St. Vincent, the magnificent Anne Clarke, each of her albums takes a new turn, showcasing her growth as an artist. Luxury has crept into the visuals, adding color and wisdom to the concept behind her records — but mystery is the root of all her musical roles.
St. Vincent returns with Daddy Is Back
With the release of the new album Daddy Is Back, it's as if we've caught a glimpse of one of the next most famous versions of alternative music: her new blonde wig and '70s disco set will be unveiled on the album that landed in May. So, while we wait for "Daddy Comes Home," let's look back at her fascinating characters so far.
Text: yzy
Editor: Zuo Chunchun
"Marry me"
Character: A woman who has fallen to Earth
This alternative pop album tells the story of how the original genius of a girl band led the creation under the illumination of the stage lights. When St. Vincent first appeared, she was compared to Kate Bush and David Bowie, and sufjan Stevens (who was a member of his touring band at the time) was also praised. It's a nice buddy!
Why it's outstanding: For St. Vincent's next avant-garde rock, the album was a delicious first-time attempt. Talent emerges from Marry Me, and Clark's music keeps the chaos in order. She enters the circle as a real person and makes herself different from the beginning.
Actor (2009)
Character: Eccentric tragic actor
Inspired by the big screen, St. Vincent's low-key but dramatic exploration of the reality behind a person's personality (Ben, right?) on his second album ）。 Clark incorporated a Disney-like voice into the album, undercutting her sweet melodies with dark lyrics like "Save me from what I want" and "Actor Out of Work."
Why it's brilliant: That's where St. Vincent really got into theater — this subtle shift that allowed her to achieve a deal in rock 'n' roll. Basically, it's the soundtrack of the best film Tim Burton has ever made, showing that St. Vincent's coverage can be vast — and well done.
Strange Mercy (2011)
Character: Garbage from the 90s
During his pilgrimage to Seattle, St. Vincent created an album in the city that solidified the capricious nature of the artist. For example, "Northern Lights" amplifies her harsh guitar playing.
And "Champagne Year," a scarred ballad, cuts away the existential problem of her quest for her mission: "I make a living by telling people what they want to hear, which is not lethal but enough to clear the trap." ”。 The explosion of self-deprecating rock inspired by Seattle's moody weather — who reminds you of?
Why it's outstanding: The combination of St. Vincent's skilful guitar and painful lyrics makes her even more distant for her listeners. Maintaining this distance while becoming more individual makes her work more open, giving it a second life in the minds of the listener.
Love this giant (2012)
Character: American Gothic granddaughter
You might expect a team with art rock star David Byrne to derail St. Vincent's eccentric tendencies from the epicenter, but the result was a less experimental, more earthy sound. For this collision of ideas, they summoned a brass band to play their own melody.
Why it's so good: The cover of this album is digitally processed, and their faces look like the third-generation version of the American Gothic couple in Grant Wood's famous 1930 painting, with distorted facial features but still traditionally dressed, and the background is unclear.
Combining traditional song models and clear modern production gave Love This Giant an advantage and showed that as a musician, St. Vincent could collaborate. She made an album unlike any of her previous albums — but perfectly matched her entire work.
St. Vincent (2014)
Character: Recent religious leader
It's a self-expressing album of the Holy Spirit, a microcosm of a freak in herself. Here there is a religious aesthetic — robes, pendants, unkempt hair — reciting strange hymns and summoning others to join her rock sacrifice and play music for her altarpiece.
Since the release of her debut album Jesus Saves, i Spend, religion has been an aspect of St. Vincent's work. That album mocks the concept of organized religion by playing with the idea of a religious believer.
Why it's outstanding: As a high priestess, St. Vincent always injects unorthodox elements into her music while maintaining the approachability and richness of her work. In this case, the cult leader role is a conduit for exposing the everyday weird emotions around us.
In the e-pop improvisation of bad believer, Clark disagrees: "What do you know? I'm a bad believer," making fun of the belief systems that dominate our lives — religious or otherwise.
Masseduction (2017)
Character: Dystopian sadist
The colorful mania that pervades Temptation is more than just a clever expression: it's a musical strategy of revenge that elevates the sense of reality. From the crazy, reckless "Pills" to the neon satire of "Los Ageless," the essence of aggression in the public eye has been captured, something St. Vincent knew all too well after dating models met paparazzi.
The musician needs the courage to turn the media's ill-intentioned gaze around – but isn't that the kind of fearlessness we'd expect from St. Vincent?
Why it's outstanding: St. Vincent's bold energy makes her sadistic character untouchable intense. This intensity is the thread that runs through her work — and titles like "Daddy's Back" are also what we're looking forward to for the incredible artist's upcoming sixth album.
references：
https://www.nme.com/features/st-vincent-daddys-home-personas-so-far-2911642