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The funny thing about that sense of scale, of course, is that the horns chosen for a small bookstore show are about to be taken out for a national tour—on which Byrne and Clark will have to deal with the logistics of an eight-piece brass section, and the eight-piece brass section will have to replicate parts that, in the studio, used as many as sixteen “tough-guy New York session players.” “This was an expensive record! “Maybe not as much as a Nicki Minaj record, or whatever, but for different reasons.
Just the number of players that were on every song. These days there’s always a feeling—or at least I always have this feeling—that says, ‘This might be your last chance to do something like this before the music business …’” Clark laughs: “Totally tanks?
“We both think that we approach songwriting somewhat analytically, somewhat like puzzle-solving. Maybe it’s that we both have a slightly odd stage presence?
Well, Clark recently went on the "Song Exploder" podcast for an in depth discussion about the catchy single's creation and inspiration—and perhaps to clear up any lingering tabloid rumors.The horns span all the way from concert-hall shading to percussive funk and pop.There are good beats behind them, sequenced by producer John Congleton.nnie Clark is a Texan-raised musician, possibly the best guitar stylist in indie rock, and the maker of three ornate and slyly twisted pop albums under the name St.Vincent, a moniker taken from the recently shuttered West Village medical center.