Art Angels | Grimes

I love Grimes. Need I say more?

Yeah, I should probably say more. I fell in love with Grimes' dreamy electronic music just last summer (specifically her album Visions), and this fall she released her fourth album, Art Angels. This new piece of art is a departure from Grimes' older material in a number of ways. While the production of her previous albums did not bother me, Art Angels is so much cleaner. Claire Boucher (that's Grimes' real name) likes to make her albums by herself - not only the writing, but also the artwork, production... she just kind of does everything, and while that was always admirable, seeing her improve so much in only a few years is even more exciting. We can make direct comparisons with the fan-favorite song "REALiTi," which was released as a demo earlier last year and re-worked for Art Angels. I may still prefer listening to the demo simply because it's more mellow, while the new, crisp version has more energy in it. Still, the production quality has improved - that is indisputable.

In an article by Emilie Friedlander at The Fader, it was noted that Grimes performed all of the instruments - and she uses real ones in addition to synths now, and that has changed the flow a bit and allowed for more diversity among the tracks. There are actually a number of guitar-led songs on this album. The other big change we see on Art Angels... Well, the songs simply have a different feel than her earlier work. In that same Fader article I mentioned earlier, Grimes explained that much of her music sounded "sad," before but "this time it’s more happy and angry." That seems to sum up the change perfectly. In fact, there are some tracks that sound both happy and angry at the same time. I listen to her previous albums when I embrace weakness, but I listen to Art Angels when I want to be strong. Hence, while it's a little easier for me to appreciate the darker tones of Visions, Art Angels is a very special album to me. 

Grimes has made some really relaxing music all across her discography, and this album is no different. Songs like "California," "Belly of the Beat," "Easily," and "Butterfly" sound like a sunny, laid-back summer day. This certainly isn't sad Grimes - this is a carefree Grimes that uses guitars and a piano in addition to her synths to give us more of a raw feel (but less so with "Butterfly," which I feel will appeal to fans of "Genesis"). Carefree Grimes can still make some jabs at haters, but anyone who has heard the lead single "Flesh without Blood" would know that with lyrics like "After all, I just don't like you." Perhaps on the first listen it might sound happy and fluffy, but I think empowering is the better word. Hearing the line "If you don't need me, just let me go" is like a therapy session.

However, as Grimes promised, we get to feel the rage too - the angrier songs are the most energetic of her entire discography. The most aggressive track (and one of the most experimental) must be "SCREAM," which features the Taiwanese rapper Aristophanes. As I mentioned in my 2015 singles countdown, this song is CRAZY. Grimes screams her head off as Aristphanes makes growly noises... It's kind of scary, and the electric guitar instrumental sounds appropriate for an Underworld film. But the other two more energetic tracks, "Kill V. Maim" and "Venus Fly" (which features Janelle Monae), are more electronic-based and, well, not scary. Grimes is basically cheering in the pre-chorus and chorus of "Kill V. Maim," and I especially enjoy the spacey intro and outro of this one. However, the Janelle Monae collaboration, "Venus Fly," may win the trophy for the most energetic track of the bunch. The high-pitched electronic breakdowns are flawless and easy to jump around/dance crazily to. Janelle and Grimes are sassy and confrontational as all get out, and I love it.

My favorite track is different than much of the other songs - "World Princess Part II." I recommend every fan of Grimes' previous albums that might be hesitant to embrace her new material to start with this one. It has everything I love about both Visions and Art Angels. Instrumentally, it sounds almost like a video game - it's that perfect combination of darkness and lightheartedness that only Grimes can create. It's an epic of sorts. The accompanying lyrics are bound to make any listener feel powerful, especially as she repeatedly declares "It's mine." However, the outro seems to lead the World Princess' tale of strength to the end of her reign, recalling the feel of Grimes' older material. The music dwindles as Grimes'  haunting backing vocals come to the forefront: "I stare into the darkness / I don't know where I am / I haven't seen the daylight since I thought of giving in / My eyes are feeling heavy, my feet are moving slow..." The only other blatantly sad moment on this album comes in the form of "Life in the Vivid Dream," which quite memorable despite being only a minute and a  half long. This song is the most acoustic of Grimes' material and may be one of the easiest for fans of most genres to like, not only because it is simple, but because it's emotional and easy to relate to.

