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Alternative & Indie - Released January 1, 2013 | Concord - Loma Vista - Caroline

Hi-Res Distinctions Pitchfork: Best New Music - Hi-Res Audio
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Alternative & Indie - Released September 12, 2011 | 4AD

Distinctions Pitchfork: Best New Music - Sélection Les Inrocks
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Alternative & Indie - Released February 9, 2015 | Concord - Loma Vista - Caroline

Hi-Res Distinctions Pitchfork: Best New Music
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Alternative & Indie - Released October 12, 2018 | Loma Vista Recordings

While Annie Clark is a beast on the guitar, obsessed with futuristic and mad sounds, she’s first and foremost a composer. And to highlight the musical layers of her songs, the brain behind St Vincent decided to strip them bare for MassEducation. Co-produced with pianist Thomas Bartlett, it is a fully acoustic – vocals and piano – reinterpretation of her album Masseduction released a year before, in October 2017. For the fans who know her electric tracks by heart, it is without doubt an intense and beautiful experience. For others, it may take a bit of getting used to. This stylistic exercise also showcases Clark’s vocal capabilities, a true vocalist and comedian who takes even her smallest ideas all the way. In fact it is her voice that fills the instrumental bareness and makes this album such an enchanting experience. © Marc Zisman/Qobuz
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Alternative & Indie - Released October 13, 2017 | Concord Loma Vista

For St. Vincent’s 4th album released in 2013, self-titled as St. Vincent, the genius of Annie Clark exploded like never before. She brought with it her fascinating writing style, weird and wacky instrumentations, a sumptuous and elastic voice, not to mention an unparalleled final assembly. It’s not something everyone can do: succeed in uniting both a Talking Heads-like spirit and the noteworthy textures of King Crimson, while also leaning in the direction of 80s new wave and Bowie… Four years later, the Texan multi-instrumentalist has gone down a similar path. St. Vincent heads off again in the most experimental directions, always staying in line with the goal of composing the perfect pop song. In doing so, she never risks becoming an American Björk and stays rooted to her pop DNA. Indeed, it is when she strips back the accompanying instruments that she is at her most convincing. Such is the case for New York, a sublime love letter to a lost love in the Big Apple, put together with a simple piano that in itself makes Masseduction worth buying… This fifth album also has the particularity of being without a doubt the most personal by the author. Annie Clark exposes herself, opening up about herself and her life like never before. She steers clear of any hot gossip about her past lovers Cara Delevigne or Kristen Stewart, but does use a more intimate language this time round, removing any make-up from her lyrics. These introspections still don’t inhibit any eccentric breaks that sometimes verge on surrealism. Above all, Masseduction is the record from St. Vincent that’s perhaps the most… bowiesque? © MZ/Qobuz
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Alternative & Indie - Released February 13, 2012 | 4AD

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Alternative & Indie - Released August 28, 2020 | Loma Vista Recordings

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Alternative & Indie - Released January 1, 2013 | Concord - Loma Vista - Caroline

Annie Clark began recording St. Vincent almost immediately after she finished touring in support of Love This Giant, her inspired collaboration with David Byrne. It's not hard to hear the influence that album had on these songs: Love This Giant's literal and figurative brassiness gave Clark's witty yet thoughtful approach more sass without sacrificing any of her intelligence. Similarly, while St. Vincent is some of her most pop-oriented work, it doesn't dilute the essence of her music. If anything, her razor-sharp wit is even more potent when polished in a candy coating with just a hint of venom. This is especially true of the album's singles: on "Digital Witness," one of the songs with the closest kinship to her "Love This Giant" work, she juxtaposes pointed commentary ("If you can't see me/What's the point of doing anything?") with Valley Girl "yeah"s in a trenchant expression of the 21st century's constant oversharing and need for validation. This somewhat frantic undercurrent bubbles to the surface on "Birth in Reverse," one of Clark's most immediately winning singles since "Actor Out of Work," and one that makes retreat seem nearly as exciting as revolution. Here and throughout the album, Clark and longtime producer John Congleton use their signature, proudly artificial sound to highlight her direct storytelling, whether it's the way "I Prefer Your Love"'s trip-hoppy sheen lets the declaration "I prefer your love to Jesus" ring out more boldly or the way Clark sings "I'm afraid of you because I can't be left behind" gives the lie to her brash guitar playing on "Regret." As on Strange Mercy, Clark explores strength and vulnerability in ever more masterful, and approachable, ways. Not every song may be as literally autobiographical as "Rattlesnake," which was inspired by a secluded walk in the desert in the altogether. Yet there's more than a kernel of emotional truth to "Prince Johnny," where Clark's character ends up even more exposed thanks to some songwriting sleight-of-hand. The hallucinatory, funky "Huey Newton" and the decaying power ballad "Severed Crossed Fingers" show off not just Clark's musical range, but just how eloquently she blends passion and precision. And, as her most satisfying, artful, and accessible album yet, St. Vincent earns its title. © Heather Phares /TiVo
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Alternative & Indie - Released December 13, 2019 | Loma Vista Recordings

