Listened All Born Screaming, by st. vincent from st. vincent

10 track album

“You’re either alive or you’re dead,” she tells Double J. “And if you’re alive you better live life to the fullest.”

Source: St. Vincent – All Born Screaming) by Al Newstead

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I remember when Daddy’s Home was released reading a passing comment from St. Vincent about nearly making a Tool-inspired album, but instead going all 70’s.

Appearing on Radio.com’s New Arrivals show (via Uproxx), St. Vincent explained that she was “dead set” on creating a “heavy record” as the follow-up to 2017’s ‘Masseduction’). “Like just heavy the whole time – like, ‘Hey kids, you like Tool? Well, you’ll love the St. Vincent record’, you know?” she said.

Source: St. Vincent reveals she almost made a “heavy” Tool-inspired album)

I was intrigued what that would actually sound like. When I heard the first few singles, ‘Broken Man’ and ‘Flea’ I was a bit taken back. It was dark and brooding, but not the Tool-inspired album I expected. I was therefore unsure in listening to the album. I felt a bit lost.

I listened to a couple of interviews, one with Zane Lowe) and the other as a part of the Tape Notes podcast. Both spoke about the beginnings in playing industrial dance music, but this foundation was brought to the fore with Tape Notes, especially when she started remixing her tracks on the fly. After this I felt that Tool may have been a distraction in part and that the electrical modular underpinnings is what makes this album.

I was reading a BBC article) about the return of the album over singles. In it, there was a quote from Billie Eilish about why she is against singles:

“I don’t like singles from albums,” she admits. “Every single time an artist I love puts out a single without the context of the album, I’m just already prone to hating on it. I really don’t like when things are out of context. This album is like a family: I don’t want one little kid to be in the middle of the room alone.”

Source: Billie Eilish Would Like to Reintroduce Herself) by Angie Martoccio

I was left wondering if the initial singles associated with All Born Screaming where a help or a hindrance? I feel that this albums is definitely better as a whole.

Much like the album’s artwork, it’s a dark, fiery listening experience that will win you over with its sonic surprises and sense of raw urgency.

Source: Best new music to hear from St. Vincent, Ngaiire, Kamasi Washington and more) by Al Newstead

In an interview with Karen Leng, St Vincent talks about inventing an alphabet around electricity and chaos, with a balance between the raw and the perfect. I think that like all languages, St Vincent borrows from many places to make her own. Zooming into the different parts on the Tape It podcast, these influences are made clear, whether it be Massive Attack or Tool, however as a whole the album is definitely St Vincent.

All Born Screaming certainly lives up to that philosophy. It’s the sound of an artist rediscovering the most vital parts of themselves, a musical chameleon forging renewed purpose from primal instincts.

Source: St. Vincent – All Born Screaming) by Al Newstead

Also, a part of this new alphabet is an element of urgency.

Grief shaped much of the album, says the notoriously private Clark, who was rattled by an unspecified personal loss during the album’s making. But All Born Screaming is animated by a sense of urgency, not melancholy.

Source: St. Vincent – All Born Screaming) by Al Newstead

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