Out of all the albums released in 2015 that I listened to in full, Art Angels is probably my favorite. I love every song - even the ones that didn't originally stand out to me on the first listen would be put on repeat later. Art Angels is definitely the most 'normal' sounding album by Grimes and is more accessible to mainstream-loving listeners, but it's still experimental, it's still genuine... It's Grimes. It's brilliant.

Concerts I've Attended (2015)

April: Nightwish
Support: Sabaton, Delain
Endless Forms Most Beautiful Tour

One does not simply miss a chance to see Nightwish after seeing the Showtime, Storytime DVD. Floor Jansen's voice is a force beyond human comprehension.

I had a lovely view of this show from start to finish, as I was at the very front of the little venue's second tier. Delain opened first, and I only knew two of their songs at the time, but I really enjoyed songs on their set like "Army of Dolls" and "Electricity" so I looked them up afterward, bought their album The Human Contradiction, and loved it. Sabaton performed next, and while I'm not exactly a fan of their music, they are fantastic performers. The energy level was borderline ridiculous, and they all seemed so nice! The Cleveland crowd certainly humbled them... It was the most energetic crowd I've been in so far. A couple of children were in the crowd and the Sabaton guys invited them on stage - it was really cute. The singer was so happy to see such a wide age range at the show: "Metal is for everyone!"

Then, the lovely headliner Nightwish took the stage. I was treated to a glorious setlist which consisted of many brand new tracks from their album Endless Forms Most Beautiful but also included a couple of their best pieces from Oceanborn, their 1998 sophomore album. Some of the highlights were expected, but even though it became one of my favorites from Endless Forms Most Beautiful quite quickly, I never anticipated "Weak Fantasy" to be as epic as it was in a live setting - what a rush! Between its general live sound and crazy lighting I was dizzy and happy. The crowd knew every word to "The Islander" and we seemed to truly impress Floor with how well we knew the words to their newer single "Élan." I was dancing along to the pipe-led folky tunes but by the time we made it to "Stargazers" I stood in awe - I feel so lucky to have seen that classic live.

The last song before the encore was "The Greatest Show on Earth" (parts two and three, "Life" and "The Toolmaker"), which became my favorite Nightwish song on the first listen... I may have gone a smidge crazy. Right as "The Toolmaker" begins when animal noises dominate the tracks I came to a startling realization: Most of the growling I was hearing (both at my show and performances I saw on YouTube just before my show) wasn't playback... It was Floor. I actually confused her for a lion - A LION, I TELL YOU. If that doesn't prove her power, nothing will. After the encore (consisting of the masterpiece "Ghost Love Score" and the perfect closer "Last Ride of the Day") the final instrumental sections of "The Greatest Show on Earth" played while the band took their bows. Nightwish's creator Tuomas Holopainen took the final bow before the rest of the group as "The Understanding" came to its final gorgeous chords. He looked so tired but passionate and proud of the band's performance, and I unabashedly screamed I loved him like a crazed fangirl.

Other associated memories: The person standing next to me was holding his signed VIP poster and tour book, so like an awe-struck fangirl I started asking him about how the meet and greet was and how Floor and the guys were. Well, he must have felt bad for me for not being able to get a VIP ticket because DUDE GAVE ME HIS SIGNED STUFF. His explanation: "I'm old. What am I going to do with this stuff?" But he wasn't even old. I was so gracious! 

May: Lana Del Rey
Support: Grimes
The Endless Summer Tour

As per usual when I go to non-rock/metal concerts, I saw Lana Del Rey with Nick at Aural Fixation Reviews. I was so excited to see her at the beginning of summer during her Endless Summer Tour since that's the season I have always associated her with, but she really could have changed it to the Endless Winter Tour for my show because it was forty eight degrees (Fahrenheit). I was freezing and couldn't feel my feet afterward, but it was worth it. Lana's live performances have improved significantly since her start in 2012, and honestly, she did a perfect job. I absolutely lost my shit during "Born to Die" and I love how she changed the chorus a bit. "Video Games" was the first song I discovered by her so of course hearing that beautiful track live was pretty wonderful too, and she played the lovely unreleased "Serial Killer." Being the hipster that I am, I was kind of expecting a lot of the people attending to be people who have only ever heard the "Summertime Sadness" remix on the radio, but all the fans at this show were diehards: This crowd collectively knew EVERY WORD of every song! Her live band was really energetic too and gave me a whole new appreciation for "Off to the Races," the last song of her set, and honestly the backdrops and props were some of the beautiful I've seen in a live artist's performance. We may have been freezing our asses off, but when I think of that show visions of summer still manage to fill my head. 

