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Photo: Zackery Michael There’s a self-conscious artifice that needs to be embraced in order to fully enter the world of St. Vincent’s dark and compelling new album, Daddy’s Home. In and of itself, this isn’t necessarily anything new: Annie Clark, the multi-hyphenated artist now six albums deep into her career under the St. Vincent moniker, has always had a chameleonic muse, adopting different personas and perspectives in her songwriting, most recently with the high-gloss, electronic-infused pop of 2017’s Masseduction, where she sometimes sounded as though she were broadcasting from a near-future dystopia. But with this latest record, she’s gone the opposite direction, back into the past, to conjure a vision of a time she’s only known through music and stories the early ’70s in New York City. It’s a meticulous musical diorama, replete with striking figures and colorful, lurid narratives that blend reality and fiction, to engrossing effect. If

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