For nearly two decades, St. Vincent, the artistic pseudonym of Oklahoman art-pop musician Annie Clark, has been renowned for her ability to transform her musical persona. From her early days as an ‘asexual Pollyanna’ to her ’90s alt-rock-infused ‘Strange Mercy’ and subsequent ‘latex era,’ Clark has continuously reinvented herself. However, with her seventh solo album, ‘All Born Screaming,’ she sheds these personas to embrace her most authentic identity yet: herself.
Clark describes the album as devoid of character, stating, ‘It’s just me. It’s just the sound of the inside of my head.’ The result is a bracingly dark and aggressive record, a departure from her previous work. The album’s opener, ‘Hell Is Near,’ initially lulls the listener with its ethereal quality before transitioning into a barrage of pulverizing beats and corrosive guitar blasts. Lyrics laced with disdain characterize tracks like ‘Flea,’ where Clark sings, ‘I look at you and all I see is meat.’
Despite her assertion that she has abandoned characters, the album reveals a subtle transformation. On ‘Flea,’ she embodies the titular creature, a representation of death. The album’s first half is characterized by thrashing and lacerating sounds, reflecting a period of personal loss for Clark. However, a shift occurs with the Bond-esque ‘Violent Times,’ which leads the listener into a more mellow atmosphere. On ‘The Power’s Out,’ backed by a languid bassline and aching slide guitar, Clark acknowledges the scarcity of happy endings. The sprawling title track reinforces this notion, suggesting that we enter and leave the world in the same tumultuous manner—kicking and screaming—embracing the inherent chaos.
In shedding the artifice of past personas, Annie Clark has crafted her most vulnerable and revealing work to date. ‘All Born Screaming’ is a testament to her artistic evolution and a deeply personal exploration of self-discovery.
