Posts Tagged ‘St Vincent’

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The last time we heard new music from St. Vincent, she delivered a pair of radically different albums. There was 2017’s MassEducation, which found Annie Clark teaming with Jack Antonoff for the most immediate and danceable music of her career. And then there was the companion album, 2018’s MassEducation, which reimagined those songs in stark, solo piano arrangements.

Her new album “Daddy’s Home” follow-up appears to be another reinvention, with Clark citing Stevie Wonder, Sly and the Family Stone, and Martin Scorsese’s 1976 classic Taxi Driver as influences. “Can’t wait for you to hear it,” she teased.

St Vincent released the new album, “Daddy’s Home” this weekend via Loma Vista. On Monday she shared the album’s third track, “Down” via a video for it. Bill Benz directed the video, which seems to feature Clark as a private detective in 1970s New York City.

Previously St. Vincent shared the album’s first single, “Pay Your Way In Pain” via a video for the track. The sleazy and funky “Pay Your Way In Pain” sounds like something from Beck’s Midnite Vultures album (from 1999)

Then she shared “The Melting Of The Sun” St. Vincent also performed the track on Saturday Night Live, along with “Pay Your Way In Pain.”

Daddy’s Home was teased with a series of advertisements. Jack Antonoff co-produced the album with Clark, which was recorded by Laura Sisk, mixed by Cian Riordan, and mastered by Chris Gehringer. In 2019 Clark’s father was released from prison after being incarserated for nine years, hence the album’s title, Daddy’s Home. This led her to revisiting the vinyl records her dad used to play her when she was a child. As a press release puts it: “The records she has probably listened to more than any other music in her entire life. Music made in sepia-toned downtown New York from 1971-1975.” Hence the vibe of the album’s promotion and packaging is decidedly ’70s.

In the press release Clark puts it this way: “Daddy’s Home” collects stories of being down and out in downtown NYC. Last night’s heels on the morning train. Glamour that’s been up for three days straight.”

St. Vincent has shared a second single from her upcoming album Daddy’s Home, “The Melting of the Sun.” This one’s mellow, groovy, soulful and funky in a ’70s sort of way. Watch the animated video below. On the new single, which St. Vincent (real name Annie Clark) co-produced with Jack Antonoff, she pays homage to several artists who have inspired her, including Joni Mitchell and Marilyn Monroe.

“Saint Joni ain’t no phony/Smoking reds where Furry sang the blues/My Marilyn shot her heroin/Hell she said it’s better than abuse,” she sings on the swirling, Seventies-vibed track. “So who am I trying to be? A benzo beauty queen?”

She recently discussed the women behind the lyric’s inspirations with Rolling Stone. “People tried to quiet them when they were saying something that was righteous or true or hard to hear,” Clark said. “[That song] in particular is a love letter to strong, brilliant female artists. Each of them survived in an environment that was in a lot of ways hostile to them.” “People tried to quiet them when they were saying something that was righteous or true or hard to hear,” Clark said in a statement. “[That song] in particular is a love letter to strong, brilliant female artists. Each of them survived in an environment that was in a lot of ways hostile to them.

“The Melting of the Sun” follows the previously released LP single “Pay Your Way in Pain.” However, this search for the distinct taste of late-night cocktail bars in the ’70s is one that St. Vincent manages to pull off with authenticity. As one might expect with such a subject, at times, the song does feel slightly contrived and perhaps too cliched.

Nevertheless, “Daddy’s Home” is shaping up to be a fascinating release from one of the most unpredictable artists around, who continues to shift into different personas for every single record. So far, the two singles released feel like they’re from two different artists. ‘Pay Your Way In Pain’ was a sassy, vigoured effort and followed up with a nostalgia-soaked ballad. A total contrast, but somehow St. Vincent has managed to make this style work on ‘The Melting Of The Sun’.

