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➤ BAKER, from p.25
matter that she had written about
more allusively in the past.
The album’s fi rst single, “Faith
Healer,” combines imagery evoking
her addiction and the worst aspects
of Christianity. Baker begs for deliverance
from her state of feeling
emotions at full force. Even though
she knows she’ll harm herself in
the long run, she sings, “I miss it
high, how it dulled the terror and
the beauty/And now I see everything
in startling intensity.” Paradoxically,
it’s a deeply passionate
song about a cycle that runs from
numbness to ecstasy. From a better
place in the present, she reminisces,
“I’ll believe you if you make
me feel something.” Its refl ection
on the dangers of confusing momentary
relief for spiritual transcendence
resonates beyond the
experiences it describes directly.
When I fi rst heard Baker, she reminded
me of several female singer/
songwriters who debuted in the
‘90s, such as Tori Amos and Fiona
Apple. But her heart-on-sleeve intensity
also shows her background
in punk and emo, even if the sonics
are much different. She’s not interested
in concealing messy or contradictory
aspects of her life to sound
cool.
The production has a swampy
quality, turning guitar, keyboards
and strings into one seething, turbulent
mass. In the past, Baker
relied on her voice to convey the
intensity of her music, with slowly
building arrangements. Here, the
production all but drowns her out. It
evokes the sensation of being overwhelmed
and helpless in the face of
one’s problems. Her gift for melody is
matched by a fl air for dynamics.
Baker’s lyrics are haunted by a
cycle of sobriety and relapse and
the resulting self-hatred and guilt.
She was interviewed in 2018 for a
GQ article about musicians who
don’t drink or use drugs, but by
the time it was published she had
started drinking again. Many of
her words are addressed to an unnamed
partner coping with her
fl aws. She calls out to Jesus for
help on “Ringside.”
The album’s last few songs fi nally
trace a path back to hope. They’re
addressed to a “you” who helped
Baker through this very diffi cult period,
with lyrics ambiguous enough
that she could be referring to her
partner, God, or both. The album’s
turning point is the jazz-tinged
ballad “Song in E. ” The mellowestsounding
song on “Little Oblivions,”
it’s also the most emotionally raw,
which is saying something. It describes
a period of debasing herself
while drinking heavily. “Ziptie”
closes the album with more religious
references, by asking “when
you gonna come down off that cross
and change your mind.”
The overall attitude is best
summed up by a quote from an interview
with Baker from the website
DIY Mag: “With this record, I
feel a compassion and understanding
for the person that I was.”
JULIEN BAKER | “Little Oblivions”|
Matador Records | Out now
➤ SAME-SEX HOUSEHOLDS, from p.9
sex couples nationwide. Just below
one million of those homes consist
of same-sex couples.
Women in same-sex relationships
consistently outnumber men. Fiftythree
percent of married same-sex
couples are women and 47 percent
are men, while 52 percent of
unmarried same-sex couples are
women and 48 percent are men.
Among married same-sex couples,
22 percent have children
under age 18 in their households,
while just 14 percent of
unmarried same-sex couples
have children. More than half —
52 percent — of married samesex
couples have biological children,
along with 44 percent of
unmarried same-sex couples.
Meanwhile, 17 percent of married
same-sex couples have adopted
children compared to six
percent of unmarried partners.
Among opposite-sex married couples
with kids, 84 percent only have
biological children and 1.7 percent
only have adopted children.
Numbers among unmarried
couples are similar when examining
households with a combination
of children who are biological
children, stepchildren, adopted
children, or other relatives. Those
families are seen among 13 percent
of opposite-sex households and 11
percent of households with samesex
couples.
GayCityNews.com | MARCH 11 - MARCH 24, 2021 31
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