Annie Clark, known professionally as St. Vincent, set out to lose herself completely while working on her latest album. She chose to isolate herself in her Los Angeles studio to create the new record, pursuing every loose idea and bad concept to see if they could evolve into something great. She aimed for freedom, excitement, and unrestrained creativity, which meant diving deep into the technical aspects of music production. “There were so many manuals,” she said with a hint of humor, referring to the steep learning curve of analog and modular synthesis, sequencing, and programming.
The result is her seventh album, All Born Screaming, a record that balances both rawness and exploration. Released a few months ago, the album’s creative energy is still palpable. “I’m in my studio right now,” Clark mentioned during our Zoom call. “I’m surrounded by synths, all synchronized and ready to go.”
For Clark, mastering the technical side of music production was crucial to keeping her creative flow uninterrupted. She acknowledged the challenges of switching between creative and technical thinking, which often resulted in roadblocks. To avoid these disruptions, she immersed herself in learning, ensuring she could maintain momentum once it started. “It’s tough to switch from the creative brain to the technical brain. There’s a price to pay for going back and forth,” she explained.
This commitment to maintaining creative flow is evident in All Born Screaming. The album departs from the retro 1970s glam vibe of her previous work, Daddy’s Home, and feels more authentic and organic. It explores themes of death, emptiness, and what she described as “a baseness that we all have,” while leaning into the bold guitar leads, intricate melodies, and powerful bass grooves that marked her 2014 self-titled breakout.
Some tracks, like the drawn-out melody of “Flea” and the bombastic “Big Time Nothing,” showcase Clark’s guitar work as almost a conversation with itself—dynamic and spontaneous, rather than overthought or forced. This naturalness in her guitar playing is a result of her experiences performing live with guitarist Jason Falkner. Touring with Falkner, a veteran of bands like Jellyfish and Beck’s group, allowed Clark to push boundaries in the studio without overthinking the next steps. “Playing live with a great guitarist like Jason opened up my world,” she said.
One of the significant challenges Clark faced in creating All Born Screaming was the danger of her own voice dominating every decision. While Falkner’s influence acted like a guiding spirit, she also relied on other collaborators to provide fresh perspectives. These included drummer Dave Grohl on “Flea” and current Foo Fighters drummer Josh Freese on several tracks. Her live band members, multi-instrumentalist Justin Meldal-Johnsen and pianist Rachel Eckroth, also contributed. Clark holds special admiration for Cate Le Bon, who not only played on the title track but also saved her from a potential creative misstep. “Cate saved me on one song from a monstrosity,” Clark admitted.
Clark’s relationship with her guitars also evolved during the making of All Born Screaming. While her signature Ernie Ball guitar, “Goldie,” remained her “home base,” she also ventured into unfamiliar territory with a Fender Stratocaster—a gift from Pearl Jam’s Mike McCready. “I never would have picked up a Strat if Mike hadn’t given me the guitar,” she confessed. “I’ve never played them before.”
Each guitar choice on All Born Screaming was intentional, tailored to fit the unique needs of each song. Whether it was the oddball solo on “Sweetest Fruit” or the intense riff in “Hell is Near,” Clark’s thoughtful approach to guitar playing paid off, resulting in unexpected melodic twists and captivating musical moments. “I love the guitar so much, but as a producer, I know not every song needs it,” she said, highlighting the delicate balance between including the guitar and letting it sit out when necessary.
Despite describing the album-making process as “my albatross” and “my cross to bear,” Clark seems at peace with the challenges she faced. Now that the album is complete, filled with energy and vigor, the dead ends she encountered are just steps in a larger creative journey with a rewarding conclusion. “My brain works with a lot of things happening simultaneously,” she reflected. “There’s a more linear process that might have been faster, but I just don’t work that way.”
