Annie Clark calls herself St. Vincent after the hospital that, as Nick Cave and the Bad Seeds sing, “Dylan Thomas died drunk in.” This reference, both literary and musical, speaks loudly of the influences that are behind this rather mythical, rather amazing fourth album. Lyrically intelligent, poetic, and pungent, this self-titled release is St. Vincent just being herself in a world of pretenders. She is also a monster on her Gibson Les Paul surrounded by a plethora of pedals, her musicianship reminiscent of Robert Fripp and Adrian Belew meeting up with Laurie Anderson and David Byrne for a talk about life and love in the 21st century. Listening to the album, her recent collaboration with Byrne seems so obviously perfect. There is only one question, from which some “Naïve Melody” comes to mind: did he find her or she find him? Regardless of whether he has inspired her style or she his, this album is full of wit, whimsical horns, synths, and freakout guitar for your listening pleasure.