Detailed Summary of "From the Archive: St. Vincent’s Seduction" The New Yorker Radio Hour Release Date: December 18, 2024
Host: David Remnick
Guest: Annie Clark (St. Vincent)

Introduction

In the December 18, 2024 episode of The New Yorker Radio Hour, host David Remnick engages in an in-depth conversation with Annie Clark, known professionally as St. Vincent. The episode, titled "From the Archive: St. Vincent’s Seduction," delves into Clark's latest album, Mass Seduction, exploring its themes, creative process, and her evolution as an artist.

Exploring "Mass Seduction"

David Remnick begins the discussion by highlighting Clark's transition from indie rock collaborations with artists like Sufjan Stevens to her solo career, which has drawn comparisons to David Bowie for its complexity and allure.

Clark introduces Mass Seduction by discussing its title track. She explains the creative choice behind enlisting her live band member, Toko Yasuda, to perform the song in Japanese, portraying an alien character describing seduction:

“I wanted her to pretend like she was an alien describing how to seduce someone, but in Japanese.”
[02:42]

The use of Japanese serves dual purposes for Clark—both a personal affinity for the language and a strategic move to enhance her presence in the Japanese market:

“Because a couple reasons. One, a totally self-serving one which is that I love Japan and I want to be big in Japan so that I can go there all the time.”
[03:01]

Themes of Power, Sex, Drugs, and Sadness

When asked to summarize the album's thesis, Clark describes Mass Seduction as an exploration of power's alluring and dark sides, intertwining themes of sex, drugs, and sadness:

“I would say it's an exploration of power and the rosy sides of power... and also the really grim sites.”
[04:08]

This triad of themes reflects Clark's personal struggles and creative journey over the past three years, a period marked by significant life changes and artistic development:

“It was a wild three years. It was a lot of life happened in those three years, for sure.”
[05:18]

Creative Process and Personal Struggles

Clark opens up about her battle with anxiety and depression, emphasizing the necessity of radical personal reorganization to maintain her creative spirit:

“I hit a point where I just needed everything but the most vital things for creativity to just go away.”
[05:59]

She candidly discusses her reliance on medication during a particularly intense period of work:

“I was certainly relying on more pills than I should have been taking to deal with anxiety and depression.”
[08:11]

However, Clark clarifies her stance on antidepressants, acknowledging their role in her coping mechanism:

“I'm not anti antidepressant by any means or anything. You know, those kind of things have really helped me at certain times.”
[08:30]

Musical Evolution: From Guitar to Electronics

A significant portion of the conversation centers on Clark's evolving sound. Once renowned for her exceptional guitar skills, she explains her deliberate shift towards electronic instrumentation:

“There's a certain amount of guitar playing that is about pride, that isn't about the song.”
[10:26]

Clark aspires to make the guitar a disruptive element in her music, stripping away the traditional showmanship to focus on emotional authenticity:

“I want it to be like a perverse tornado... really uncomfortable. I want it to be the one thing that comes in and disrupts the scene completely.”
[11:27]

This evolution reflects her desire to align her musical expression more closely with her emotional experiences rather than conventional performance expectations.

Influences and Notable Experiences

Clark recounts her profound connection to Kurt Cobain and the impact of Nirvana's Nevermind during her formative years:

“Hearing the kind of purge of that fear through Kurt Cobain and Nevermind was liberating. It said to me, you're not alone.”
[17:23]

She also reflects on her emotional performance at the Rock and Roll Hall of Fame induction ceremony in Brooklyn, where she portrayed Kurt Cobain:

“It feels very strange to be joyful about it... Something like Transcendence.”
[19:16]

This experience underscores the deep emotional resonance and sense of community that music fosters for Clark.

Vision Beyond Music: Directing and Storytelling

Expanding her artistic repertoire, Clark discusses her venture into film directing, specifically her upcoming adaptation of Oscar Wilde's The Picture of Dorian Gray. She draws parallels between her work in music and her passion for storytelling through different mediums:

“I believe that art, music, theater, film... change people's minds and make them more human.”
[16:10]

Clark's approach to directing emphasizes creating empathy and exploring human emotions, aligning with her overarching artistic philosophy.

Live Performances: Transcendence vs. Routine

When discussing live performances, Clark describes a duality between moments of transcendence and the disciplined routine of show business:

“Sometimes I'm so in it and I'm reliving every moment of the heartbreak of the song... And then sometimes I am totally disassociated.”
[20:11]

She emphasizes the importance of a solid structural foundation in her performances, allowing her to experiment emotionally while maintaining a consistent quality:

“There's something in the structure and building, a really solid structure and foundation architecture of a show that to me feels safe.”
[20:54]

This balance enables her to deliver emotionally powerful performances consistently.

Conclusion

The episode concludes with Clark sharing her setlist for an upcoming event, highlighting her ability to blend covers with her original, emotionally charged repertoire:

“I'm going to play all youl Need Is Love, the Beatles classic... the absolute most bleak for this party tonight. Glamorously sad songs. Perfect.”
[25:49]

David Remnick wraps up the conversation by acknowledging the release of Mass Seduction and hinting at future episodes, maintaining an engaging and thoughtful tone throughout the discussion.

Notable Quotes with Timestamps

• “I wanted her to pretend like she was an alien describing how to seduce someone, but in Japanese.” — Annie Clark [02:42]
• “I would say it's an exploration of power and the rosy sides of power... and also the really grim sites.” — Annie Clark [04:08]
• “I was certainly relying on more pills than I should have been taking to deal with anxiety and depression.” — Annie Clark [08:11]
• “I want it to be like a perverse tornado... really uncomfortable. I want it to be the one thing that comes in and disrupts the scene completely.” — Annie Clark [11:27]
• “Hearing the kind of purge of that fear through Kurt Cobain and Nevermind was liberating. It said to me, you're not alone.” — Annie Clark [17:23]
• “I believe that art, music, theater, film... change people's minds and make them more human.” — Annie Clark [16:10]
• “Sometimes I'm so in it and I'm reliving every moment of the heartbreak of the song... And then sometimes I am totally disassociated.” — Annie Clark [20:11]

This comprehensive summary captures the essence of Annie Clark's conversation on The New Yorker Radio Hour, providing listeners with an insightful overview of her artistic journey, personal struggles, and the creative forces driving her latest work, Mass Seduction. The inclusion of notable quotes with timestamps offers readers a glimpse into the depth and authenticity of the interview.