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She’s making music in the wake of a massive collaboration with David Byrne, one that produced Love This Giant, an album that involved marching bands and facial prosthetics, among other wacky experiments. Vincent, Clark wields multiple new swords: a creative director in Willo Perron, the artistic mastermind behind live shows like Kanye West and Lady Gaga; a choreographer in Annie-b Parson, who orchestrated dances on the Love This Giant tour as well as Byrne’s previous collaboration with Brian Eno; and, of course, a host of her own innovative guitar-masquerading tricks, twisted pedal-and-synth explorations that add wattage to anything she’s made before. “I’m extending a hand; I want to connect with people.

Strange Mercy, which is a record I’m proud of, [was] definitely a very accurate record of my life at a certain time, but it was more about self-laceration, all the sort of internal struggle. Vincent] is very extroverted.” For all her onstage virtuosic flair — which existed in the form of stage dives long before she added modern dance and a giant pink throne — matching the words “extrovert” and “Annie Clark” feels a bit odd.

(Did they truly want to go to the dry cleaner’s with her?

) She wears neutral colors and her curls are tucked neatly into a dark beanie; it’s a stark contrast from the wild, supernatural Ursula coiffure that has become the iconic centerpiece of St.

“I’ve learned a few things,” she says of her time in the public eye.She sticks to many of the same lines of dialogue in interviews (which explains why almost every feature about St. Small personal details are pieced together over time, of course, but unlike many artists of her caliber, she’s created an anti-cult of personality, a media-savvy mystery determined to keep all eyes on the art instead of the artist.Even behind the scenes, she remains the consummate professional, rarely exposing more to her team of collaborators than she would an interviewer on a good day. Everyone in the showcase room of Prospect Heights’ Complete Music Studios seems to know this, because even at 4 p.m.Working her guitar up and down with her signature severity, she stares intently at the opposite wall of windows, twitching her head and limbs robotically as she and her band march through “Rattlesnake,” the jittery opening track on her forthcoming fourth solo record, St. After three songs, she thanks an invisible crowd in her soothing, singsong lilt. “You were born in the 21st century,” she intones, a priestess communicating with spirits. “You once tried to make a hot air balloon out of bedsheets.

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