LISTEN V. RATE: The Official GRIMES Rate (WINNER REVEALED!)
- Thread starter Raichu
- Start date
I love "I Ran." I used to bop to it when I played Grand Theft Auto: Vice City, which featured the song on the in-game new wave radio station.
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He/Him
"The Feeling" is such an underrated boo with a heart of gold. Let me go give "Avi" another listen...
He/Him/His
Just catching up – disappointed to lose some early Grimes like Devon, Caladan and Weregild. I also feel like I need to re listen to Avi and Feyd Rautha Dark Heart... But damn, we're at the top 35!
#34
INFINITE ♥ WITHOUT FULFILLMENT
7.166666667
My Score: 7.5
(@japanbonustrack: 10) HIGHEST V. LOWEST (@Trouble in Paradise: 3)
Seems you guys thought this was a finite bop with some fulfillment? Anyone? Okay. I actually really like this. It’s the kind of intro that makes me wonder what the fuck I’m getting myself into and I like that. It’s just so bonkers, like a weird echo chamber of infinitely multiplying voices or a hall of funhouse mirrors in sonic form. It’s a lot of fun, but there’s an undercurrent of spookiness to it too. The repetition effectively performs unrequited love and it’s short enough that said repetition doesn’t get annoying. Honestly, I think I may enjoy this a bit more than “laughing and not being normal,” even if I think the latter is more musically accomplished.
Earth Intruders (9) thinks that its short length hurts it: “This is a little hard to rate, I feel like objectively it's a 10 but its short length takes it down a notch.” Speaking of taking it down a notch, Trouble in Paradise gives it a 3 and says, “I love great album openers and this is not one.” In contrast, Mirwais Ahmadzai bestows it with the I word---“We love an iconic album opener.”---but then only gives it a 7.5?! It seems being iconic doesn’t get you shit these days. I remember when being iconic meant something. Meanwhile, constantino (9) concerns me with his recklessness: “We stan a witchy opener. Yas, lure me to your indietronica coven, Claire.” Be careful. I hear people do drugs and grind in indietronica covens. While constantino might think it’s witchy, caladan (8) thinks it’s a “nice intro.” In other words, an intro that you can take home to your parents. Cutlery (7) would certainly take it home, labeling it “A cute little intro built from a beat, a few synths and infinite “I'll wait for you / If you want me to”s. Mainly works to just set the tone and put you in the right mood for all the synthpop crafts to come in the album.” Xanax (8.5) also thinks it helps prime listener for what’s to come: “THE BEAT. THE SYNTHS. Really love the rhythm of this…and I think this track also manages to introduce the chaotic witch synth meets rnb meets medieval choir meets … sound of the album so well.” Will the demise of this intro set the stage for more Visions cuts? The only way to find out is to stay tuned. ;)
YouTube Comments Section
WhistleBlower: this is a beautiful and intelligent song. and comforting too! very mysterious like a mirage.
WesleyAlan: This song tried to get into my head last night.. While I was trying to SLEEP.. I love it though :D
Taniora Williams: fucked
INFINITE ♥ WITHOUT FULFILLMENT
7.166666667
My Score: 7.5
(@japanbonustrack: 10) HIGHEST V. LOWEST (@Trouble in Paradise: 3)
Seems you guys thought this was a finite bop with some fulfillment? Anyone? Okay. I actually really like this. It’s the kind of intro that makes me wonder what the fuck I’m getting myself into and I like that. It’s just so bonkers, like a weird echo chamber of infinitely multiplying voices or a hall of funhouse mirrors in sonic form. It’s a lot of fun, but there’s an undercurrent of spookiness to it too. The repetition effectively performs unrequited love and it’s short enough that said repetition doesn’t get annoying. Honestly, I think I may enjoy this a bit more than “laughing and not being normal,” even if I think the latter is more musically accomplished.
