2017 年发行《MASSEDUCTION》之后，St. Vincent 有意寻求改变。“那张专辑讲求结构与约束，所以我所做的一切都非常紧凑、克制、有棱有角。”St. Vincent 告诉 Apple Music，“可到了一定程度，你会好奇：“还有什么新方向能挖掘呢？”通过探索从小听到大的音乐，原名 Annie Clark 的 St. Vincent 找到了一个能发挥自如的领域：“这是种源自 70 年代早期的风格，带点律动、带点灵魂乐和爵士色彩，从我还是个孩子起就萦绕在我的脑海。”她说道，“我是听着 Steely Dan 和 Stevie Wonder 的专辑长大的，像《Innervisions》啦，《Talking Book》啦，《Fulfillingness’ First Finale》之类的。这些风格让我感到舒适和从容，而我希望能用过去的声音来讲述全新的故事。”

专辑标题“Daddy's Home”源于前不久 Clark 身上发生的一件事：2019 年，Clark 因参与操纵股价而服刑近十年的父亲刑满出狱。这张专辑既在探讨一个人成长的空间，也让我们通情达理地接受自身的缺陷。“我希望，即便有人不了解我的过去，也能对专辑做出开放的解读。”她说道，“专辑标题可以通过字面意思来解读：‘没错，爸爸回来了，回家了！’也可以指：‘从你离开算起已经过去十年了，我在这十年里做了很多事，我有我的事业，有我要拼了命去完成的事。’也就是暗示说：‘我还是那个娇滴滴的小姑娘吗？也许吧。但我现在也是个成熟的人，肩上也担负着父亲般的责任了。’”

专辑同名曲《Daddy's Home》（爸爸回家了）是个复杂难言、令人五味杂陈的故事。在监狱里，Clark 的爸爸会把报道女儿的剪报贴在床头，或是和狱友一起观看女儿上的电视节目。所以，狱友们多少知道 Clark 的爸爸是谁。“父亲和女儿的身份好像在某种程度上对调了。”Clark 解释道。有一次，因为探监时不能带手机，也不能自拍，Clark 还在一张收据上为一位狱友签了名。“我的家人们抱着黑色幽默的心态看待许多问题，因为不这样，我们又能如何呢？这整件事既荒诞、有趣，又让人心碎，所以绝对值得写首歌。”除此之外，她还在专辑中描绘出每个人都曾有过的狼狈。《Down and Out Downtown》或许是她在专辑里最喜欢的一首歌，“我们都曾经是歌里唱的那个人：早上 8 点钟出现在地铁上，还穿着昨晚的高跟鞋，心里想着，‘噢，我们昨天跑哪儿去了？我干嘛了？’摇摇晃晃，试着躲避他人心照不宣的目光。特别是在纽约这个大都市，你真的可以在放纵与毁灭之间找到平衡。”而我们也都曾是《…At the Holiday Party》里用各种事掩盖悲伤的那个人，“派对还没开始多久就喝得烂醉。你会发现有的人戴着的面具破裂了，虽然只是短短一瞬，但被你看到了。那就是一扇看到对方内心的小小窗口。你用来混淆视听的东西，其实正在透露真正的你。”

专辑再次邀请《MASSEDUCTION》的制作人 Jack Antonoff 合作，曲风受到 1970 年代深刻影响的同时，Clark 还尝试了先前鲜有尝试的迷幻曲风。如果要在 2021 年唱迷幻蓝调的话，那么《Pay Your Way in Pain》这首歌里的主角真是再合适不过了：“她身无分文，身处于一个经常要求你在尊严和存活之间做出抉择的国家或社会中。所以，这个故事就是在描绘糟糕透顶的一天。另外，其实几乎活在世上的所有人希求的，只是有地方住、有人爱自己、能勉强生活下去而已，很少有例外。”《Live in the Dream》则更为明显，完完全全就是以迷幻的笔调写就的。Jack Antonoff 向她解释了 Bruce Springsteen 对于名气的观点和态度：“你不能让梦想控制你，梦想必须保持在你心中。我觉得这个观点很棒，所以我写了这首歌。在生活中，有些幻梦和错觉是有益的，但如果不加抑制，就会导致权力的滥用。”