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Alternative & Indie - Released May 5, 2009 | 4AD

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Alternative & Indie - Released July 10, 2007 | Beggars Banquet

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Alternative & Indie - To be released May 14, 2021 | Loma Vista Recordings

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Alternative & Indie - Released June 1, 2018 | Concord Loma Vista

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Alternative & Indie - Released February 9, 2015 | Concord Records, Inc.

Annie Clark began recording St. Vincent almost immediately after she finished touring in support of Love This Giant, her inspired collaboration with David Byrne. It's not hard to hear the influence that album had on these songs: Love This Giant's literal and figurative brassiness gave Clark's witty yet thoughtful approach more sass without sacrificing any of her intelligence. Similarly, while St. Vincent is some of her most pop-oriented work, it doesn't dilute the essence of her music. If anything, her razor-sharp wit is even more potent when polished in a candy coating with just a hint of venom. This is especially true of the album's singles: on "Digital Witness," one of the songs with the closest kinship to her "Love This Giant" work, she juxtaposes pointed commentary ("If you can't see me/What's the point of doing anything?") with Valley Girl "yeah"s in a trenchant expression of the 21st century's constant oversharing and need for validation. This somewhat frantic undercurrent bubbles to the surface on "Birth in Reverse," one of Clark's most immediately winning singles since "Actor Out of Work," and one that makes retreat seem nearly as exciting as revolution. Here and throughout the album, Clark and longtime producer John Congleton use their signature, proudly artificial sound to highlight her direct storytelling, whether it's the way "I Prefer Your Love"'s trip-hoppy sheen lets the declaration "I prefer your love to Jesus" ring out more boldly or the way Clark sings "I'm afraid of you because I can't be left behind" gives the lie to her brash guitar playing on "Regret." As on Strange Mercy, Clark explores strength and vulnerability in ever more masterful, and approachable, ways. Not every song may be as literally autobiographical as "Rattlesnake," which was inspired by a secluded walk in the desert in the altogether. Yet there's more than a kernel of emotional truth to "Prince Johnny," where Clark's character ends up even more exposed thanks to some songwriting sleight-of-hand. The hallucinatory, funky "Huey Newton" and the decaying power ballad "Severed Crossed Fingers" show off not just Clark's musical range, but just how eloquently she blends passion and precision. And, as her most satisfying, artful, and accessible album yet, St. Vincent earns its title. © Heather Phares /TiVo
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Alternative & Indie - Released April 12, 2019 | Loma Vista Recordings

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Folk/Americana - Released July 6, 2009 | sprocket records

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Alternative & Indie - Released April 6, 2015 | Concord Loma Vista

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Alternative & Indie - Released December 6, 2019 | Loma Vista Recordings

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Alternative & Indie - Released November 22, 2019 | Loma Vista Recordings

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Alternative & Indie - Released April 30, 2012 | 4AD

Artist

St. Vincent in the magazine
  • Reeducation
    Reeducation While Annie Clark is a beast on the guitar, obsessed with futuristic and mad sounds, she’s first and foremost a composer.
  • The passion of St. Vincent
    The passion of St. Vincent Is Annie Clark the reincarnation of David Bowie?
  • St. Vincent - Qobuz Interview
    St. Vincent - Qobuz Interview Meet Annie Clark, the voice behind the fourth album effort of St. Vincent, which confirms the immense talent of this young composer as she puts her own spin on rock fusion, electro and new wave.