography and artifice, hiding her own image in carefully constructed aesthetic masks. On her last album, 2021’sfor securities fraud and other finance-related crimes. On the LP’s cover, she appeared in a blonde wig, as if deploying a Warhol-esque deflection in the face of uncomfortable personal reality.
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