St. Vincent performing at the Hollywood Palladium in Los Angeles in October 2018 ©Justin Higuchi

USA FLAG                                                                                      St. Vincent — „Next Steps“ (2021)
♣   St. Vincent má bezkonkurenční vznešenost. Její genialita a vynalézavost je taková, že srovnání s fází „Young Americans“ Davida Bowieho vypadá spíše jako omezení než jako kompliment. Vidět umělkyni, jak si vytváří vlastní limity a pak je překonává, má tu výsadu sledovat v reálném čase evoluci a transcendenci ženy, která je do toho, co dělá, úplně zamilovaná. „Nestanou se z nás dobří bojovníci, aniž bychom na své rohoži nechali trochu krve,“ řekla v rozhovoru pro The Guardian.
♣   Stranou teorií a konfabulací, je faktem, že album „Masseduction“ povzneslo St. Vincent na místo, které si nikdy nepředstavovala a dokonce bylo nepravděpodobným pro umělkyni, jejíž kořeny jsou v rockovém i jazzovém podsvětí. A je jednou z velmi vzácných umělkyň, které si zároveň vysloužili přezdívku „popstar“ a „rockstar“. V březnu 2016 Ernie Ball oznámil, že Clark navrhl signature kytaru Music Man. V témže roce s ní zahájila svou kytarovou řadu, ta se stala populární v roce 2018, kdy Jack White vystoupil na Saturday Night Live (April 14, 2018) a Vincent Blue. Album produkované Jackem Antonoffem (spolupracoval s Taylor Swift a Lanou Del Rey) sklidilo velký ohlas: bylo to čtvrté nejcitovanější album ve výročních recenzích. The Guardian (Rachel Aroesti) a The New York Times (Jon Pareles) mu dali #1. Na 61. výročních cenách Grammy vyhrálo dvě ceny za nejlepší nahrávací balíček a nejlepší rockovou píseň za titulní skladbu a bylo také nominováno na nejlepší alternativní hudební album. Jednoduše, výsledky byly velkolepé, plné dramatu, hloubky a potěšitelně bizarních zvukových voleb. Poté následovalo turné Fear of the Future (které skončilo na Autódromo de Interlagos in São Paulo, Brazil (Lollapalooza) na Adidas Stage v pátek 5. dubna 2019) a vystoupení s umělkyní Dua Lipa 10. února 2019 ve Staples Center v Los Angeles na ceremoniálu Grammy 2019.
♠  „Chtěla jsem vyprávět svůj příběh s humorem a soucitem.“
♠  „Vždycky jsem cítila, že tato píseň může nosit mnoho různých oblečení a žít mnoho různých životů. Tady je v disco kalhotách a potí se na newyorském tanečním parketu.“
♠  Annie Clark na svém velkolepém minulém albu „Daddy’s Home“ (US Independent Albums (Billboard) #1) prochází bolestivým osobním vyprávěním s lehkostí, vtipem a funkem ze 70. let. V profilu The Forty~Five v březnu 2021 Annie Clark poodhalila téma „Daddy’s Home“: bylo to propuštění jejího otce z vězení. „Lidé vyrostli. Byla bych raději, kdybych mohla vyprávět svůj příběh,“ říká. „Propuštění mého otce z vězení je skvělým výchozím bodem, že?“ Přitom je víc sama sebou než kdy předtím. Nelze uniknout skutečnosti, že St. Vincent je jedinečná rocková hvězda: schopná pokračovat v napínavých a transgresivních glam tradicích a zároveň ze své hudby vytvořit kanál pro hluboké emocionální spojení. Pokud na to potřebuje zapojit několik zastrašovacích taktik, pak to svědčí o její síle. 