Daddy’s Home, which was co-produced by Jack Antonoff, is out May 14. St. Vincent will be the musical guest on Saturday Night Live this weekend

The album is about her father’s release from prison after serving a sentence for white-collar crime. Annie Clark announced the record last month with the glitzy comeback single, ‘Pay Your Way In Pain’. Now with ‘The Melting Of The Sun’, she has offered a moment of calm and contemplation, 

The new album “Daddy’s Home”, out May 14th

Julia Stone: Sixty Summers: Limited Edition Gold Vinyl

Eight years after Stone’s last solo record, Sixty Summers arrives as a powerful rebirth for one of Australia’s most prolific artists. Emerging from the wildernesses of folk and indie-rock, with “Sixty Summers” Stone dives headfirst into the cosmopolitan, hedonistic world of late-night, moonlit pop. The stunning album brings us the grit and glitter of the city, with all its attendant joys, dangers, romances and risks.

It is Stone at her truest, brightest self, a revered icon finally sharing her long, secret love affair with this vibrant and complex genre. Recorded sporadically over five years from 2015 to 2019, Sixty Summers was shaped profoundly by Stone’s key collaborators on the album: Thomas Bartlett, aka Doveman, and Annie Clark, the Grammy-winning singer, songwriter and producer known as St. Vincent. Bartlett and Clark were the symbiotic pair Stone needed to realise her first pop vision.

A wizard of production and song writing, Bartlett helped coax Sixty Summers’ independent, elemental spirit from Stone, writing and recording over 50 demos with her at his studio in New York. Itself a thoroughfare for indie rock luminaries, some of whom, such as The National’s Matt Berninger and Bryce Dessner, ended up on the album, Bartlett’s studio was perfect fertile ground for Stone’s growth.

Julia Stone’s forthcoming album ‘Sixty Summers’, released 30th April:

St. Vincent has teased her next album with a poster campaign. The new record is reportedly called “Daddy’s Home” and it reportedly drops May 14 via Loma Vista.

Teasers for St. Vincent‘s anticipated follow-up to 2017’s “Masseduction” have begun popping up, and while officially Annie Clark has been mum on the subject, recently tweeting “Nothing to see here,” she’s now discussed the album, which is apparently called Daddy’s Home and features production by Jack Antonoff, more in a new interview on Substack newsletter The New Cue. “I would say it’s the sound of being down and out Downtown in New York, 1973,” she says. “Glamour that hasn’t slept for three days.”

“In hindsight, I realized that the [last album, 2017’s] Masseduction and tour was so incredibly strict,” she continues, “whether it was the outfits I was wearing that literally constricted me, to the show being tight and the music being angular and rigid. When I wrapped that, I was like ‘oh, I just want things that are fluid and wiggly and I want this music to look like a Cassavetes film. I wanted it to be warm tones and not really distorted, to tell these stories of flawed people being flawed and doing the best they can. Which is kind of what my life is.”

Images of the teaser posters have been cropping up across social media platforms. They feature a blond Annie Clark standing in a maroon suit next to what appears to be an album cover. “St. Vincent is back with a record of all-new songs,” a text panel reads. “Warm Wurlitzers and wit, glistening guitars and grit, with sleaze and style for days. Taking you from uptown to downtown with the artist who makes you expect the unexpected.” The poster claims that the record will be available May 14th.

Late last year, Clark said that a new album was “locked and loaded” for 2021. In between producing music for Sleater-Kinney, hosting a podcast from her shower, and putting the finishing touches on Daddy’s Home, St. Vincent may have entered a dirty rabbit hole, exploring more sordid tales.

A song that makes you feel like you need to permission to listen, “Pay Your Way In Pain” oozes the funk of what’s to be expected from Daddy’s Home.

“‘Daddy’s Home’ collects stories of being down and out in downtown NYC,” says Clark. “Last night’s heels on the morning train. Glamour that’s been up for three days straight.”

Asked what she was listening to while making this album, Annie says, “I went back to these records that I probably listened to more in my life than at any other time, music made in New York from 1971-76, typically post-flower child, kick the hippie idealism out of it, America’s in a recession but pre-disco, the sort of gritty, raw, wiggly nihilistic part of that. It’s not a glamorous time, there’s a lot of dirt under the fingernails. It was really about feel and vibe but with song and stories.”

Through a grainier retro screen, Annie Clark (St. Vincent) is summoning her inner 1970s starlet sleaze on Daddy’s Home (Loma Vista), out May 14th, sharing the first single “Pay Your Way in Pain” with a video, directed by Bill Benz—who also worked on Clark and Carrie Brownstein’s upcoming movie The Nowhere Inn—showing St. Vincent entering a vortex of network television variety shows.

