St. Vincent: All Born Screaming Album Review – Warungku Terkini

Annie Clark says that a performer’s job is to “shock and console.” For years, she was doing much more of the former than the latter. Her first four records—an impeccable run from 2007’s Marry Me through to 2014’s St. Vincent—played on a common trope of the horror genre, the idea that behind every pristine façade lies a world of ugliness, violence, and malcontent. Horror franchises, of course, tend to get stale pretty fast: Once you know the general mode and motive of a killer, they aren’t all that scary. The aesthetic of Clark’s music has stayed relatively consistent but as she’s added more elements in—synths, latex, wigs, outlandish album concepts that don’t necessarily align with the increasingly personal music contained within—it’s begun to feel less potent.

All Born Screaming, Clark’s self-produced seventh album, goes for a hard reset on the St. Vincent project, not by going back to the harsh, alien textures of, say, 2011’s Strange Mercy, but by flicking the dial from “shock” to “console.” Musically, it feels like the first St. Vincent album since Marry Me presented without a unifying aesthetic: at various points, Clark incorporates Bond theme melodrama, Steely Dan-style prog, bouncy art pop and lechy industrial rock, making for what is arguably her loosest record, an exhale after years of fitting her songs into increasingly tight restraints.

It’s a freedom that carries through to the album’s emotional content. Clark’s records often display warmth and vulnerability in flashes, but All Born Screaming feels thoroughly romantic and highlights bits of beauty amid Clark’s usual lexicon of chaotic, violent imagery. On the dazed dream-pop ballad “The Power’s Out,” she sings about New York as a kind of hell created by its inhabitants; far from a horror story or an indictment, it sounds like a love song.

St. Vincent has occasionally let her mask of irony fall on past albums—“Candy Darling” on Daddy’s Home, “Champagne Year” on Strange Mercy, “Happy Birthday, Johnny” on Masseduction—but this feels like an album full of those songs. Even the harsh tracks are born out of empathy; the quivering, volatile “Reckless” is about spiraling out after someone you love dies; “Flea” might be kinda gross, casting love and desire as a form of infestation, but there’s something romantic about that idea, too. Over a beat that recalls the overdriven chug of Nine Inch Nails, Clark sings lyrics that walk a line between devoted and creepy: “Drip you in diamonds/Pour you in cream/You will be mine for eternity.”

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