♠  Annie Clark is a born shape~shifter who constantly reveals new emotional layers to her music. On “Huey Newton,” she’s an anguished trip~hop balladeer, while “Severed Crossed Fingers” has her belting out her devotion like a New Wave high priestess. She switches her sound up so often that it’s almost easy to forget that she’s one of the best guitar shredders of the ‘10s, though apocalyptic punk freak~outs like “Krokodil” should clear up any confusion.Vincent ©Zackery Michael
Birthname: Annie Erin Clark
Born: Sep 28, 1982 in Tulsa, Oklahoma, United States
Instruments: Vocals, guitar, bass, keyboards, theremin
Location: New York, NY
Album release: 2021 
Studio: Electric Lady Studios, (New York) Rough Consumer Studio, (Brooklyn) Compound Fracture, (Los Angeles)
Genre: Pop Baroque pop new wave ambient rock electropop techno
Styles:  Alternative Singer~Songwriter, Alternative~Indie Rock, Pop
Record Label: Loma Vista/Caroline International
Duration:     53:38
Tracks:
01. Pills   4:41
02. Regret   3:22
03. Northern Lights   3:34
04. Krokodil   2:36
05. Huey Newton   4:38
06. Slow Disco (Piano Version)   2:31
07. Severed Crossed Fingers   3:42
08. The Strangers   4:04
09. Every Tear Disappears   3:16
10. Laughing With a Mouth of Blood   3:01
11. Sugarboy   4:02
12. Champagne Year   3:29
13. Marrow   3:24
14. Who (David Byrne & St. Vincent)   3:50
15. Year of the Tiger   3:28
Review
By El Hunt, 2nd April 2021:
•  It turns out that, over the past year, not even rock stars have been spared from the churn of incredibly wholesome pandemic hobbies. Forced away from the stage, Annie Clark, who makes and releases music as St. Vincent, has recently been unearthing some unlikely outlets for her creativity — with a newfound knack for home improvement that could give Changing Rooms a run for its money.
•  Now back in Los Angeles, with spectacular new album ‘Daddy’s Home’ on the way, Annie Clark is taking a well~earned break after remodelling her mum’s house to keep busy, and has been carefully cultivating a growing collection of power tools featuring “really legit drills and sanders and saws to do landscaping”. Tearing down interior walls and grouting tiles helped her to connect with her inner DIY daddy, she tells NME over the phone: “Once I turned those breakers off and started moving sconces around, I was like, I don’t need to call an electrician! I’m an expert after 15 minutes and a YouTube video.”
•  She adds, cheerfully: “If you need any plumbing done, or — God — a wall poorly painted, give me a call. I’m your girl.”
•  St. Vincent’s phone has been ringing off the hook recently — in 2019 Taylor Swift got in touch. Presumably, she wasn’t after a quote for some double glazing, because Clark ended up co~writing ‘Cruel Summer’, a standout from Swift’s album ‘Lover’. “Gosh, it was really casual,” she remarks, of the session, “just some people in a room jammin’.” Earlier this year, too, she got a phone call from Saturday Night Live, and is set to appear on the US show tomorrow night (April 3). “I’m going to play two new songs,” she says, “‘Pay Your Way In Pain’ and then another new song from the record. It’s gonna be fun!”
•  The performance will be a small glimpse of what it might feel like when gigs are finally back on the cards. “I’ll probably break down in tears the first time I walk onstage after this,” she says. “I’ll get to feel that feeling again. It’s been so long.”
•  Joining the growing addressbook, a certain Sir Paul McCartney also picked up the blower and invited St. Vincent to contribute to his forthcoming covers album ‘McCartney III Imagined’ alongside the likes of Phoebe Bridgers, Josh Homme and Beck. Clark has reworked his 2020 track ‘Women And Wives’.
•  “After it was all done and everything, Paul called me to thank me and tell me that he liked it!” she recalls. “It was the best moment of my life… maybe? I mean, I don’t… I don’t know where to put that. One thing that occurred to me was, think about how many hours of enjoyment in the world have happened as a result of Paul McCartney’s music. Lifetimes and lifetimes of hours that people have spent listening to his work.”
•  “At the end of the conversation he said, ‘It’s a great thing that we get to do, this music thing, right?’” she adds. “I was like, ‘Yes Paul — yes it is.’”
Since 2003, ‘this music thing’ has led 38~year~old Clark in a variety of directions — from playing in American choral rock band the Polyphonic Spree and singer~songwriter Sufjan Stevens’ live bands early on to her 2012 collaborative album with David Byrne, ‘Love This Giant’, and her own storied solo career. Her previous record, 2017’s ‘MASSEDUCTION’, saw St. Vincent push her harsh, angular sonics to their glam~rock conclusion. This was a precise and severe~sounding web of tousling power dynamics; a leopard print~clad ass peeked out of its neon~hued cover.