Earth Intruders (9) thinks that its short length hurts it: “This is a little hard to rate, I feel like objectively it's a 10 but its short length takes it down a notch.” Speaking of taking it down a notch, Trouble in Paradise gives it a 3 and says, “I love great album openers and this is not one.” In contrast, Mirwais Ahmadzai bestows it with the I word---“We love an iconic album opener.”---but then only gives it a 7.5?! It seems being iconic doesn’t get you shit these days. I remember when being iconic meant something. Meanwhile, constantino (9) concerns me with his recklessness: “We stan a witchy opener. Yas, lure me to your indietronica coven, Claire.” Be careful. I hear people do drugs and grind in indietronica covens. While constantino might think it’s witchy, caladan (8) thinks it’s a “nice intro.” In other words, an intro that you can take home to your parents. Cutlery (7) would certainly take it home, labeling it “A cute little intro built from a beat, a few synths and infinite “I'll wait for you / If you want me to”s. Mainly works to just set the tone and put you in the right mood for all the synthpop crafts to come in the album.” Xanax (8.5) also thinks it helps prime listener for what’s to come: “THE BEAT. THE SYNTHS. Really love the rhythm of this…and I think this track also manages to introduce the chaotic witch synth meets rnb meets medieval choir meets … sound of the album so well.” Will the demise of this intro set the stage for more Visions cuts? The only way to find out is to stay tuned. ;)
YouTube Comments Section
WhistleBlower: this is a beautiful and intelligent song. and comforting too! very mysterious like a mirage.
WesleyAlan: This song tried to get into my head last night.. While I was trying to SLEEP.. I love it though :D
Taniora Williams: fucked
Since this elimination pairs so nicely with the last elimination, let me just go ahead and get it out of the way...
#33
LAUGHING AND NOT BEING NORMAL
7.25
My Score: 7.5
(@japanbonustrack: 10) HIGHEST V. LOWEST (@happiestgirl: 3)
I have mixed feelings on how well this works as an intro to Art Angels. On one hand, it aptly announces that Grimes has picked up some additional skills since the last album. This is so much more dynamic than her other intros. The way that the various orchestral elements weave in and out of each other is fucking smooth. Which is perhaps a weird way to describe the bundle of nerves that is this song, but it’s the first word that comes to mind. The frantic strings are probably the most noteworthy aspect: they really give the song a feeling of foreboding and impending anxiety. And the melody is appropriately neurotic while still serving ethereal beauty and elegance. That all being said, I don’t really think it sounds much like the rest of Art Angels. Granted, AA is an eclectic record, but this intro almost sounds too…medieval? I don’t know. “laughing and not being normal” has always existed outside the ethos of the album for me, which is why I’ve never been able to fully embrace it despite its sonic virtues.
Remember Infinite Lurve Without Fulfillment, the “nice intro” that caladan (8) took home to his parents? Well, he’s upgraded to LANBN, which he calls “a lovely intro.” I’m glad you’re appreciating him because his feelings are quite tender after being called “pointless” by happiestgirl (3). Similarly, Trouble in Paradise (5) thinks he’s forgettable in spite of the unusual moniker: “The only thing memorable about this song is it’s title.” Panic! at the Disco teas, TBH. constanino (8) just wants us to know that he stans talent: “An intro, children. Casual reminder that she produced this in her house - whew, I love talent.” I’m producing this rate in my house. Where are my props? Marcia! Marcia! Marcia!.gif. Satyress (9) loves the mix of “medieval and classical sounds” while Xanax (9.5) spills the tea about when the song touched him for the very first time: “Such a cinematic track. The arrangement is so rich and feels very opulent, full of detail and then her crystal clear vocals…followed by that instrumental breakdown. I was shook listening to this the first time.” Finally, we’ll turn to Cutlery (8), who gets cute with the title: “lanbn skinny, lanbn beautiful. Petty, but the reason I'm «only» giving it an eight is because I'm bitter it's not a full song, when it was made to be just that! (Unlike LITVD which screams interlude) Imagine a 4+ minute masterpiece built from it, in which we got a full orchestra string + harp section midway through, all while Claire does the pokérap up to the Ultra Beasts and shit. I know, wig, I feel that already.gif.” But why do we need a pokerap when Raichu is literally the only Pokemon that matters?
YouTube Comments Section
Z tron: 25 thumbs down because the video didn't grant the listener the ability to fly
Tristan Alva: the beginning lowkey sounds like the music from the sims
Mattybot 3000: 1:18 I knew it, she IS a pokemon master.