“Daddy’s Home” is expected May 14th via Loma Vista, and lead single “Pay Your Way In Pain” is reportedly arriving Friday (March 5th).

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Marking her first solo release in nine years, singer Julia Stone will release “Sixty Summers” on April 20th. To stoke excitement for the LP – which was produced by St. Vincent – she’s shared the new single/music video for “We All Have,” featuring Matt Berninger of The National. Reimagined, reborn and reinvigorated, this new era for Julia Stone replaces dirt under foot with wet pavements and sticky dancefloors; trades blue skies for red lights and red lips. Step into Julia Stone’s brand-new world.

“This song is about how everything transforms and moves; even though you feel so shitty at one point, it might shift into something new,” explained the singer-songwriter. “Love is all that we really need to be here for — not love with someone else but love in your heart.”

Added Berninger, “Berninger said, “It’s always really inspiring to hear old friends creating such amazing music. I’ve been a big fan of Julia’s work for a long time, and it was so fun to be invited to be a part of this song!”

Listen to ‘We All Have’ (featuring Matt Berninger):  Julia Stone’s forthcoming album ‘Sixty Summers’, released 16th April:

Sleater-Kinney share “The Future Is Here,” the second new track to be revealed from their forthcoming highly anticipated album, The Center Won’t Hold, produced by St. Vincent and slated for release August 16th on Milk! RecordsThe Center Won’t Hold is the tenth album from the iconic trio comprised of Carrie Brownstein (guitar/vocals), Corin Tucker (guitar/vocals) and Janet Weiss (drums). Brownstein explains, “We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person — ourselves or versions of ourselves or iterations of depression or loneliness — in the middle of the chaos.”   Weiss adds, “I think for Carrie and Corin it was liberating to explore a different sound palette. Annie (St. Vincent) has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us.” Tucker says, The Center Won’t Hold drops you into the world of catastrophe that touches on the election. And almost like a mission statement, at the end of that song, it’s like the band is finding its way out of that space by becoming a rock band.”

“The Future Is Here” permeates an understated intensity, with building vocals and a menacing longing while simultaneously drawing the listener in with its catchy chorus “I need you more than I ever have, because the future is here and we can’t go back.” The track follows “Hurry On Home,” the first single unveiled from the forthcoming record.  Upon its release the critical praise was unanimous; NPR raved, “Sleater-Kinney’s first new song since 2015’s No Cities To Love blisters with desperation and desire, a promising hint of the St. Vincent-produced future we were promised,” while GQ stated, “urgent and throttling and sticky all at once, ‘Hurry On Home’ is the first taste of rock legends Sleater-Kinney’s upcoming album that’s produced by St. Vincent. If the rest sounds anything remotely as good as this, well, we’ve got an Album of the Year contender on our hands.” Pitchfork said of the Sleater-Kinney/St. Vincent pairing, “The endless possibilities of what this collaboration might sound like remain a bit mystifying, but the first taste is a clear knockout.”

The Center Won’t Hold – Out August 16th, 2019

Sleater-Kinney St. Vincent new album

Sleater-Kinney is recording a new album, and St. Vincent’s Annie Clark is in the producer’s chair. The band shared the above image on social media this morning, with the announcement that their next album is in the works. NPR Music confirmed the news with the band, though as of yet the album doesn’t have a title or a release date.  “We always planned on getting back in the studio — it was just a matter of when,” Carrie Brownstein says in the NPR article. “If there is an overarching principle to this album, it’s that the tools on which we were relying proved inadequate. So we sought new ones, both metaphorically and literally.”

the holy, loud and vulnerable “Hurry on Home,” the band’s first new music since 2015’s. Sleater-Kinney’s last album was 2015′s No Cities to Love. The new single is brassy and obsessive, and finds the band exploring a different sonic direction. “Disconnect me from my bones! / So I can float, so I can roam,” Corin Tucker cries, confessing that she’s uptownable, unfuckable, unlovable, unwatchable—and really, really wants her lover to please, please come home.

Oh, and by the way—the single is accompanied by a lyric video directed by Miranda July, because Sleater-Kinney is Sleater-Kinney, and we’d expect nothing less.

“Hurry on Home” is the band’s first proper release of new music after a teaser for the band’s forthcoming ninth studio album appeared and then disappeared from indie label Mom + Pop’s website.

