It starts with the creation myth: St. Vincent, naked and alone in the wil-derness, startled as the ominous rattle of a snake breaks the silence of her Eden. She realizes she's not alone in the world and breaks into a run, headed towards the uncertainty of the future. It's a lovely and ap-propriate metaphor to open St. Vincent's self-titled fourth album, except that it literally happened.
"It's not a metaphor at all," St. Vincent, aka Annie Clark, says of the al-bum's lead track, "Rattlesnake." While visiting a friend's west Texas ranch, she decided to strip away her clothes and fully enjoy the solitude that city life so rarely affords. "I went walking around this great expanse of land. There was no one around so I decided to take my clothes off and immerse myself in nature. I saw holes in the path, but did not put two-and-two together until I heard the rattle and caught a glimpse of the snake."
Clark's been moving at a breakneck speed for the past two years, barely stopping to catch her breath amidst a whirlwind of recording and touring. In 2011 she released her third album, 'Strange Mercy,' called "one of the year's best" by the New York Times and "something to behold" by Pitch-fork. The record cemented her status as one of her generation's most fearsome and inventive guitarists, earned her the covers of SPIN, Paper, and Under the Radar, performances everywhere from the Metropolitan Museum of Art and Fallon to Letterman and Conan, and a year-long sold-out tour of her biggest venues to date around the world. She ap-peared on the hit IFC series Portlandia and graced the pages of Vogue's coveted September issue. It was during this already monumentally busy time that she completed work with David Byrne on their collaborative al-bum 'Love This Giant,' another critical smash that was dubbed "marvel-ous" by the New Yorker and "magical" by NPR.
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