Still, a large part of the reason this concert will always be so damn special to me is that it led me to the spunky electronic artist Grimes, which is ironic considering I was initially annoyed that I wouldn't be able to see Courtney Love (she opened for the first half of the Endless Summer Tour). As I always say, I often end up liking supporting acts I didn't initially care for after seeing them live, but... Grimes is my spirit animal. I was intrigued after the very first song, "Circumambient," and then she grabbed my attention again with "Nightmusic" and "Go." My best friend Nick showed me some of her more 'normal' songs before the concert like "REALiTi" and "Oblivion," and even though I love those songs now, they just weren't the right entry point in her discography for me to take. I needed to hear the darker sounds first. Unfortunately, she didn't have a very energetic crowd (some girls in front of me were standing up so I couldn't see her and taking selfies... brats) but she was so incredibly nice and appreciative anyway.

I will most definitely see her again and I will unabashedly dance around no matter how dead the crowd is. And I will probably cry. (Sorry, Nick. Prepared to be even more embarrassed than you were when we saw the final Harry Potter movie.)

Other associated memories: Trying to find our ride home. Why is that always so hard for us? Also, me laughing at absolutely nothing on the way home because I was too tired to function like a sane human being.

Click here to see what shows I attended from 2012 to 2014.

Grimes Unleashes New Video and Single: "Flesh without Blood/Life in the Vivid Dream"

Electronic prodigy Grimes has finally released the lead single and music video from her forthcoming album Art Angels, due November 6 for digital download. The video actually features two songs, "Flesh without Blood" and "Life in the Vivid Dream."

"Flesh without Blood" might sound like a scary title, but this single is anything but. It's actually quite lighthearted, with plenty of mainstream appeal, and even as an avid fan of her last album, Visions (which was rather dark), I found it enjoyable and meaningful. Much like I've felt that I've personally needed her older material, I needed this song both musically and lyrically: "If you don't need me / Just let me go."

"Life in the Vivid Dream" is a quieter, slower song, and I love it as much as its upbeat predecessor. Even though it's short, it definitely leaves an impression. It may not sound that much like her earlier material but it retains the relaxing, dreamy quality her fans know and love. The lyrics are poetic and heartfelt: "I could tell you that people are good in the end, but why / Why would I?"

The production of these guitar-led songs is just spectacular. As much as I love Grimes' older songs, the sound quality was very reminiscent of demos (albeit some damn good demos that I'd love with all my heart even if they were recorded in a windstorm). But now, everything's crystal clear - even the lyrics (for the most part), and we all know how Grimes likes to make it as difficult as possible to discern what she's singing.

As far as the video itself? Well, the quality is pristine. Grimes is the only artist capable of making a video so cute and evil, of being totally whimsical while also being serious. It gets kind of gory within the two minute range, right when the seemingly random elements first begin to come together. I love the concept - sometimes the people that are supposed to be angelic are the ones sticking knives in our guts.

Altogether, I'm very pleased. I can't wait to hear what else she has in store on Art Angels.

Visions | Grimes

Some albums have this wonderful ability to make you completely obsessed with an artist's music and can be repeated several times without ceasing to impress. Visions is one of those albums. It's the third LP from the ever-so-unique electronic artist Grimes (born Claire Boucher), who caught my attention when I saw her open for a Lana Del Rey show last summer. I bought a copy of Visions only a couple weeks later, and gradually, I fell in love with basically every track.

The little introductory song "Infinite Love Without Fulfilment" kicks off the album in such a generally happy way, contrasting with the cover, as it looks like it could be the cover of an angsty punk band with the skull in the center. The girly, light vocals are heavily layered, and eventually the song becomes more mysterious, hypnotic. It's strange, kind of cute, kind of dark... I guess that's Grimes in a nutshell.