•  Oozing with lust, desire and selfishness, it often returned to the unspoken gulf between what people say they want, and what people truly want at their core. A whirlwind of unidentified pharmaceuticals, ‘Pills’ depicted a narrator gobbling down prescriptions and rushing home “to give head to the money I made,” while ‘Los Ageless’ painted the city as a sleazy and seductive trap of a place. Like the burned~out, barbiturate~sipping housewife at the heart of Joan Didion’s 1970 novel Play It As It Lays, St. Vincent’s protagonist also tries to escape it by compulsively racing her car down the freeways in search of yet more self~destruction.
•  The tour for ‘MASSEDUCTION’, meanwhile, was one of the more divisive live shows in recent memory. Clad in bright pink PVC and teetering stilettos, a lone St. Vincent shredded guitar at the centre of the stage, robotically switching positions with each song. A pair of velvet curtains dramatically unfurled, revealing a screaming clown pasted across a second curtain. Having caught her at Brixton Academy, I was gripped by the admittedly peculiar show for weeks afterwards: Clark withholding everything that was expected of her felt like a perfectly engineered power move for a record about consumption and power dynamics. Others were left baffled by a retina~searing blast of absurdist videos on enormous screens and cranked up backing tracks.Constantly surprising/St. Vincent. ©Mat Hayward, WireImage
•  “Find me the person who has lived a flawless life — I don’t think that’s possible.”
“It felt kind of like a production arms race for the live show,” Clark says today. “How can you have a multimedia experience that absolutely overwhelms the senses?”
•  Inadvertently, all of this swung the St. Vincent pendulum violently in the other direction — towards a looser musical sound inspired by the ’70s records Clark was raised on. Her new, sixth album ‘Daddy’s Home’ draws particularly from Sly & The Family Stone, Funkadelic and Steely Dan — “the music,” she says, “that I’ve listened to most in my entire life.” The plastic soul sound of lead single ‘Pay Your Way In Pain’ brings to mind David Bowie’s ‘Young Americans’, while ‘Live Your Dream’ finds St. Vincent putting her own psychedelic spin on ‘Dark Side of the Moon’~era Pink Floyd.
 “The whole vibe of this — maybe accidentally, maybe subconsciously on purpose — is just about people playing music,” she explains. “It’s not about big razzle~dazzle video screens and high concept technology, it’s actually the opposite. Can you play, and can you perform, and can you let people into that space? Can we all go somewhere together, just on the soundwaves.” Clark catches herself. “I know it sounds very stonery…”
•  St. Vincent also sees “parallels between what was happening in the early ’70s, and what’s happening now”, referring to the recession that afflicted much of the Western world: “They were singing from the burned~out building, then, and so are we. In terms of economic instability, some of the idealism is smouldering — people are trying to figure out where we go next after all this.”
•  David Bowie, in particular, has always felt like a major touchstone for St. Vincent, who seems to build a distinct persona around each album she releases. Her debut album, 2007’s ‘Marry Me’ was a barbed bite at neatly bundled up ideas of romance — with a blank face and slightly raised eyebrow, it poked fun at the dullness of domesticity. ‘Actor’, released two years later, was her warped Disney nightmare, while 2011’s ‘Strange Mercy’ depicted her bored and tranquilised California housewife. On 2014’s ‘St. Vincent’, she wore a crown of harsh grey hair and ruled over a tech~fried dystopia; ‘MASSEDUCTION’ was helmed by a fuchsia~pink latex dominatrix overseeing the absurd apocalypse. Does she see each album as reflecting a different persona — a bit like Bowie?
•  “Who?!” Clark exclaims and, when I repeat the name, again tersely barks, “Who!”, before bursting into a satisfied guffaw. “I really do,” she says. “I want it to be such that you could look at one photo, and go: ‘Oh that’s that era — that was that time.’ I really get such a thrill getting to be a different person every two or three years. All this stuff is within me and it’s a question of what you turn up and what you turn down in your personality. It just feels free.”
 https://www.nme.com/big-reads/st-vincent-cover-interview-2021-daddys-home-2912166
Store: https://ukstore.ilovestvincent.com/