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“I Think Love This Giant Got St. Vincent Dropped from 4AD”

If you’re like me, you weren’t paying ANY attention to St. Vincent in 2014 (I literally boycotted the self-titled album because Love This Giant was so bad), but slightly disconcerting as well is the total ambivalence of The Guardian [1] to all things record label in an otherwise tenacious interview with the artist. At this point, leading up to St. Vincent, she’d flown the coop of 4AD for Loma Vista what is generally an undisclosed reason (we all know how obnoxiously polite and professional both parties can be on such occasions, see Fleet Foxes’ departure from Sub Pop). It is my opinion that St. Vincent actually got dropped from 4AD, the issue then largely swept under the carpet by all of those who would pay attention to her and her music in and around 2014. Although in their interview blurb The Atlantic makes light of how the David Byrne collaboration was one of her rare joint musical efforts, they’re unable to foster a single quote from her about this particular project, in the whole piece. You’d think, just on the heels of such a star-studded expedition, she’d be glowing with effusive jollities over the occasion. Rather, there’s almost a funereal atmosphere to the 2014 Guardian interview: St. Vincent makes light of an incident in which she killed a giant rat with a copy of a Dylan Thomas poetry book (the artist’s name comes from a line in a Thomas piece), and according to Pitchfork one song on her album from that year, St. Vincent, contains the line “It was a lonely lonely winter”. Also, in hindsight, from her excellent tour de force Strange Mercy the closeur “Year of the Tiger” almost plays as a presaging ode to the difficult, tumultuous years which would follow, regarding her artistic employer: “Oh America / Can I owe you one?” Sure, as long as you pay it right back, which she (apparently) did on St. Vincent, and undoubtedly did on MASSEDUCTION, a title which so my amateurish parsing goes plays as something like mass-seduction, compressed into one word, but also being sort of like a playtime permutation of “mass production.” Whew. Or something like that. 4AD maintains a significant profile these days in issue tUnE-yArDs’ latest in timeless pop in January as well as an installment from our beloved Breeders, due out March 3.
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[1] https://www.theguardian.com/music/2014/feb/02/st-vincent-interview-intersection-accessible-lunatic-david-byrne.

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