#33
LAUGHING AND NOT BEING NORMAL
7.25
My Score: 7.5
(@japanbonustrack: 10) HIGHEST V. LOWEST (@happiestgirl: 3)
I have mixed feelings on how well this works as an intro to Art Angels. On one hand, it aptly announces that Grimes has picked up some additional skills since the last album. This is so much more dynamic than her other intros. The way that the various orchestral elements weave in and out of each other is fucking smooth. Which is perhaps a weird way to describe the bundle of nerves that is this song, but it’s the first word that comes to mind. The frantic strings are probably the most noteworthy aspect: they really give the song a feeling of foreboding and impending anxiety. And the melody is appropriately neurotic while still serving ethereal beauty and elegance. That all being said, I don’t really think it sounds much like the rest of Art Angels. Granted, AA is an eclectic record, but this intro almost sounds too…medieval? I don’t know. “laughing and not being normal” has always existed outside the ethos of the album for me, which is why I’ve never been able to fully embrace it despite its sonic virtues.
Remember Infinite Lurve Without Fulfillment, the “nice intro” that caladan (8) took home to his parents? Well, he’s upgraded to LANBN, which he calls “a lovely intro.” I’m glad you’re appreciating him because his feelings are quite tender after being called “pointless” by happiestgirl (3). Similarly, Trouble in Paradise (5) thinks he’s forgettable in spite of the unusual moniker: “The only thing memorable about this song is it’s title.” Panic! at the Disco teas, TBH. constanino (8) just wants us to know that he stans talent: “An intro, children. Casual reminder that she produced this in her house - whew, I love talent.” I’m producing this rate in my house. Where are my props? Marcia! Marcia! Marcia!.gif. Satyress (9) loves the mix of “medieval and classical sounds” while Xanax (9.5) spills the tea about when the song touched him for the very first time: “Such a cinematic track. The arrangement is so rich and feels very opulent, full of detail and then her crystal clear vocals…followed by that instrumental breakdown. I was shook listening to this the first time.” Finally, we’ll turn to Cutlery (8), who gets cute with the title: “lanbn skinny, lanbn beautiful. Petty, but the reason I'm «only» giving it an eight is because I'm bitter it's not a full song, when it was made to be just that! (Unlike LITVD which screams interlude) Imagine a 4+ minute masterpiece built from it, in which we got a full orchestra string + harp section midway through, all while Claire does the pokérap up to the Ultra Beasts and shit. I know, wig, I feel that already.gif.” But why do we need a pokerap when Raichu is literally the only Pokemon that matters?
YouTube Comments Section
Z tron: 25 thumbs down because the video didn't grant the listener the ability to fly
Tristan Alva: the beginning lowkey sounds like the music from the sims
Mattybot 3000: 1:18 I knew it, she IS a pokemon master.
He/Him
He/Him
tea
#32
COLOUR OF MOONLIGHT (ANTIOCHUS)
7.305555556
My Score: 7
(@japanbonustrack, @caladan: 10) HIGHEST V. LOWEST (@Cutlery: 3)
I like this well enough, but I really have to be in the mood for it, more so than most tracks in this rate. It has an intentionally plodding pace and the sob-like chorus melodies are doing the utmost. But I love the drums and the way they kinda speed up throughout the song. The whole thing reminds me of some bizarre nocturnal backpacking trip (perhaps a trip to a battle?). And I’m here for that…sometimes. Honestly, although I gave them the same score, I think this should have been out before “Eight.” That song is a lot more fun.
