LISTEN V. RATE: The Official GRIMES Rate (WINNER REVEALED!)
- Thread starter Raichu
- Start date
#24/24
EASILY
8.027777778
My Score: 8.5
(@constantino: 10) HIGHEST V. LOWEST (@Xanax: 3)
Often cited as one of the weakest songs on Art Angels, "Easily" also has the unfortunate distinction of being Grimes’s least favorite song from the album. Poor it. However, being bottom-tier Art Angels still=pretty fucking great. I think it gets shit because like Entropy it’s sugary and light and on the surface doesn’t seem as interesting as many of the other songs. But I think it actually has quite a bit of character: I love how the baroque-pop intro segues into a chill 90s girl-group sound (is it just me or does it sound a bit like All Saints?). The instrumental really opens up into something that’s ethereal but in a very modern/contemporary way and the melodies are all very solid. The only thing I really don’t like about this song is that the weird structure, with only one verse and two choruses, makes it feel a bit unfinished. I would have greatly preferred a more traditional song structure.
Perhaps Xanax (3) summoned this elimination on the low because it’s his least favorite…in her entire discography: “Easily my least favorite Grimes song ever. I just think it’s super-redundant in context of the album.” Cutlery (8.5) has the opposite view: “Starts rather unceremoniously with a clear vocal and a simple piano, in a way that it almost sounds like a ballad number in a musical. However, the pace soon picks up with “Easily / I'm the sweetest damn thing you ever saw” as Grimes gets a bit cocky and shady like the legend she is, then proceeds to treat our ears to a very long (truly, like half of the song length) ‘bridge’, complete with a SICK breakdown that makes this a unique addition to the album. Kind of makes Easily her own take on the pop music predominant in its time.” Apparently we love a breakdown because caladan (9) says, “This one is underrated. I really dig that little instrumental break.” And then constantino (10) says, “Celestial, euphoric, hypnotizing, calming…this is just absolutely everything, and somehow even more?? Oh and that fucking drop/break she throws at us? Wig. I’m still bitter that I gave this my 11 in the alt-pop girls rate and it left at like #50.” I’m glad that this rate has been much more kind to it. Trouble in Paradise (9) wants a break, but from the squeaky synths: “This would have easily been a 10 if not for those squeaky synths.” Master of squeaky synths, Mirwais Ahmadzai (8), thinks it’s just cute: “Easily is cute, but it doesn’t quite hit the highs of some of the album’s other songs.” In constrast, Untouchable Ace (9.5) thinks it’s another reason Art Angel’s is easily “one of the best of the decade.”
Finally, Posh Spears (9.5) comes out of hiding to say: “Imagine interviewing an artist and they tell you your favorite song off their album is their least favorite? Such a kii. But the interviewer was low-key annoying so she deserved it. Anyway, this song is one of the most surprisingly vulnerable moments on Art Angels and I adore it.” At this point, I’m such a stan that if Grimes dissed one of my faves, I would wear that shit as some weird badge of honor. The mindblowing slayage of Art Angels did weird things to my psychology, man.
YouTube Comments Section
Violet Crawley: This gives me Regina Spektor feels and I love it
Mortifiend: Love how I can hear her sexy ass lisp the most in this beautiful song.
awil891: squeak squeak squeak squeak squeak squea-squea-squea-squeak
PHONE SEX
8.027777778
My Score: 7
(@constantino, @HappyBirthday, @happiestgirl: 10) HIGHEST V. LOWEST (@Hurricane Drunk, @Cutlery: 5)
I really don’t think this needed to go top 30, but this is rather unique in her discography. I haven’t ever heard her on tropical production before and I think this song does a good job of not sounding reductive despite the fact that there are about five zillion other tropi-bobs out there. Some Grimes fans were probably horrified at this production style, but I think it’s actually the song’s best feature. The song on top of it is not great (but not bad either) but issa bop all the same. The single artwork, which I used for the elimination pic, is delightfully tacky though. I would totally put that game into my Sega Genesis.
