Every record I make has an archetype,” says Clark. “‘Strange Mercy’ was Housewives on Pills. ‘St. Vincent’ was Near-Future Cult Leader. ‘MASSEDUCTION’ is different, it’s pretty first person. You can’t fact-check it, but if you want to know about my life, listen to this record.” ‘MASSEDUCTION’ is the culmination of years of writing, with songs crafted from voice memos, text messages, and snippets of melodies that came to Clark while traveling the globe. Special guests on the album include Thomas Bartlett on piano, Kamasi Washington on saxophone, Jenny Lewis on vocals, and beat production from Sounwave. Greg Leisz and Rich Hinman add pedal steel, and Tuck and Patti Andress contribute guitar and vocals respectively on select tracks.

"Pay Your Way In Pain" is the first single ahead of St. Vincent's highly anticipated new album Daddy's Home, produced by pop producer and long term collaborator Jack Antonoff. "I was inspired by the classic records of the 70s. Stevie, Sly, Stones, Steely Dan, Chords, Groove. The days when sophisticated harmony and rhythm didn't sound heady - they just sounded, and felt good. Lots of guitar. But warm sounds, not distortion and chaos. Hopefully a turn nobody will see coming" - Annie Clark.

Annie Clark brings the glammy sounds of the ’70s to an album about mothers and daughters, fathers and prison. It’s an audacious and deeply personal record occasionally beset by clunky choices.

摩登女王回归，实验电子与流行音乐最接地气的一次温情交汇。The Guardian杂志100分，musicOMH五星，The Fly (UK)杂志90分，the 405杂志90分，The Line of Best Fit杂志90分，Mojo、Q magazi ne、Uncut等媒体4星以上推荐。两首单曲连续进入Pitc hfork最佳新音乐榜单。Annie Clark继续用想象力颠覆和重塑流行音乐的概念。

St. Vincent, the nom-de-stage of "playful chanteuse [and] fearsome shredder" (NY Times) Annie Clark, releases her second album for 4AD, Strange Mercy. The record's 11 tracks showcase Clark's gift for fusing the cerebral and the visceral, her melodically elegant arrangements packing hefty emotional punches. Clark reunited with producer John Congleton and recorded the album in her hometown of Dallas, TX. Strange Mercy finds St. Vincent redefining the idea of the guitar hero, utilizing the instrument as a pointillist artist might wield a brush.

Almost two years after the release of Marry Me, St. Vincent, aka Annie Clark, is back with her sophomore album this May: It's called Actor and she co-produced it with the pAper chAse's John Congleton (Modest Mouse, Thermals, Smog, Polyphonic Spree, etc). Clark wrote/arranged the 11 songs and sings, plays guitar, bass, and keys, but brought on some additional players like Hideaki Aomori (Sufjan Stevens), Alex Sopp (Björk, Phillip Glass), and increased the rhythm section with Midlake's McKenzie Smith and Paul Alexander. There's also French horn, violin, sarongi, bass, and percussion. Still, really, she's front and center, which is why the cover art makes sense. It also carries on the tradition of Marry Me and confirms something Amrit said to me earlier today: "She loves closeups of her face." Yes she does. I guess she's assuming you do, too.

St. Vincent is the moniker of singer/multi-instrumentalist/composer Annie Clark and this is her debut full-length. She's opened for such diverse acts as Television, Jose Gonzalez, and Sufjan Stevens, and she's an inventive and versatile guitarist who has also performed with avant-garde composer Glenn Branca. On this record, she writes cinematic pop epics that feel at times like Paris in the 20s before all the fun ended. Or, conversely, an orchestra of pure modernity - a new American music, informed by jazz, gospel blues, Southern folk music, and classical composition but, in the end, an animal original unto itself. She's been compared to everyone from Bjork to Kate Bush to Jeff Buckley, and her beautiful voice melds perfectly with her intricate guitar work.

A deluxe edition of St. Vincent will be released on 9 February 2015 in the U.K. with the album being available only for digital download in the U.S. on 10 February. It will feature a previously unreleased track, "Bad Believer," as well as "Del Rio," which was a b-side on the "Digital Witness" single as well as a bonus track on the Japanese edition of St. Vincent, "Digital Witness" (DARKSIDE Remix), previously released as a single, and finally, "Pietà" and "Sparrow", which were originally released together on a limited edition 10" pink vinyl on 28 November 2014 for Record Store Day.

Annie Clark brings the glammy sounds of the ’70s to an album about mothers and daughters, fathers and prison. It’s an audacious and deeply personal record occasionally beset by clunky choices.