After enduring the stress of listening to the chorus of this song multiple times for this write-up, Xanax’s (6) commentary for this track is not cute, so we will display it---“UUUuuuuuuhuUUUUhhhUUUUUUUhhhhh"---and then quickly move onto Cutlery (3), who uses his linguistic cutlery to stab this song: “Nothing too remarkable about any production nor vocal aspect of this track, and it would fit well with the meddling moments of Halfaxa. Bye!” caladan (10) was initially ambivalent toward it, but now he and Antiochus are the best of friends: “This song took a while to grow on me but now I really like it.” Having invented auto-tune with “Nobody’s Perfect” and “Nobody Knows Me,” Mirwais Ahmadzai (7) appreciates Grimes’s use of it: “It’s not my favorite song on Visions, but I like it nonetheless. I really enjoy the autotuned vocals – it’d be fun to hear Grimes play with more of that, maybe for a side project or collaboration.” constantino (7.5) is also feeling the vocal effects: “The ad libs are angelic. Not the strongest track but I love how it intensifies as it progresses.” Yeah, the build-up and intensification is definitely the best thing about it. For Trouble in Paradise (8), it’s all about big big beat: “This song has what I want from Grimes: a poetic title, space faerie vocals, big ole beat, and layered vocals for days.” Meanwhile, HappyBirthday (6) is into the…whoops?: “And a point for the whoops.” I’m not sure what to make of that, so we’ll move onto Satyress (9), who is bopping in emo: “Mysterious and sad song.” The real mystery, according to Earth Intruders (8.5), is what the fuck Antiochus even means: “Does what it says in the title, don't know what Antiochus means though.” Per Encyclopedia Britannica, he was a Greek King who reigned from the year 175 to 164 BC. To be real, that BC and AD bullshit got me like:
YouTube Comments Section
Numbxers: I feel like it's raining in winter when I listen to this song
Jsmyth024: This is what it sounds like....when doves cry.
Ami Rita: Boats on the roof, boats on the roof, boats on the roof, and they can't sing
COLOUR OF MOONLIGHT (ANTIOCHUS)
7.305555556
My Score: 7
(@japanbonustrack, @caladan: 10) HIGHEST V. LOWEST (@Cutlery: 3)
I like this well enough, but I really have to be in the mood for it, more so than most tracks in this rate. It has an intentionally plodding pace and the sob-like chorus melodies are doing the utmost. But I love the drums and the way they kinda speed up throughout the song. The whole thing reminds me of some bizarre nocturnal backpacking trip (perhaps a trip to a battle?). And I’m here for that…sometimes. Honestly, although I gave them the same score, I think this should have been out before “Eight.” That song is a lot more fun.
After enduring the stress of listening to the chorus of this song multiple times for this write-up, Xanax’s (6) commentary for this track is not cute, so we will display it---“UUUuuuuuuhuUUUUhhhUUUUUUUhhhhh"---and then quickly move onto Cutlery (3), who uses his linguistic cutlery to stab this song: “Nothing too remarkable about any production nor vocal aspect of this track, and it would fit well with the meddling moments of Halfaxa. Bye!” caladan (10) was initially ambivalent toward it, but now he and Antiochus are the best of friends: “This song took a while to grow on me but now I really like it.” Having invented auto-tune with “Nobody’s Perfect” and “Nobody Knows Me,” Mirwais Ahmadzai (7) appreciates Grimes’s use of it: “It’s not my favorite song on Visions, but I like it nonetheless. I really enjoy the autotuned vocals – it’d be fun to hear Grimes play with more of that, maybe for a side project or collaboration.” constantino (7.5) is also feeling the vocal effects: “The ad libs are angelic. Not the strongest track but I love how it intensifies as it progresses.” Yeah, the build-up and intensification is definitely the best thing about it. For Trouble in Paradise (8), it’s all about big big beat: “This song has what I want from Grimes: a poetic title, space faerie vocals, big ole beat, and layered vocals for days.” Meanwhile, HappyBirthday (6) is into the…whoops?: “And a point for the whoops.” I’m not sure what to make of that, so we’ll move onto Satyress (9), who is bopping in emo: “Mysterious and sad song.” The real mystery, according to Earth Intruders (8.5), is what the fuck Antiochus even means: “Does what it says in the title, don't know what Antiochus means though.” Per Encyclopedia Britannica, he was a Greek King who reigned from the year 175 to 164 BC. To be real, that BC and AD bullshit got me like:
YouTube Comments Section
Numbxers: I feel like it's raining in winter when I listen to this song
Jsmyth024: This is what it sounds like....when doves cry.
Ami Rita: Boats on the roof, boats on the roof, boats on the roof, and they can't sing
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This rate is becoming tougher and tougher with each elimination... I cant with some of the extras still being in, as well as one particular song from ArtAngels... and then I have flashbacks to Hedra being almost immediately eliminated (when it still should be in) and everything is a mess. (but i lowkey live for it)
Hedra is one of those weird songs which have no chance against her bangers. You have to be in the right mood to enjoy it. Speaking of this song: its intro is so bonkers, all random objects making sound. The intro part reminds me of Moon Machine by Jean Michel Jarre:
And Hedra for a good measure...