Discuss the nicest Canuck in the music biz, Claire Boucher (aka Grimes).
READ FIRST
genius.com
-Medieval Warfare debuts on Zane Lowe today (probably). Hype?
-She's only playing at festivals for the rest of her tour. Anyone catching any of these?
-Who would you like to see her collab with?
Leave your opinion on her latest album, Art Angels
>best
>runner-up
>worst
>underrated
>overrated
Try to keep it music related, and be nice to Grimes! (and each other you sadistic fucks)
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first for fuck you
second for worship of our almighty queen
I like Visions, I hate Art Angels.
That's it.
Third for deport racism
...
Copying this over from the old thread 'cuz it took forever to do and I suspect some others mind find it entertaining.
>...so why don't you give us a critical analysis of why her music is good?
Oblivion - youtube.com
>0:00
Oblivion opens with an 8 measure arpeggio synth line consisting of four bars of the 1st and 5th chord tones of the song's I chord followed by followed by four bars of the 1st and 5th chord tones of the song's vi chord. These are both highly significant details from a key standpoint because omitting the 3rd chord tone in the I chord makes it impossible to clarify whether the song is in a major or minor key, and going to the vi chord itself also functions as the relative minor's i chord.
This 8-measure figure serves as the underlying sonic structure on which the rest of the song is based (structurally speaking 'Oblivion' is another example of what is known in classical orchestral music as a passacaglia - much like the song 'Be A Body') and the way it gives exactly equal emphasis on both chords in the progression serves to maintain the underlying uncertainty about true key quality.
>00:13
As the base synth figure starts over once again, a single vocal chime comes in on the major 3rd of the I chord - momentarily tipping the harmonic balance of the song in the major's favor. However, as the synth progression modulates to the vi(i), the vocal chime enters again on the exact same note - which also happens to double as the vi(i)'s 5th chord tone - thereby negating its effect as a definitive indicator of major/minor key.
youtube.com
>00:24
Now bearing in mind that the musical structures so far outlined continue to exist concurrently throughout most of the rest of the song (meaning that things just continue to get more texturally complex from here on out) the vocal melody line final enters with a run directly supporting - by virtually of it constantly landing on the major 3rd of the I chord - the perception that the song IS actually in the major key (if you were to listen to just the vocal parts in this song you would think that it is one of the happiest sounding things ever written - ergo musical irony, given the song lyrics' true subject matter.)
An additional note about the vocal line. If you listen carefully to the scale tones on which it rests in relationship to whether the base synth figure is currently on the I or vi(i) part of its cycle, you will notice that she never goes down to the root note of either chord unless it is not the one currently being played by the accompaniment. It's an extremely clever move in that it allows the vocal line to contribute its own level of hollowed-out eeriness to the song (chord progressions without roots can be very off-putting) without there ever having to be the need to go beyond harmonic scale tones of the major key.
Seeing as it's way past my bedtime, I'm gonna stop here. It's worth keeping in mind, though, that - despite Oblivion being one of the simplest tracks on Visions in terms of pure musical content, the above write-up only covers the first 45 seconds or so of what is a 4:00+ song and also doesn't include any sort of analysis regarding drums/percussion, song lyrics, or the use of textural effects in individual voices/instruments (one of Grimes' specialties.)
All this is to say that - whenever people go around saying that Grimes' music is nothing more than simple, vapid pop music - they are objectively, provably wrong.
Holy shit I have a newfound respect for her now.
yes, i love grimes