{"id":5748,"date":"2020-02-27T05:00:00","date_gmt":"2020-02-27T05:00:00","guid":{"rendered":"https:\/\/scadradio.org\/?p=5748"},"modified":"2020-02-27T20:42:03","modified_gmt":"2020-02-27T20:42:03","slug":"miss-anthropocene-grimes-is-still-the-essential-solo-star","status":"publish","type":"post","link":"https:\/\/scadradio.org\/2020\/02\/27\/miss-anthropocene-grimes-is-still-the-essential-solo-star\/","title":{"rendered":"‘Miss Anthropocene’- Grimes is Still the Essential Solo Star"},"content":{"rendered":"\n

On the long-hyped<\/a> Miss Anthropocene<\/em>, the Canadian solo artist, supposed singing android, and Elon Musk-child bearer speaks to a planet under the threat of climate change. \u201cI wanted to make climate change fun,\u201d she told Crack Magazine<\/a>. For 10 tracks she kind of<\/em> does that. With plenty of lush sonic choices, there\u2019s a mixing somewhere to satisfy fans of each Grimes era. \u201cBefore the Fever\u201d simulates her cool-paletted beginnings while hard-hitter \u201cDelete Forever\u2019s\u201d guitar flow translates from the self-reviled<\/a> Art Angels<\/em>\u2019 stylistic outreach.<\/p>\n\n\n\n

Claire Boucher has always had a knack for transporting listeners to worlds of imagination with her sound alone. Even without its fantasy\/sci-fi visualizer<\/a>, \u201cSo Heavy I Fell Through the Earth\u201d is a gentle spacewalk for your ears. It\u2019s an escape from the planet- one she knows is dying. However, its status as the intro is questionable. An ambient six minutes is an unusual way to begin an album holding flashier strikes like \u201c4\u00c6M\u201d and \u201cMy Name is Dark.\u201d The former ingratiates itself in the controlled chaos that often takes form in Claire Boucher\u2019s electro-pop catalog; we can envision the hyperactive star rollicking about in chair restraints on this track.\u00a0<\/p>\n\n\n\n

“She\u2019ll always score bonus points for manning her own discography from the boards to the songwriting and cover art, and this LP is no different.<\/strong><\/em>“<\/h5>\n\n\n\n

And that\u2019s what Miss Anthropocene <\/em>does so well: as a Grimes album, it works wonders. The underground art-pop approach puts Boucher in her element. Club-ready beats on the futuristic \u201cViolence\u201d and the uneasy progression of \u201cDarkseid\u201d are delicate concoctions only Grimes herself could\u2019ve made, in part because she did<\/em> make them herself. She\u2019ll always score bonus points for manning her own discography from the boards to the songwriting and cover art, and this LP is no different.<\/p>\n\n\n\n

Unfortunately, the climate change theme fails to be as seismic as it could be, never going far enough to make statements on our environment. There are no rallying chants of hope, no anthems for Greta Thunberg\u2019s next march, no epic rage-fueled rants to corporate titans murdering the Earth. It\u2019s treated as merely a subplot throughout the album like an afterthought shoved in the background of a student film to make their work appear \u201cpolitically relevant.\u201d Sadly a missed opportunity coming from an artist who turned her own sexual assault nightmare into one of the greatest songs<\/a> of the last decade.<\/p>\n\n\n\n

Perhaps the core draw to Miss Anthropocene<\/em> is the song-to-song consistency. The fatiguing back half of Visions<\/em> and trifles like the abysmal Art Angels<\/em> cut \u201cScream\u201d find no parallel here, it\u2019s by far Grimes\u2019 easiest playthrough. Because the LP doesn\u2019t go too far out of her comfort zone, it won\u2019t win over longtime detractors, though. Her love-it-or-hate-it mumble singing doesn\u2019t seem to be going anywhere for now, but those who have fallen under Grimes\u2019 spell get what they want in Miss Anthropocene<\/em>. <\/p>\n\n\n\n

8.6<\/h2>\n","protected":false},"excerpt":{"rendered":"

On the long-hyped Miss Anthropocene, the Canadian solo artist, supposed singing android, and Elon Musk-child bearer speaks to a planet under the threat of climate change. \u201cI wanted to make climate change fun,\u201d she told Crack Magazine. For 10 tracks she kind of does that. With plenty of lush sonic choices, there\u2019s a mixing somewhere […]<\/p>\n","protected":false},"author":62,"featured_media":5749,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[265,530,32],"tags":[330,899,898,491,653,897,576,104,129,900],"_links":{"self":[{"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/posts\/5748"}],"collection":[{"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/users\/62"}],"replies":[{"embeddable":true,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/comments?post=5748"}],"version-history":[{"count":7,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/posts\/5748\/revisions"}],"predecessor-version":[{"id":5756,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/posts\/5748\/revisions\/5756"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/media\/5749"}],"wp:attachment":[{"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/media?parent=5748"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/categories?post=5748"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scadradio.org\/wp-json\/wp\/v2\/tags?post=5748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}