Phone sex has never seemed a particularly sexy concept to me, but this song is putting the sex in phone sex for Satyress (8), who calls the song “Romantic and erotic.” Earth Intruders (7) thinks it’s more bizarre than sexy: “Really weird. I kind of like it though.” For HappyBirthday (10), it’s memorable because it represented the first time he gave Grimes his coin: “Not the first Grimes song I heard, but the first I bought. Still as brilliant as when I first heard it.” Mirwais Ahmadzai (9) is turned on by the auto-tune: “Oh yes, oh yes! We love a dance diva! As I said re: autotuned vocals, I’d love Grimes to play with this sound for a side project or collaboration.” constantino (10), on the other hand, is turned on by the nostalgia: “A serious contender for my 11, this is easily one of her best songs. It’s just so...moving? It takes me back to a really pure time in my life and I know that I’ll never get to experience it again, but this gets me as close to that time as I can get.” As for me, I’m not as cute as loveable as y’all think. The song that takes me to the best times in my life is Weregild...Anyway, this song seems to be nostalgic for a lot of you. Xanax (8.5) says, “First heard this live which was such an experience! I think the original edit of this isn´t the strongest version existing but the pre-chorus and chorus itself have such a magical, melancholic quality to them.” While he might have outright despised Entropy, Cutlery’s (5) relationship with with Phone Sex is more complicated: “Such an awkward mess! It's not even on the experimental-gone-wrong side, it is simply all over the place and the lyrics are such a kiki (on purpose, but still) that I kinda simultaneously cringe and slightly hum to it whenever this comes up. Since I'm so divided on this track I'm throwing a halfway score at it.” caladan’s (7) relationship with it is decidedly uncomplicated: “Catchy.”
The final two comments were all about the great drums, beautiful drums. Untouchable Ace (7.5) says, “Not too fond of the tropical drums but otherwise solid,” while Trouble in Paradise (9) exclaims: “You know what I didn’t realize was missing from Grimes’s discography until the moment I started listening to this song? STEEL DRUMS! Yes daddy! What a bop!” And that does it for this elimination. Now if you’ll excuse me, I have an “appointment” on my cellphone.
YouTube Comments Section
skinnyman: why do I find this song unbelievably disturbing
Stichnbitch: I always hated this song because it says daddy so much and I dont like thinking about my dad but then I realised it's a fucking tune
Joseff Williams: At the beginning does she say, "feels like there's a needle up my bum"? 0:15
EASILY
8.027777778
My Score: 8.5
(@constantino: 10) HIGHEST V. LOWEST (@Xanax: 3)
Often cited as one of the weakest songs on Art Angels, "Easily" also has the unfortunate distinction of being Grimes’s least favorite song from the album. Poor it. However, being bottom-tier Art Angels still=pretty fucking great. I think it gets shit because like Entropy it’s sugary and light and on the surface doesn’t seem as interesting as many of the other songs. But I think it actually has quite a bit of character: I love how the baroque-pop intro segues into a chill 90s girl-group sound (is it just me or does it sound a bit like All Saints?). The instrumental really opens up into something that’s ethereal but in a very modern/contemporary way and the melodies are all very solid. The only thing I really don’t like about this song is that the weird structure, with only one verse and two choruses, makes it feel a bit unfinished. I would have greatly preferred a more traditional song structure.
Perhaps Xanax (3) summoned this elimination on the low because it’s his least favorite…in her entire discography: “Easily my least favorite Grimes song ever. I just think it’s super-redundant in context of the album.” Cutlery (8.5) has the opposite view: “Starts rather unceremoniously with a clear vocal and a simple piano, in a way that it almost sounds like a ballad number in a musical. However, the pace soon picks up with “Easily / I'm the sweetest damn thing you ever saw” as Grimes gets a bit cocky and shady like the legend she is, then proceeds to treat our ears to a very long (truly, like half of the song length) ‘bridge’, complete with a SICK breakdown that makes this a unique addition to the album. