Annie Clark, the singer better known as St. Vincent, might have just become the Beyonc? of the art pop genre with her latest eponymous album "St. Vincent." Though Clark may never receive even a fraction of the international recognition achieved by the now-legendary Knowles, the comparison is undeniable. Much like the former Destiny's Child star, St. Vincent is making music that is fresh and original, fierce and independent. She manages to combine the more lighthearted elements of pop with a barrage of musical influences, which fuse together on one of the most intriguing albums released thus far in 2014. Indeed, with her more recent success, Clark is approaching a level of celebrity status that, within certain circles, could be considered similar to that of Beyonc?'s.
You only really need to look at the album's lead single, "Digital Witness," to understand just how much St. Vincent plays with conventions in order to revitalize a genre that had previously fallen under a dark overhang. The moment the punching, almost-jarring brass section pops into the throwback-styled musical landscape of "Digital Witness," listeners know they are in for a good ride. Clark's song issues a cry of rebellion against the norms of the digital age, longing to return to a simpler, more "human" time. St. Vincent makes a contemporary subject that is beginning to sound trite and hackneyed into something quite different with her trademark gusto and style.
In her previous albums, Clark sounded entrapped by her more destructive emotions, but this latest effort reveals her desire to find humor in the general trivialities of life. On "St. Vincent," particularly on tracks like "Huey Newton" and "Birth in Reverse," Clark seems to be declaring her freedom from all the naysayers and critics. This is especially apparent in "Birth in Reverse" as she croons out her "report from the edge" - a critique of modernity from someone who is, personally and musically, on the edge of the mainstream. This report turns into a full-on attack by the time the album gets to "Huey Newton" and the previously mentioned "Digital Witness." In the former, Clark cries out against the "F--kless porn sharks / toothless but got a big bark." She believes these foul creatures dominate the Internet and will eventually cause all of us to become "Cardboard cutouts / cowboys of information" - capable of knowing everything, but incapable of feeling.
But despite the pomp and composure laden throughout the album - not to mention the cries of rebellion present in a number of the songs - Clark lends the album a personal touch, and reminds us that, despite her defiant tone, she is still human. It is clear that, while Clark is trying to liberate herself from the "haters," she is still stuck with her own flaws, a struggle she articulates in "Regret." Within this song, Clark is able to give the listener an image of her own disappointments and sorrows, which often revolve more around her inability to express herself than what others say to and about her.
The sonic styles found throughout "St. Vincent" reflect a variety of different musical genres. As a guitarist, Clark has developed rather nicely, creating composed, yet frantic melodies. The best example of this development is found in "Birth in Reverse," where the heavily distorted guitar sounds like something akin a combination of the math rock outfit Battles and Tom Morello. "St. Vincent" can easily be called the best album that Clark has made to date, and it is a nearly flawless one at that. The start of the record is heavy on the uproar, but as things slow down toward the end, the album unfortunately loses a little bit of its glitz. Yet despite this change of pace, "St. Vincent" remains compelling and well worth a listen.
