Single name artists are quite rare these days, possibly because someone has already claimed the name as their own. Since Stacey is a fairly common name, it’s surprising no one has thought of using the moniker before so perhaps that’s why this particular STACEY has emphasised the fact in capital letters. Of course none of this really matters since the stark, piano ballads of this young Toronto native are so powerful and moving, no one would dare take her name.
‘Worst Part’ is a lovelorn introduction, blessed by the performer’s haunting tones and desolate piano keys. When accompanied with lots of reverb, the simple but effective rhyme “Leave me wanting more, when you’re walking out the door, my jaw drops to the floor” echoes the despair to an even greater degree. In truth the other songs follow a very similar pattern and subject matter. A title such as ‘Sleep Alone’ tells of more romantic longing although the chorus has more in common with Beverley Craven than Lana Del Rey, her most likely role model. However, she loses those hints of MOR with an impassioned delivery for the yearning ‘Share’ and the desolate ‘Calling Me’. By the end of the EP, with ‘All To Myself’, the obsession with her love interest reaches its final desperate demands, proclaiming “God, I want you, want you. All to myself” over a simple, stabbing melody. It’s an arresting end to an already captivating EP.
Obviously, she’ll need to broaden her palette to fill an album’s worth of songs but the material here certainly carries an abundance of emotional weight. What is more, with her tales of heartbreak, STACEY really deserves those capital letters.
Lana Del Rey