Darkside — the project comprised of Nicolas Jaar and Dave Harrington — has a fairly solid back catalog of remixes. Not only have they reworked Nick Drake, The Knife, Brian Eno, Bear in Heaven, and one another, but they achieved quite a feat last summer when they tackled the entirety of Daft Punk’s Random Access Memories.
Today, they unveil their latest with a remix of St. Vincent’s “Digital Witness”, from the singer’s recent self-titled album. Whereas they’ve applied a light to moderate touch with past efforts, the duo totally revamp the track, slowing down the groove and pacing, shifting Annie Clark’s artful croon into a monstrous slur, and moving the emphasis from the trademark sax to swirling studio effects and dub bass. Though jarring and abrasive, it somehow remains decidedly funky and danceable, although I don’t think the Cabbage Patch would quite fit.
The remix will be available on 12-inch vinyl along with the original single, a capella, and instrumental versons.

The latest episode of HBO's Girls featured the debut of a previously unheard song by St. Vincent called “Teenage Talk”. Reportedly, the song is a demo left over from Annie Clark’s self-titled fourth studio album.
Girls music supervisor Manish Raval discussed the song with Billboard: “I said to St. Vincent’s people, ‘We love Annie and she and Lena are friends. Is there anything laying around?’ They sent us a demo of a song called ‘Teenage Talk’ that she hadn’t released yet and it was amazing. Lena flipped for it.”

Employing her acclaimed curatorial skills to an immense tracklist, Nina Kraviz invites a diverse roster of artists - luminaries in their respective genres - for an eclectic remix package of St. Vincent's Grammy award winning album MASSEDUCTION. From frantic IDM and manic footwork to glistening house and meditative dubstep (via just about everything in between) her selections build an inspired portfolio from an abundance of talent.
Genre-bending interpretations feature strongly throughout. Jlin’s mutated footwork subverts ‘Smoking Section’ from melancholic balladry to a jittery exuberant march, whilst Mala’s take, although similarly sinister, submerges Annie Clark’s vocals in a drowsy pool of synthetic bass and fragmented percussion. Nina Kraviz’s own ‘Gabber Me Gently remix’ of ‘Fast Slow Disco’ sweeps the radiant texture of the original from underneath, replacing it with a hypnotic run of high-speed kick drums, whilst her remix of ‘New York’ is part minimal techno, part ghostly ASMR, but quintessentially hers.
Further disorientation comes from a number of трип affiliates; PTU offer two remixes - a woozy minimal take on ‘Pills’ and a relentless spin of ‘Fear The Future’ - whilst Roma Zuckerman and Buttechno provide direct-to-dancefloor cuts of ‘Young Lover’ and ‘Saviour’ respectively. Elsewhere, Laurel Halo makes a spiralling techno animation of the former, as UK evergreens Pearson Sound and Batu offer curiously stripped back takes on ‘Dancing With A Ghost’ and ‘Hang On Me’.
Much like the tapestry of moods on MASSEDUCTION, the remixes mould varying sentiments into a sea of different atmospheres. Bjarki and Population One (aka Terrence Dixon) each work up carefully restrained tension on ‘Pills’ - a stark contrast to Hieroglyphic Being and Emika’s maximal, glowing takes on ‘Sugarboy’. Warmer still are Midland’s powerful, low-slung take on the title track, Fred P’s breakbeat reshape of ‘Happy Birthday Jonny’, a heartfelt disco repurposing of ‘Fast Slow Disco’ from Steffi and two joyful, melodic cuts from EOD.
Released as a full digitial package, vinyl album and 3 EPs, Nina Kraviz Presents MASSEDUCTION Rewired is a comprehensive document of the electronic subversion of the mainstream, offering an inspired dissemination of ideas from the rich source material. At times fragmented, at others familiar, it takes the spirit of MASSEDUCTION and runs with it in every way possible.

Yesterday, for Record Store Day, St. Vincent released a 7" featuring two brand new songs: "Krokodil" (which she performed at Coachella) and "Grot".

Recording these songs live for the first time, St Vincent has performed four tracks from Strange Mercy for the tenth visual installment in the 4AD Session series. Shot at Shangri-La Studios in the heart of the Brooklyn film and photography district in Greenpoint, the session was recorded with Annie's new band, Daniel Mintseris (keys), Toko Yasuda (moog) and Matthew Johnson (drums). Given St Vincent's transgression from the underground to the pop spotlight over the course of three studio albums, it's somewhat fitting that Shangri-La host the session having initially earned its name as a secret spot known only through word of mouth.
As with all of the sessions in the series, directors Iain Forsyth and Jane Pollard filmed the four tracks with a clear artistic vision. In this instance, the inspiration came from an unlikely source – the memory of seeing a 1968 Shirley Bassey performance of 'This is My Life' on Rai Uno for Italian TV. With that reference point in mind, Annie takes centre stage against the backdrop of a projected live-feed, resplendent in glamorous eye make-up and with her always-impressive guitar work brought clearly to the fore. More interestingly still, the classic showbusiness styling of the session is held in stark contrast to the affecting and darkly-tinged emotional undertones of 'Chloe In The Afternoon' and 'Surgeon', representing perfectly the themes that run throughout Strange Mercy.
Taking Strange Mercy on the road, St Vincent finishes her current US tour this month before embarking on a European tour in November, starting on the 10th at Queen Elizabeth Hall in London.