ANNIE CLARK OF ST. VINCENT
The metronome beat of ‘Hell is Near’ holds the tiered opener place. A multi-layered and seemingly multi-dimensional track, the parallel levitation of haunting synth, teardrop keys, and flickering electronica, are all held in Annie Clark’s orbit as her delicate vox only hints at what might be possible. Unfurling in a considered and cautious way, ‘Reckless’ with its diametrically opposed title, masks a pending explosion. Unleashed, the caged Clark gives way to sonic disintegration and outpouring of emotion.
A clambering of pots and pans announces ‘Broken Man’ in all its swagger. Punctuated with electric bolts, the jarring sounds build a foundation of defiance. The confident percussion marks an assertive stance, ably attested to by Clark as she declares “whata you look’n at?”. The thick and sludgy bass of ‘Flea’ provides the dark to Clark’s light as the track bounces from one end of the spectrum to the other in an erratic manner. The narrative stride of ‘Big Time Nothing’ keeps in lockstep with its ragtag cacophony of fuzzed-out beats, guitar licks, and elevated backing vocals in a musical jamboree.
The villainous intro of ‘Violent Times’ with its blown-out sax and Clark’s sassy vocals, gives it a cinematic, Bond film soundtrack feel. As the title suggests, it is indeed a piece about hard times and fighting to survive but with a sense of excitement to the challenge of it all. A running commentary, ‘The Power’s Out’ takes an everyday scene and embellishes a subterrain tale of how the collective masses manage the hustle and bustle. Off kilter and disjointed, ‘Sweetest Fruit’ wobbles and staggers with its horn section and electronic pipes whilst leaning on the steady and stoic vox of Clark and she rallies the troops, signalling that the moment for an offensive push is now.
Continuing the theme of revolution, a personal revolution, ‘So Many Planets’ blends the Caribbean with gospel. The fusion along with Clark’s characteristic guitar is a heady brew and unites disparate elements into a swirling coalescence which, if left unattended, could continue forever as it shuffles off into the distance and ushers in the final, yet extensive, titular. ‘All Born Screaming’ is an epic track. Not just in duration but for the mammoth effort required in order to birth the great beast. Enlisting the help of Welsch artist Cate Le Bon, the track eventually took shape curtesy of the two minds coming together as they wrestled the song out on nonexistence. A place it wanted to remain as Clark struggled to find its place in this world prior to Le Bon’s aide. The wondering track pauses for a moment before a mounting rise of choral, guitar, operatic vocals and feverish percussion as they all join forces for a cataclysmic finale.
