While hardly the most original observation, St. Vincent’s constant use of reinvention and high concepts shares a few similarities with our dear departed Starman. Both Clark and Bowie stand as ferocious creative forces spurned on by the next big idea, hungrily eager to change their musical makeup with every project. There’s also a shared sense of the alien that both artists inhabit. There’s a distance, the feeling of them being an observer of our world, not an earthy participant. Such elements make their songs exciting, otherly, and, of course, unique to most others. Why the preamble? To highlight why Clark’s previous album, 2021’s ‘Daddy’s Home’, didn’t quite linger in people’s hearts as well as her other work.
Inhabiting the sleazy funk and soul of 70s New York sounded exhilarating when announced, but when all was said and done, Clark embracing nostalgic sounds and aesthetics of yore didn’t come across as 100% convincing. Her dominant aura and forward-thinking spirit just didn’t fit the warm tones of the past – which takes us to ‘All Born Screaming,’ ten tracks of off-kilter rock and pop that sees Annie strap on her angular guitar and set coordinates straight for the sun. In other words, she’s back.
While ‘Daddy’s Home’ wasn’t without its merits, this latest release had an immediacy that it could only dream of. Despite opener ‘Hell Is Near’ acting as the album’s moodiest cut, there’s a lurking sense of propulsion and menace from the off. There’s a dash of Led Zep folk rock by way of the moody textures of trip-hop. Bold, arresting, and Clark at her finest. The following ‘Reckless’ sees her harness her love of Nine Inch Nails, embracing the cinematic darkness one Trent Reznor perfected. Groovy and dangerously carnal, she absolutely nails the sense of isolation and intimacy that NIN made their name with.
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Continuing her teenage love of alt-rock is the lead single ‘Broken Man,’ an industrial-flavoured stomper with Mr. Dave Grohl adding his powerhouse drumming to proceedings. It’s three and a half minutes and gritty swagger, and it will undoubtedly become a live favorite for years to come. With Clark literally covered in flames on its cover and the title being, well, what is, you’d be excused for thinking that her seventh album may be her most somber, but at the midpoint, things take a welcome turn.
‘Big Time Nothing’ marries some of the funk and soul elements of the previous album but filters them through a kaleidoscopic prism of electronica and dance. It’s a far more exciting prospect. Not happy with subverting expectations there, Clark then goes full Bond theme tune on the brilliant ‘Violent Times.’ John Barry-esque guitar licks and horn blasts are married to lyrics focused on eyes and immortality. It’s a treat and makes you wonder why on earth St. Vincent has yet to be tapped to do a theme – after all, Garbage did a bang-up job.
Ever imagined what Annie Clark doing Blondie would sound like? Dream no more, ‘So Many Planets,’ breezy nu-wave is your answer. Light ska elements add a summery sheen to the number before Clark lets loose a mischievous guitar solo that shows off her chops without overpowering the song’s upbeat vibe. As for the mental-as-hell-sounding title track? An 80s-flavored foot-tapper slowly morphs into a trippy disco outro, like a more unhinged cousin to the beloved ‘Fast Slow Disco.’ Until its last moment, nothing is as it seems on ‘All Born Screaming’.
While it’s not a controversial take to say St. Vincent doesn’t have a bad album, this latest set sees Clark back in domineering form. There’s not a second wasted on the album’s taut track list, the songwriter managing to balance her teenage inspirations simultaneously, go back to basics, and break new ground all at once. Bowie soared highest when being his freaky little self. The same can be said of Clark, whose songs come alight when icy beauty and danger go for a dance—a staggering return.
9/10
Words: Sam Walker-Smart