Fans of St. Vincent’s 2017 album Masseduction are about to hear its songs in a new light, starting with a stripped-down version of “Savior.” Swapping synths for piano, “Savior” now showcases Annie Clark’s vocal range while tapping into the original’s darker, more plaintive undercurrents.

The song comes as a taste of MassEducationa new version of Masseduction that pairs Clark’s resonant voice with Doveman’s Thomas Bartlett on piano. Intimate and focused, the reworked songs were performed and recorded in two days at Manhattan’s Electric Lady Studio. A handwritten letter by Clark sets the scene for this process: “Thomas and I faced each other — him, hunched over a grand piano, me, curled on a couch.”

Clark suggests that it’s the impromptu collaboration with Bartlett that lends the songs a new dimension. She describes the new record as “two dear friends playing songs together with the kind of secret understanding one can only get through endless nights in New York City.”

‘Savior’ reimagined for St. Vincent’s newest album ‘MassEducation’ coming October 12th. ‘MassEducation’ is in fact another dimension of last year’s universally acclaimed MASSEDUCTION.

MassEducation comes out Oct. 12 on Loma Vista Recordings.

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Masseduction, St. Vincent’s fifth solo album, is a neck-snapping magnum opus. Though dark, it avoids the kind of overdone, maudlin doom and gloom that mopes instead of shocks; it’s the most conceptually perfect and perfectly constructed album in a whole catalog incredible albums. Every second and noise is accounted for, but it’s not so stuffy that there isn’t air to breathe. Rather, the fester of drugs, fame, loss, sex, indulgence and suicide found on Masseduction are strained through Annie Clark’s signature clever grin. While other artists attempted high-concept album roll-outs in the last year, none did so as successfully or cohesively as St.Vincent’s Masseduction — in part because her themes are vital in our current cultural conversation. For her first album in three years, Annie Clark dissects sexuality, power dynamics, and fractured identity in an industry embroiled in assault and harassment. And though she addresses the loss of control head on, she asserts her own power and control without ever presuming either can be had. Masseduction is defiance writ large by exploring reality’s smallest and most pervasive pains.

Read through the write-ups on St. Vincent’s brilliantly Kubrick-esque new record and count up how many times the male producer of this record is mentioned. It is a weird level of ignoring the endless work St. Vincent has done cultivating her sound. From her early days in Polyphonic Spree to the perfect pop of Strange Mercy to that psychotic record with David Byrne to the new album Masseduction her most succinct statement, like it or not — St. Vincent has willed her vision into life. “Los Ageless” is her best song too. Well, that’s probably “Year of the Tiger”. But “Los Ageless” is her most succinct song, it’s her most well-executed song. It soft and delicate in its delivery while still being thrifty in its layers.

“New York” may be Annie Clark’s finest ballad, and the competition for that title is stiff. Her 2014 self-titled LP alone offered two credible contenders: “Prince Johnny” and “Severed Crossed Fingers”, the latter song being that masterpiece’s crowning achievement. But in an album packed with errant pop extravaganzas, “New York” stands in stark contrast as Masseduction’s grand and naked centerpiece.

Apart from a soaring gospel chorus, what makes “New York” so remarkable is its thematic plasticity. Is Clark lamenting the end of the early-aughts NYC music scene, recently documented (to great acclaim) by Lizzy Goodman? Is she mourning the death of David Bowie? Is she addressing her breakup with Cara Delevingne? The answer is, of course, all of the above and beyond.

“New York” is a classic composite song that, in the right light, fits this or that narrative. Which is to say, it’s universal, an elegy for many occasions, a multi-faceted opus. Choose your own adventure. But it only soars so high because Clark’s shattering melody can easily bear such a heavy burden, with weightlessness and might.

Los Ageless

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St. Vincent   is essentially gifting her heart to the world with her intoxicating new album MASSEDUCTION, which comes out this Friday. On its third single release “Pills,” Annie Clark chants medicated verses in the tune of a whimsical jingle about drug dependency, culminating with a bluesy, decelerated outro that evokes a comedown. Clark enlisted a star-studded team to back her up on the track: Cara Delevingne and Jenny Lewis on vocals, Kamasi Washington on saxophone and beat production from Sounwave.