Review: Contemporary indie icon St. Vincent's (Anne Erin Clark's) seventh full-length record All Born Screaming follows up 2021's The Nowhere Inn, and contrasts to that record with its intense introspective plunging of the personal depths, to find what Clark deemed her own sonic vocabulary. Arriving at a distinction she dubbed 'post-plague pop', All Born Screaming centres on a crooked and menacing sound with a reckless spirit, with lead cuts like 'Broken Man' giving raw Knife-like instrumentation and masc monarchic ironies on the lyrics, as if to suggest a significant patriarchal downfall to come. That line is said to be representative of the album's mood as a whole; "that lustre and swagger that you feel right before things go terribly wrong!"
Review: St. Vincent, aka Annie Clark's All Born Screaming, marks her first self-produced endeavor, promising a "post-plague" exploration of emotions. The album boasts a star-studded lineup of collaborators, including Dave Grohl, Cate Le Bon, and Josh Freese, among others. Her seventh studio album, Clark describes the album as a deep dive into emotional landscapes, emphasizing authenticity and introspection. The lead single, 'Broken Man,' accompanied by a visually striking music video directed by Alex Da Corte, sets the tone for what Clark has teased as a "darker and harder" sonic journey compared to her previous work. All Born Screaming signals an exciting evolution in St. Vincent's discography, promising an urgent and compelling listening experience.
Review: One review of All Born Screaming, Annie Clarks seventh album as St Vincent, described it as a "hard reset" - a return to the essence, if not always the aesthetic, of her earliest work, shorn of the overarching concepts and one-off themes that have marked out her work in recent years. So while there's no loose unifying idea behind the set, it does include a lot of rather good songs. For proof, check the low-slung, stripped-backed lo-fi rock of 'Broken Man', the gnarled alt-rock growl of 'Flea' and the fuzzy funkiness of 'Big Time Nothing', which joins the dots between P-funk and flash-fried funk-rock.
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