This leads us to "Genesis," the first full track, which is infused with echoey synths that initially made me visualize an underwater setting. The repetitive lyrics are as beautiful as the instrumentation, which just builds and builds as it goes. Eventually harps and a piano are added in the electronic mix, and it feels so lighthearted and beautiful... "Genesis" is the sound a soul makes when someone is so happy they could cry, it's the sound a heart makes when it flutters. I've never heard anything like this, and I've never run into a song that makes me feel like this. Grimes' trademark girlish vocals are the perfect fit for the pretty instrumentation. I get chills just about every time she ends with "I am the one in love" and her backing vocals layer and fade, leaving us with one last snippet of the echoing keyboard. Even though it took me a little while to truly hear "Genesis" for what it is, it is my favorite Grimes song.

"Oblivion" follows, and it's another of the seemingly examples of how Grimes can make certain aspects of a song that are repetitive not even feel repetitive because she keeps adding new interesting layers of instrumentation and vocals. The music itself is a lovely combination of dark and bubbly, but those lyrics are more intense than one would expect as Grimes tackles the concept of assault and its aftermath: "I will wait forever / Always looking straight / Thinking, counting all the hours you wait." She repeats "See you on a dark night" as the music climaxes.

These singles from Visions feel very peaceful, but that calm bubble is burst with track four's mere power. "Eight" is one of the craziest things I've ever heard in my life. It sounds like an alien invasion. The deep synthesized vocals that repeat throughout the entire song clash with Grimes' pitched voice (and considering how light her voice is without being pitched... well, it's high) to create something chaotic, but once we hear her normal voice it takes the edge off without killing the song's level of oddness. I always have to dance along when I hear this one and the song that follows, "Circumambient," in all of its darkness and catchiness, as it was the first Grimes song to stand out to me. Before we reach the second half of the album we hear "Vowels = Time and Space," which sounds bright enough to be a slowed down Aqua song.

"Visiting Statues" is like a short interlude marking the midpoint, an intermission of sorts, but it definitely stands out on its own with its light instrumentation in the spotlight. The only vocals prominent seem to mainly be backing vocals, giving the track an atmospheric feel - it's peaceful, perfect background music for writing. This song leads into "Be a Body (侘寂)," another standout with its fleeting electronic spurts and pretty, empowering lyrics: "I close my eyes until I see / I don't need hands to touch me / Be a body." The second repetition of those lyrics constitutes the part that truly made me fall in love with this song with its dark, pulsating instrumentation. The music becomes darker still with "Colour of Moonlight (Antiochus)" with its prominent percussion and the instrumentation's gorgeous melodies. It's one of the calmest, ballad-like songs from Visions, and I sway every time I hear it.

The album continues to feel peaceful and relaxing with "Symphonia IX (My Wait is U)," but then things get a little chaotic with the masterpiece "Nightmusic," which is a very fitting title. In all of Grimes' music it's sometimes difficult to understand what she's saying (especially since she never released official lyrics to her songs), but "Nightmusic" owns that element. After multiple listens (forwards and reversed), I've reached the conclusion that while some of the vocals are indeed reversed and one portion actually does seem to be regular English ("Tonight's the night, I waited 'til the end" etc.), much of it is just gibberish - she truly lets us see the depths of insanity and it sounds wonderful. The synth part in the middle just before and during the regular English section is truly the climax, and as great as it is on Visions, it's even better live with new percussion and harmonies. "Nightmusic" is without a doubt one of Grimes' best.

The final full song before we reach the album's outro is "Skin," with its muted instrumentation. It took me a while to give this song a full chance since Grimes' voice is almost unbearably light in the beginning, but she slowly comes down to a more normal level during the first verse. Instrumentally it depicts loneliness very well, and lyrically... This song resonated with me on a very emotional level. The best part impresses me every time I hear it: "And you can't, and you can't, see the wind in the trees / And you can't, and you can't, see the wind in the leaves / And you can't, and you can't, see the weight in the dark / And you can't, and you can't see the weight in the heart."

"Know the Way (Outro)" kind of reminds us that we probably know the way to leave Visions and come back to reality even if we don't want to... I didn't want to. Grimes created a whole other world with this album and I love every moment of it. It's this perfect combination of light and dark, and even when I can't understand a word she's saying, the songs still manage to resonate with me. There are so many layers in her music, so there are so many ways to love it. And even though Boucher's voice is so unique and memorable, she never makes it the spotlight: It's another instrument in her wonderful sound collage.

No one else sounds like Grimes and artists rarely release albums as creative and good as Visions. By now I have I have become a huge fan, and I anxiously await her next LP, which is to be released as a surprise sometime this month. Until then, Visions will continue to be replayed.