Song of the day – 514: Grimes
I’m a little slow here. It took a recommendation from Mr Jon Slade to finally make me see the coruscating light.
Here’s what some of Collapse Board have already had to say about Grimes:
K-Pop’s influence is all over the new Grimes album Visions. Grimes is the stage name of Canadian Claire Boucher. Her manipulated vocals can often sound pre-pubescent and there are times, as on ‘Nightmusic’, where she sounds like she is trying to imitate a Korean accent, which is more than a little off-putting. As with the vast majority of modern music, the words have no inherent meaning other than to enhance the mood. Visions sounds very much of its time, in the sense that it appears to take indie music’s current trend for synth/80s pop and weld it to K-Pop. It really shouldn’t work, but I find myself enjoying much of the music even if I find the vocal affectations an irritant at times. (Wallace Wylie)
Oh Grimes. Thanks for making me laugh and writing a great electronic pop song. Now please go away. And take your pussy rings with you if you don’t mind. You’re making me uncomfortable. God, this is a great video though! (Brigette Adair Herron)
“FUCK THIS SONG MAKES ME FEEL LIKE A FLYING UNICORN”. Isn’t that grand? Not my words though – I plundered them from the YouTube comments section. ‘Crystal Ball’ is delicious. Watch out for the stomping boots, they’re a precursor to 20 seconds of breathy gorgeousness that is all the better for folding back into electro jiggery pokery never to be heard again. (Victora Birch)
Here’s the one I’m enjoying:
A while ago, I got talked into slagging off Sleigh Bells, because it was fun. I don’t feel bad about it even though I have long since seen the light of day. There’s always more than one perspective to be had, especially from within. Music you can hate one day, you’ll want to wallow in with the walruses the next. It has occurred to me that Grimes are another of these bands that some folk don’t want to be caught liking. Hipster shit (see commentary above). Yet, once again divorce the music from its context… (yeah that’s right, he remarks sarcastically, separate it from 95 per cent of the fun)… and this just whomps and willows and dives around the troughs of synth-pop with a giddy divisional grace. Stops and starts and keeps going because to not keep going would mean stasis and stasis means no sex. Being Everett True means I approach this from an ’83 perspective (which this fits deliriously into) and ’12 mindset (and I have no idea of the zeitgeist, only my own being) (as ever)… and this sounds like fun, the sort of fun I like having when out and when in because it’s fun. Oh god (he remarks despairingly) that is such an anodyne remark.
I don’t have the slightest problem with Europop or K-Pop or ‘Barbie Girl’ or hipster shit. Long as it sounds like the sort of fun I like having when in and out, and doesn’t cloy the cavities overly…
Grimes. Everett True. One of these people is outrageously late to the table. And it ain’t the female.