Annie Clark made her recorded debut as St. Vincent in 2007 with Marry Me, quickly becoming regarded as one of the most innovative and fascinating presences in modern music. Her subsequent albums would include Actor (2009), Strange Mercy (2011), her self-titled fourth album and winner of the 2014 GRAMMY for Best Alternative Album. In 2017, her fifth album MASSEDUCTION would break St. Vincent into the U.S. and UK top 10s and win two more GRAMMYs (Best Rock Song for its title track, and Best Recording Package). 2021’s Daddy’s Home found St. Vincent channeling the hungover glamor and gritty sepia-toned soundtrack of 1970s downtown NYC to an ecstatic reception, ultimately winning her a second Best Alternative Album GRAMMY. Following a 2021-2022 global tour that reaffirmed St. Vincent’s status as one of live music’s preeminent forces with headline appearances at the likes of the Hollywood Bowl and Radio City Music Hall, Clark would begin work on album number seven: Her first fully self-produced album (having co-produced every one of her previous efforts)—and third Best Alternative Album GRAMMY winner— All Born Screaming is St. Vincent at her most primal. Featuring Clark leading “a curated group of rippers” through the brawny “Broken Man” (her second Best Rock Song GRAMMY winner), infectious Best Alternative Performance GRAMMY-winning “Flea,” and mordant catwalk sashay through deafening assault of self-loathing that is “Big Time Nothing,“ All Born Screaming is equal parts spiritual desolation and rapturous acceptance. “If you’re born screaming, that’s a great sign,” says Clark, “because it means you’re breathing. You’re alive. My god. It’s joyous. And then it’s also a protest. We’re all born in protest in a certain way. It’s terrifying to be alive, it’s ecstatic to be alive. It’s everything.”