St. Vincent

St.Vincent has been moving at a breakneck speed for the past two years, barely stopping to catch her breath amidst a whirlwind of recording and touring. In 2011 she released her third album, 'Strange Mercy,' called "one of the year's best" by the New York Times and "something to behold" by Pitchfork. The record cemented her status as one of her generation's most fearsome and inventive guitarists, earned her the covers of SPIN, Paper, and Under the Radar, performances everywhere from the Metropolitan Museum of Art and Fallon to Letterman and Conan, and a year-long sold-out tour of her biggest venues to date around the world.

St.Vincent's newest album (self-titled) is her most lyrically sophisticated and musically diverse collection to date, meshing distorted, aggressive electric guitars and bold vocal and synthesizer arrangements on top of a relentless rhythm section.
"I wanted the groove to be paramount," Clark says of the album, which she arranged and demoed extensively in Austin before heading into the studio in Dallas to record. She enlisted Dap-Kings drummer Homer Steinweiss and frequent collaborator McKenzie Smith of Midlake to share drum duties, while she returned to producer John Congleton to take the sonic potential they'd only just begun to tap with 'Strange Mercy' into dramatic new territory.

The music of 'St. Vincent' is charming and alarming, gorgeous and morbid, comforting and uncanny. Four albums into one of music's most compelling careers, Annie Clark is as “ambi-valent” as ever, and she's not slowing down any time soon.