2017 年发行《MASSEDUCTION》之后，St. Vincent 有意寻求改变。“那张专辑讲求结构与约束，所以我所做的一切都非常紧凑、克制、有棱有角。”St. Vincent 告诉 Apple Music，“可到了一定程度，你会好奇：“还有什么新方向能挖掘呢？”通过探索从小听到大的音乐，原名 Annie Clark 的 St. Vincent 找到了一个能发挥自如的领域：“这是种源自 70 年代早期的风格，带点律动、带点灵魂乐和爵士色彩，从我还是个孩子起就萦绕在我的脑海。”她说道，“我是听着 Steely Dan 和 Stevie Wonder 的专辑长大的，像《Innervisions》啦，《Talking Book》啦，《Fulfillingness’ First Finale》之类的。这些风格让我感到舒适和从容，而我希望能用过去的声音来讲述全新的故事。”

专辑标题“Daddy's Home”源于前不久 Clark 身上发生的一件事：2019 年，Clark 因参与操纵股价而服刑近十年的父亲刑满出狱。这张专辑既在探讨一个人成长的空间，也让我们通情达理地接受自身的缺陷。“我希望，即便有人不了解我的过去，也能对专辑做出开放的解读。”她说道，“专辑标题可以通过字面意思来解读：‘没错，爸爸回来了，回家了！’也可以指：‘从你离开算起已经过去十年了，我在这十年里做了很多事，我有我的事业，有我要拼了命去完成的事。’也就是暗示说：‘我还是那个娇滴滴的小姑娘吗？也许吧。但我现在也是个成熟的人，肩上也担负着父亲般的责任了。’”

专辑同名曲《Daddy's Home》（爸爸回家了）是个复杂难言、令人五味杂陈的故事。在监狱里，Clark 的爸爸会把报道女儿的剪报贴在床头，或是和狱友一起观看女儿上的电视节目。所以，狱友们多少知道 Clark 的爸爸是谁。“父亲和女儿的身份好像在某种程度上对调了。”Clark 解释道。有一次，因为探监时不能带手机，也不能自拍，Clark 还在一张收据上为一位狱友签了名。“我的家人们抱着黑色幽默的心态看待许多问题，因为不这样，我们又能如何呢？这整件事既荒诞、有趣，又让人心碎，所以绝对值得写首歌。”除此之外，她还在专辑中描绘出每个人都曾有过的狼狈。《Down and Out Downtown》或许是她在专辑里最喜欢的一首歌，“我们都曾经是歌里唱的那个人：早上 8 点钟出现在地铁上，还穿着昨晚的高跟鞋，心里想着，‘噢，我们昨天跑哪儿去了？我干嘛了？’摇摇晃晃，试着躲避他人心照不宣的目光。特别是在纽约这个大都市，你真的可以在放纵与毁灭之间找到平衡。”而我们也都曾是《…At the Holiday Party》里用各种事掩盖悲伤的那个人，“派对还没开始多久就喝得烂醉。你会发现有的人戴着的面具破裂了，虽然只是短短一瞬，但被你看到了。那就是一扇看到对方内心的小小窗口。你用来混淆视听的东西，其实正在透露真正的你。”

专辑再次邀请《MASSEDUCTION》的制作人 Jack Antonoff 合作，曲风受到 1970 年代深刻影响的同时，Clark 还尝试了先前鲜有尝试的迷幻曲风。如果要在 2021 年唱迷幻蓝调的话，那么《Pay Your Way in Pain》这首歌里的主角真是再合适不过了：“她身无分文，身处于一个经常要求你在尊严和存活之间做出抉择的国家或社会中。所以，这个故事就是在描绘糟糕透顶的一天。另外，其实几乎活在世上的所有人希求的，只是有地方住、有人爱自己、能勉强生活下去而已，很少有例外。”《Live in the Dream》则更为明显，完完全全就是以迷幻的笔调写就的。Jack Antonoff 向她解释了 Bruce Springsteen 对于名气的观点和态度：“你不能让梦想控制你，梦想必须保持在你心中。我觉得这个观点很棒，所以我写了这首歌。在生活中，有些幻梦和错觉是有益的，但如果不加抑制，就会导致权力的滥用。”

UK seven inch vinyl pressing of the first single taken from the 2009 album Actor. 'Actor Out Of Work' is a devastating sonic kiss-off, complete with slyly poisonous lyrics and steamrolling guitars. It is as deliciously succinct in delivery, and comes backed with an exclusive track 'Bicycle'. 4AD.

