It is not for nothing that the nickname of the female version of Bowie a annie-clark; she is a 360 degree artist. Clothing, performance, visuals, identities and characters, concept albums that transport you to different universes. She is everything and her versatility does not stop overflowing. With almost 15 years of record production st vincent He has found the formulas that fit him perfectly and he has destroyed them before our eyes, he has reversed, refreshed and worked in his favor, never repeating his initiatives.
From the “Strange Mercy” From now on she has shown us how she builds concept albums that are archetypes and different visions of her identities and her musical and visual ambitions, because the visual always reinforces the musical in Clark. “Strange Mercy” was “housewife on pills”, “Love This Giant” with David Byrne was “beauty and the Beast”, and while in the homonymous it was “cult leader in the near future”, on his penultimate LP, “Masseduction”. it was “dominatrix in a psychiatric”. Today with “Daddy’s Home” raises seventies female images that roam New York hotelsand in this way we enter different universes to wrap ourselves up and travel through the St. Vincent narrative.
Listing their albums is not an easy task with such a successful and exuberant catalogue, but each proposal embodies a different vision that we would like to emphasize and review. Each album is a unique and distinctive flash of self, colorful and explosive. This is St. Vincent in the most essential.
8 Marry Me 2007
When an artist’s career is marked by conceptual works or by personal discovery or by the love of music as an expression of art, it becomes very difficult to divide the milestones called records in an order of greatness. That is the case of Annie Clark, who not only meets one of the conditions just presented but meets all of them and many more. Marry Me was her first studio album, released in 2007 under the pseudonym St. Vincent, marking the start of a few years of artistic discovery. It is by no means the worst album of hers, like other music icons, this is simply the least of her best. Here she explores her entire facet as a multi-instrumentalist and she searches all corners for an emerging talent ready to shine.
7 Actor 2009
With the release of her second album, Annie Clark made the dark and dramatic side of her St. Vincent persona more apparent. An album that, as its cover also portrays, shows austerity and beauty on the surface, which at a second glance breaks with stories and sounds of distorted darkness. “Actor” is built as a narrative of contrasts, with beautiful and melancholic melodies that are sometimes crushed by her dizzying guitar. Just as “Black Rainbow” moves us towards a dejected spiritual transcendence, her celestial beauty clashes strongly with episodes like “Marrow”, a track that contains one of the most restless guitar riffs in the entire St. Vincent discography. An overflowing darkness, which in her following albums will be more contained or directed towards a concept or character; in “Actor” it is this darkness that moves the strings, defining the entire musical and lyrical landscape that is housed here.
6 Love This Giant ft. david byrne2012
Few have the privilege of having commanded an album with David Byrne, let alone those who have worked with one of Talking Heads’ masterminds on an album that portrays the concerns of human transformation. Although the above is only a part of what this album means, Love This Giant is the reflection of a side project materialized in a record, because to tell the truth St. Vincent together with David Byrne already had a paved path in collaborations. Although it is the album with the least critical reception in Annie Clark’s career, in retrospect it is a sign of her versatility, as well as – and more importantly – a transfer of knowledge and legacy with which Vincent will be recognized in the future: Critical figures, transversal to genres, academic and research visions such as Byrne or David Bowie will be on the shoulders of Annie Clark in the not very near future. Or at least we think so.
5 Mass Education 2017
If “MASSEDUCTION” projected an image of hypersexuality, “MassEducation” evokes the nostalgia of taking off all that latex and sinking into melancholy. This album gives us another St. Vincent, an even more visceral and sensitive one that demonstrates not only her versatility as a singer, but also gives us some nostalgic winks in her compositions that had remained hidden until now. “MassEducation” is the album that closes the cycle of her 2017 LP, closes that eccentric and colorful conceptual cycle, here Annie takes off her latex costumes and finds herself confronted with her own voice and the complex simplicity of her most recent songs, proposing another journey, another narrative, transforming this work into an independent one: piano and voice as the electric combination.
4 Daddy’s Home 2021
This sixth LP finds the artist at the age of 38 and in her purest facet, she tells us about her life, she tells us about her ambitions but still immersed in a character that runs through her from head to toe. And that is the way in which she wants to reflect her artistic sensibilities, both musical and visual, ridiculing and experimenting with her image, with her clothing, proposing different identities that come together in one of her, Annie Clark. . With guitars on fire, derived from the most textured funk, soul and pop of the 70s, Annie shows us the side of her Bowie in “Young Americans”. Although she shows us a sonic range that stands in the way of what she brought us in her “Masseduction” era, she shows us her real versatility without her limits. “Daddy’s Home” is honest and colorful at the same time, with a character who wanders around city hotels with guitar in hand and who shows us the brilliance of her conceptual vision in this pandemic era. Desaturated colors this time, between subtle faded pastels typical of dejected motels, this is how she exposes her identity to us today: raw and real, groovey and magnetic, exuberant and soft. “Daddy’s Home” is St. Vincent at his most witty and witty, sounding elegant and deadly on his Ernie Ball while demonstrating the instrumental sophistication of his career that culminates in direct and slick ’70s references.
3 Strange Mercy 2011
Inflection point. That is the definition that most does justice to the third album by Annie Clark, who seems to find a harmonious and heartbreaking balance in the changing geography of her discography. Exactly a decade since its release, Strange Mercy stands in retrospect as a world-renowned album, confidently asserting its place at the top of contemporary experimental indie, rock and pop. Here we can hear a much more self-absorbed and personal Vincent, although if we dare to play with the interpretations, it can also sound like an incarnate release and an emotional catharsis that manifests itself above all in the deafening riffs of an expressive and plugged-in guitar, that communes with Clark’s hurt but powerful voice. The sound of Strange Mercy expels energy in its purest form, which manages to flow naturally thanks to a lyrical tale full of anger, boredom and sarcasm that once it takes hold of you, shakes you from the inside out and does not let up during the 41 minutes in which those who reflect what is perhaps the most defining bet of his career.
2 MASSEDUCTION 2017
“Every album I’ve made has an archetype. Strange Mercy was housewives on pills. St. Vincent was a futuristic cult leader. MASSEDUCTION is a dominatrix in a mental hospital. She is different, she is quite first person. You can’t figure it out too quickly, but if you want to know about my life you have to listen to this album” says Annie Clark. “MASSEDUCTION” has an undeniable pop influence but it is not an album that does not come from pop itself, it feeds on it in a tangential way, encompassing constructive elements and transgressing those stereotypes. This futuristic and fragmented vision presented by this female version of Bowie is presented as a series of cultural commentaries, a series of entries from his own biography in visceral lines that flash at times his sensibilities towards the Baroque. With the importance of a transgressive female character, that psychiatric dominatrix, Annie Clark manages to clear up the variables, manages to merge her references into a powerful distorted vision. Annie is a chameleon that instead of camouflaging herself manages to transform the world around her, one saturated in color.
1st Vincent 2014
It is very satisfying that Annie Clark’s magnum opus is the self-titled album of her project. All the stylistic and creative elements come together in St. Vincent, a profoundly alien work in the musical field of 2014. This is the home of “Birth in Reverse” and “Digital Witness”, two of the most paralyzing compositions in memory. recent, and representing two thematic lines that flow through the album: the insignificances of modern life and the artificiality that contaminates humanity. From the Machiavellian artsy funk of “Bring Me Your Loves” to the melodic genius of “Psychopath” and the astral candor of “I Prefer Your Love”, St. Vincent rebels against the shackles of superficiality, preconceived notions and the stereotypes. In his mission of liberation, he has produced not only an audiovisual capture of 2014, but also one of the definitive documents of music in the 2010’s.