Grimes Visions

It also debuted at No. Retrieved Grimes Visions 27, Today on Appetite for Distraction: Grimes [ permanent dead link ]. All Media Network. Views Read Edit View history. Retrieved January 5, From Grimes Visions, the free encyclopedia.

At Metacritic , which assigns a weighted mean rating out of to reviews from mainstream critics, the album received an average score of 80, based on 42 reviews, which indicates "generally favourable reviews". It's simple enough to leave room for Grimes to grow, but this thing is so compulsively listenable it's hard to come away from it wanting much more". Club ' s Evan Rytlewski commented that on Visions , Grimes "continues her march toward accessibility, rendering hazy, quixotic sketches into tangible, hook -heavy electro-pop".

Matt James of PopMatters praised the album as "an absolute blast" and opined, "Sure, it could have done without some of the interludes [ Visions ' rebellious contrariness to evade classification is part of the design and certainly part of the charm". Harvey continued, "Boucher's talent lies in the balance of exploiting her gifts and leveraging what's come before her, but judiciously".

AllMusic proclaimed Visions the best album of and stated, "On Visions , Claire Boucher honed the mix of little-girl-lost vocals and dark synth-scapes she'd forged on her first two Grimes albums, Geidi Primes and Halfaxa , into something just as unique, but far catchier.

British magazine Fact ranked Visions the 26th best album of and commented it "moved beyond the circumstantially lo-fi character of her early offerings Geidi Primes and Halfaxa for a profoundly inventive and just plain weird take on electro-pop.

While the shifty rhythms can get a bit repetitive, they're usually voiced differently, and they're always paired with otherworldly synth-work that darts into uneasy, industrial territory".

All tracks are written by Claire Boucher. Credits adapted from the liner notes of Visions. From Wikipedia, the free encyclopedia.

I was stuck in this horrible cycle of not living anywhere, just not having any concrete sense of well-being or stability or home. That was really interesting, but that fuelled a lot of the emotional momentum of the album. Retrieved October 27, The A. Retrieved October 28, The Province. Postmedia Network.

Retrieved February 20, Clash Magazine. March 13, Retrieved September 28, National Post. The Creators Project. Vice Media. Archived from the original on September 15, Retrieved Toronto Sun. Sun Media. Retrieved May 14, Polaris Music Prize. Retrieved November 23, Today on Appetite for Distraction: Grimes [ permanent dead link ]. BBC Radio 3 live radio broadcast.

Retrieved June 17, Sun on the Sand. Archived from the original on 15 July Retrieved 19 February The Guardian. April 28, Archived from the original on May 2, Retrieved June 26, Retrieved 28 September Retrieved September 29, March 10, Hits Daily Double. Archived from the original on December 1, November 30, Retrieved December 16, Retrieved January 6, Music Feeds. The Vinyl Factory. March 2, Retrieved May 11, Retrieved February 22, August 22, CBS Interactive.

Retrieved March 1, All Media Network. Entertainment Weekly. Mojo : April Archived from the original on January 20, Retrieved February 21, Q : But that music seems interested in obscuring pop's immediacy or keeping a distance from the pleasure center, while Visions is an unabashed embrace of its source material, whether it's K-pop, new age, or bubblegum. Boucher spends most of Visions singing in a vaporous falsetto.

She occasionally manipulates her voice as on the steely, Transformers -jam "Eight" but mostly she just loops it, layers it, and cloaks it in reverb; there are moments when what she's doing doesn't sound too far off from what Julianna Barwick 's music might sound like if she were interested in making a synth-pop record.

The most common complaint I've heard of Grimes come from people wishing her songs were more structured or hooky, or that her voice was more "present. Another oft-cited quote from Boucher the "post-internet" poster girl: "Basically I'm really impressionable and have no sense of consistency in anything I do. To reach out and touch this music would be like putting your hand through a cloud. But there's still that tension: Song titles such as "Be a Body", "Visiting Statue", and "Skin" are all testaments to Visions ' interest in the corporeal.

One spin of "Genesis" is enough prove it: Post-humanism sounds like a blast. Late last year, Simon Reynolds described electronic music's response to our digitized world as a new kind of maximalism: "a hell of a lot of inputs It's simple enough to leave room for Grimes to grow, but this thing is so compulsively listenable it's hard to come away from it wanting much more.

Anchored to the digital imagination but unbridled from its skittish anxiety and concerns, Visions gestures skyward and beyond.

Retrieved October 27, The A. Retrieved October 28, The Province. Postmedia Network. Retrieved February 20, Clash Magazine. March 13, Retrieved September 28, National Post. The Creators Project. Vice Media. Archived from the original on September 15, Retrieved Toronto Sun. Sun Media. Retrieved May 14, Polaris Music Prize. Retrieved November 23, Today on Appetite for Distraction: Grimes [ permanent dead link ]. BBC Radio 3 live radio broadcast. Retrieved June 17, Sun on the Sand.

Archived from the original on 15 July Retrieved 19 February The Guardian. April 28, Archived from the original on May 2, Retrieved June 26, Retrieved 28 September Retrieved September 29, March 10, Hits Daily Double. Archived from the original on December 1, November 30, Retrieved December 16, Retrieved January 6, Music Feeds. The Vinyl Factory. March 2, Retrieved May 11, Retrieved February 22, August 22, CBS Interactive. Retrieved March 1, All Media Network. Entertainment Weekly.

Mojo : April Archived from the original on January 20, Retrieved February 21, Q : Rolling Stone. Wenner Media. The New York Times. The New York Times Company. Retrieved March 8, Slant Magazine. Under the Radar. Retrieved August 7, The Phoenix. Retrieved March 13, Archived from the original on January 5, Retrieved January 5, Time Inc.

Retrieved December 17, Grimes is the one-woman cyborg-pop project of Montreal's Claire Boucher. Visions , her compulsively listenable third album, is an electro cotton-candy entryway to her peculiar kind of bliss. As a child I feared the day the world would be taken over by robots; these days I am seized by a much more potent fear that I am becoming one. Digital interfaces invade our imagination in strange, tangible ways, and with each day I spend in front of my computer screen, the red Gchat dots representing my friends and co-workers start to look more and more like HAL.

Have you ever caught yourself trying to open a new tab in your brain? Was the Wikipedia blackout of as important a cultural moment as the New York City blackout of '77?

Do androids dream of electric sheep, or do you not have an app for that yet? More solidly constructed and a lot more fun to listen to than anything she's put her name to so far, the electro cotton-candy of Visions is an inviting entrance into Grimes' peculiar kind of bliss. On her first albums, Geidi Primes and Halfaxa , Grimes buried pop impulses within textured muck and gloomy tones. But that music seems interested in obscuring pop's immediacy or keeping a distance from the pleasure center, while Visions is an unabashed embrace of its source material, whether it's K-pop, new age, or bubblegum.

Boucher spends most of Visions singing in a vaporous falsetto.