Reconfiguring St. Vincent’s self-produced <i>All Born Screaming</i> for a Spanish-speaking audience may not have been an obvious choice. Then again, when has the modern-day guitar god Annie Clark done what’s expected of her or taken a conventional route? Converting the lyrics and rerecording her vocals account for the overt changes present on <i>Todos Nacen Gritando</i>, which otherwise maintains the track order and runtime of the English-language original. Much like a faithful literary translation for a Latin American audience, the integrity of the material remains intact, the robust riffage on “Hombre Roto” and sonic swells of “La Fruta Mas Dulce” hitting reliably hard. Dave Grohl’s drums still shatter on the “Pulga” chorus, Clark’s earnestly possessive chorus just as evocative as before. If nothing else, these versions simply make the songs more accessible to those who might have missed some of the meanings and sentiments behind them.

很少有人像 St. Vincent 一样，骄傲地把吉他摇滚的大旗扛进 21 世纪。最初她在担任 Sufjan Stevens 的巡演乐手时崭露头角，接着在 2007 年发行了首张专辑《Marry Me》，而后更以一系列广获好评的专辑与合作作品 (例如她与 Taylor Swift 共同创作的冠军单曲《Cruel Summer》)，奠定其吉他战士的声誉。

又名 Annie Clark 的 St. Vincent，其形象就跟其音乐一样百变。她于 2021 年发行复古概念专辑《Daddy’s Home》，以纽约 70 年代灵魂乐与华丽摇滚音景为灵感，设立其乐风和造型的分水岭，象征那白金色假发和时代广场式的宽大风衣从此一去不返。在《All Born Screaming》中，她更挥别制作了《Daddy’s Home》的常年合作伙伴 Jack Antonoff，首次亲自操刀制作。

“创作这张专辑时，我花了许多时间独自在录音室里工作，努力为自己找到新的音乐语汇。”St. Vincent 告诉 Apple Music：“我的其他专辑都是跟别人共同制作，但这张专辑的每个细节几乎都由我把关。促成此专辑的许多动力也就像我在想：‘好吧，我现在在录音室里，而一切都必须从混乱开始。’”

就 St. Vincent 而言，要利用这种混乱状态，首先要提炼出最自我的基本成分。从各方面来看，吉他手都是最后一批被模拟声响（analog）所定义的音乐人，他们得通过效果器、琴弦和音频信号传输，来创造特定音色，而这必须倚靠专业技能和手感，但有时这样的探索过程就十分混乱。

St. Vincent 表示：“我所谓的『混乱』，是指电在电路中的流动。无论是模组合成器还是鼓机，都利用混乱来玩出各种声响。我可能尝试了三小时，结果只做出六秒的片段，但那六秒捕捉到了凤毛麟角，很令人兴奋，而这极可能是只会发生一次的事，并且非常仰赖手感。于是我就用这片段来写出整首歌。”

专辑歌曲包含了带有泥沼般黏糊的、也令人心惊胆战的《Flea》，以及缅怀已故电音制作人 SOPHIE 的《Sweetest Fruit》，St. Vincent 巧妙平衡了明暗交织的乐声与情绪，而这并非她独力完成的。“我能够尽情探索、尝试和挥洒。”她说：“我还很幸运有许多好朋友参与了专辑录制，他们带来了很棒的能量。”知名鼓手 Dave Grohl、Warpaint 的 Stella Mozgawa，爵士鼓演奏家 Mark Guiliana 和威尔士音乐人 Cate Le Bon 等人都名列本作的制作阵容。

Cate Le Bon 不仅在专辑同名曲中献声，也为遇到瓶颈的 St. Vincent 提供指引建议。“我发现自己有点太纠结于细节，每个自行制作的音乐人都会遇到这种状况。”St. Vincent 说：“于是我打给 Cate 说：‘我需要妳来帮我一下。’我想，在制作过程中，当我需要有人握着我的手，拍拍我的头，递给我啤酒，然后说‘一切都会好起来’的时候，她就是那股让我安心的力量。”

虽然 St. Vincent 在《All Born Screaming》中成功捕捉了血淋淋的人生经历，包括各种不确定性和每个昙花一现的瞬间，但旋律仍旧琅琅上口。“对我来说，这张专辑就像地狱里的某一季。”她说：“就像你跪着爬过碎玻璃，不过是用一种有趣的方式。我们最终得出的结论是：‘对，人生确实很难，但值得去过，我们必须好好生活。既然不能跳过、闪躲，那不如就走一遭吧。’它布满了黑与白，以及火焰的颜色，我认为这张专辑的音乐听来就是如此。”

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.

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

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.

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.”

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.

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.