In the ten years since she introduced herself to the music world as the guitarist/singer/songwriter/indie darling known as St. Vincent, Annie Clark has gone through a series of stylistic personas that are often tied to the themes of her musical work. From a domestic goddess with a chilling case of ennui (2011’s Strange Mercy) to a futuristic, space-esque rocker (2014’s St. Vincent,) Clark’s all-encompassing personas are nothing short of performance art and her fifth studio album, MASSEDUCTION, is shaping up to be no exception.
In the lead-up to the album, Clark has leaned heavily into her latest creative iteration — a sexy, absurdist bent that she terms “dominatrix at the mental institution” — musically, aesthetically, and conceptually. It’s the reason why her Instagram page is filled with tongue-in-cheek short films of her ruminating on gender, power, and pop culture, while clad in brightly-colored latex and her music video for single “New York” is a visually gorgeous trip that feels like a trip to the Pantone archive with a seductive, unnerving energy. Likewise, her music for the new album, co-produced by Jack Antonoff, holds nothing back, unapologetically reveling in the strange dread and pleasure of life, love, and loss.
Outside of her musical personas, it looks like Clark’s also evolving; it was recently announced that she had signed on to direct a female-centric feature film adaptation of The Portrait of Dorian Grey, a change of mediums for her.
Ahead of the release of MASSEDUCTION, we caught up with the singer before a party at the House of Peroni, an New York City pop-up gallery that she curated in the style of her new album to talk about her new music, her directorial debut and getting your heart broken.
TIME: You’ve said that this album is very personal and that if someone wanted a look into your life, this project could provide that – why choose to focus on the personal with this album?
St. Vincent: I believe in the axiom that you can only write what you know which doesn’t disallow for imagination— it’s art, it’s not biography; it’s art, it’s not a historical timeline. But within every deeply personal experience, there’s a universal human experience.
So many of your songs touch on those very human emotions – like heartbreak and falling in and out of love. Is it difficult to be …
Source:: Time – Entertainment