Why I don’t read (or write) music reviews

“It’s music inspired by Disney films.” — Annie Clark on her new album, Actor (recorded as St. Vincent)

“One would hardly expect the phrase ‘Technicolor Disney nightmare’ to become an overused idiom anytime soon, but it’s a good bet you’ll see some iteration of it, written or otherwise, in just about every reference to this album.” — No Ripcord

“if it sounds a bit like the kind of dark, violent fairy tale Disney might have made had they not strayed so far from their Grimm roots, well, that’s a pretty fair take on the album as a whole.” — The Hurst Review

“imagine Trent Reznor scoring an old Disney movie—princesses and demons battling in a swirl of distorted synth noises, orchestral strings and pianos.” — Culture Bully

“Marrow is the perfect mix of Disney musical meets rock n’ roll.” — Sputnik Music

“The sophomore album from St. Vincent employs a cacaphony of sounds to create its Grimms brothers atmosphere. And indeed, Clark even looks like a Disney heroine.” — AOL Music

“The way that Clark’s trilling voice delivers melodies that skip and soars overtop richly-appointed arrangements, you could imagine these songs soundtracking any animated Disney film” — Chromewaves

“Estas canciones nacen como un score imaginario para escenas de cintas como Badlands, Picnic at Hanging Rock y algunos clásicos de Disney como La Bella Durmiente y La Dama y el Vagabundo.” — Flaming Milk

“And like a Disney flick, the tune has a happy ending, with a soothing mix of accordion, acoustic guitar, and skyward vocals. However, Michey Mouse [sic] probably won’t approve of Clark’s lyrics about ‘painting the black hole blacker,’ quarreling with a lover, and keeping secrets in a relationship. Oh, well.” — Spin

“Clark’s sweet vocals carry a tinge of malice, and set against the fanciful, dreamy arrangements, they often recall a golden-era Disney-villain.” — Tiny Mix Tapes

“Annie Clark may look like an animated Disney heroine sprung to life, and the influence of willowy, ethereal singers and songwriters such as Feist and Tori Amos is obvious.” — STNG

“The whole project at times seems Disney-ish in its aims, soaring with its whimsical orchestral arrangements and painting scenes that you really want to see brought to life in animation.” — Express Night Out

“‘The Stranger’, the ambulatory opening track of Actor, is indicative of St Vincent’s efforts: kitsch strings, reminiscent of 60’s easy listening or a mournful Disney soundtrack, give way to a storm of fuzzed-up guitar.” — Wireless Bollinger

“Even when the music is at its most dramatic, as when songs slip out of placid, Disney-esque string accompaniment into jagged, distorted guitar passages, Clark consistently understates her characters’ angst, and buries their negative emotions under layers of denial, stoicism, and subservience to the desire of others.” — Pitchfork

Okay, I like this one: “The fantasy of Disney is juxtaposed with the sweep of Morricone, David Mamet’s unsettling dramatic form and the alienation of Philip Roth.” — Music Remedy