Annie Clark (aka St. Vincent) has explained subtleties for her exceptionally anticipated new collection, Daddy’s Home.
The sixth collection from the bewildering artisan, widely regarded as perhaps the most dependable inventive and interesting existence in music today, is the most recent aspect of the ever-evolving nature of St. Vincent.
In the colder part of 2019, St. Vincent’s father was released from prison and she began composing the pieces that would end up turning into Daddy’s Home. The collection for St. Vincent is tied to closing the loop on an outing that began with his 2010 incarceration and eventually brought her back to the vinyl her father used to get to know her in her teens.
In Daddy’s Home, St. Vincent meets the well-known manufacturer Jack Antonoff again. The record was recorded by Laura Sisk, mixed by Cian Riordan and dominated by Chris Gehringer.
Clark made her introduction as St. Vincent in 2007, and her fourth, self-proclaimed collection won a Grammy for Best Alternative Album in 2014. At any point in time, she was the second craftswoman to win this classification.
Notwithstanding this performance work, St. Vincent’s coordinated efforts have a collection with David Byrne (Love This Giant 2012), an exhibition as the artist and lead guitarist of Nirvana on the band’s 2014 Rock and Roll Hall of Fame, and a Grammy Recorded in 2019 Gives Dua Lipa two-part harmony.
The main broadcast from Daddy’s Home is “Pay Your Way In Pain,” a slick, sweaty radio broadcast. The video for the track was coordinated by Bill Benz, who also serves as director of the approaching The Nowhere Inn, which St. Vincent co-composed and collaborates with.
The collection, Clark told the Guardian, is motivated to some extent by her father’s 2010 jail sentence for inventory violations, which showed up on her date with Cara Delevingne in 2016.
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