Claire Boucher is nothing if not productive. As the singular force behind the musical pseudonym Grimes, she has released four full length records in the last 2 years. That started with 2010’s Geidi Primes, blossomed into Halfaxa later that year, and then continued building with Darkbloom last year. If you’ve heard approximately zero of those first three records, don’t beat yourself up too much; they sit and taunt from the deepest of deep levels in Canada’s underground electro scene. That is to say they were impressive and influential enough to earn Grimes some attention, but difficult and unfocused enough to keep her out of the spotlight for all practical purposes. Each of those first three albums was intended to play up a different side of her influences, and none of them were really all-encompassing efforts. Boucher herself has basically called them practice records for the real thing, which has finally resulted in her brand new album Visions complete with a brand new home on indie stalwart label 4AD. The end product is a remarkable and rather breathtaking skew on traditional pop music and electronica, complete with a supremely psychedelic edge that slices deep into your emotional reservoir even as it prods the pleasure centers of your brain with seductive beats and hooks.
The first thing you should know about Grimes is that she’s a producer before she’s a musician. Those two things are not mutually exclusive, but the whole point of mentioning it is because it affects the way she puts together songs. In fact, Boucher is doing what so many other forward-thinking artists are doing these days, which is attempting to break the rules of traditional songwriting and composing through the use of technology. At its core, Visions is a record created by a voice and a keyboard. Listening to it, there’s almost no way you’d realize that given all that’s going on. Virtually everything is run through some sort of filter or effect, and portions of songs are dubbed and overdubbed and smashed atop one another like some sort of sonic sandwich. Credit goes to Boucher for knowing when to stop adding more, because in more than a few cases it feels like the depths of some of the songs could be infinite. Her restraint is admirable and a great sign that she knows what she wants and tweaks it ever so slightly until she gets there. The ultimate result is a record that’s equal parts pop music and ambiance, pleasure and pain, not to mention human and computer.
The first track on Visions is “Infinite Love Without Fulfillment”, and it immediately lays out what to expect for the rest of the record. Lasting a mere 96 seconds, it confounds traditional song structure while maintaining a very danceable rhythm and sugar-sweet vocals. Boucher’s voice takes on 3 distinct personalities on the track, and they intermingle with one another with no regard for decency or clarity, to the point where it becomes like trying to listen to a single conversation in a room full of talking people. In spite of the perceived vocal confusion and the challenge of distinguishing lyrics, there’s a symbiosis and elegance to how all the moving pieces of the song work together. Indeed for most of Visions you’ll struggle to understand what Boucher is singing about, and that’s not always because of overdubbing. On the song “Genesis” for example, her singular voice is so drenched in echo it becomes the auditory effect of trying to see the car in front of you while driving through a dense fog. “Eight” turns one of her vocals into a deep-voiced robot and another into a woman that’s clearly been breathing in way too much helium. Despite all the different ways Boucher throws her vocals around, there are a few moments of genuine clarity, and those brief snapshots tend to be about relationships going through some sort of turmoil. “Oh baby I can’t say/that everything will be okay,” Boucher sings on “Circumambient”, signaling right from the start that there’s problems. Towards the end of “Skin”, she’s also in a sad place, espousing, “You touch me again and somehow it stings/because I know it is the end.”
Lyrical content is really the last thing you should be looking for on Visions though, because it’s far more about how these songs come together than it is any message they’re trying to get across. Boucher herself has said in interviews that she often feels the need to cover up her lyrics out of self-criticism over her skills as a writer but also because the melodies themselves should be telling you how to feel and not the words. With so much emphasis placed on what’s being said and not the way it’s being said, that’s a very refreshing take on pop music. Think of this record like a synth-pop inspired version of Sigur Ros, where the vocals are first and foremost another instrument in the mix rather than something intended to sit front and center as a path to deeper understanding. Or, even better, there are portions of the album that are very K-pop and J-pop influenced, and whether you’re a fan of Dance Dance Revolution or simply like those sorts of songs without speaking the language, there’s plenty of moments such as “Nightmusic” that you’ll be able to wholly enjoy. In fact, there’s a whole host of influences on Visions that may tickle your fancy depending on your tastes. Obviously if you’re into electronica and its many subgenres like IDM and Balearic you’ll be impressed with the strong beats that populate much of the record. The same goes for devotees of 80s pop, wherein the strains of a track like “Vowels = space and time” calls to mind Stacy Q or “Oblivion” has something distinctly Cyndi Lauper about it. And while 2011 was the year of the R&B revival, songs like “Be A Body” and “Skin” break out those influences as well, the former even impressing with some sky-high Mariah Carey falsettos. In spite of the various swaths of genres across the album, it all holds together quite nicely thanks to Boucher’s dynamic production style and ability to put together a very strong melody.
It goes without saying that Grimes is one of the most exciting new talents to emerge out of an ever-evolving music scene. Her previous records all hinted at what Visions would be in one way or another, and it’s extremely pleasing to hear her finally fulfill much of that early potential. For all of its oddities, this record is extremely listenable from start to finish, and cuts like “Genesis”, “Oblivion”, “Circumambient” and “Nightmusic” make it supremely catchy as well. In many ways these songs feel like the next step towards a genuine breakthrough in music, one in which a multitude of styles gives birth to a beautiful new hybrid that’s more aesthetically pleasing than any single one of them on their own. The best part is there’s continued room for improvement and growth, even as this record hovers near the precipice of perfection. Grimes has been an artist to watch from the day she first started releasing music 2 years ago, but only now, thanks to Visions will she begin to earn the attention she truly deserves.