St. Vincent: “I wanted to make something more grounded – more, like, from the guts”

St. Vincent
(Image credit: Zackery Michael)

Few artists have a reputation for innovation quite like Annie Clark – better known to the masses as St. Vincent – who, since dropping the chamber-pop classic Marry Me in 2007, has continued to reinvent herself with each new release. And not just sonically, either – Clark is a musical method actress, embodying the idiosyncratic spirit of the concept, style and ethos of her current project. On her sixth solo album, Daddy’s Home, she’s a sly, sultry queen of the New York club scene circa 1973, sinking deep down a rabbithole of warm analogue fuzz, velvety grooves and brittle percussion. 

An ‘80s kid herself, Clark looks to the musical palate of rock’s early-‘70s heyday with a detached, yet unequivocally devoted sense of nostalgia. Add to it the lyrical inspiration of her father coming home from a stint in federal prison, and even if it sucked, we’d still have one of 2021’s most interesting albums. But of course, this is St. Vincent we’re talking about – Daddy’s Home is an instant hit on all fronts.

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Ellie Robinson
Editor-at-Large, Australian Guitar Magazine

Ellie Robinson is an Australian writer, editor and dog enthusiast with a keen ear for pop-rock and a keen tongue for actual Pop Rocks. Her bylines include music rag staples like NME, BLUNT, Mixdown and, of course, Australian Guitar (where she also serves as Editor-at-Large), but also less expected fare like TV Soap and Snowboarding Australia. Her go-to guitar is a Fender Player Tele, which, controversially, she only picked up after she'd joined the team at Australian Guitar. Before then, Ellie was a keyboardist – thankfully, the AG crew helped her see the light…