Like the rest of us, Annie Clark is looking for a silver lining amid the overbearing darkness. About halfway through, the engrossing, unpredictable and, at times, terrifying new album from the indie musician better known as St. Vincent, pummelling synths, grinding drones and monster riffs suddenly give way to sharp horns and the kind of cinematically sultry groove that could soundtrack a Bond movie.
Filled with industrial grind and squalling feedback, its sonic touchpoints veer towards Nine Inch Nails and Big Black. In Instagram clips taken during studio sessions, Clark looks like she’s styled herself after David Lynch’s, all black leather and peroxide streaks. Even for an artist who played in a noise band called Skull F---ers back in college, this might be the heaviest Annie Clark’s ever been.
“It’s like that thing Brian Eno says: art is the car that you can crash over and over again and walk away safely,” she adds. “It’s a place where you really can just explore it all. I think there’s an aspect of reaction to me, to just wanting to make something that was very raw and heavy. Life is short, we don’t have time to waste; so talk about the real shit and just go there, as deep as you can.”
“Right? I think it’s more psychotic to pretend like it isn’t,” Clark laughs. “But I think by ‘least funny record’, I kind of meant it’s not clever, it’s more emotionally stark. Because in order to be a musician, you always have to have a sense of humour, or you just won’t make it.
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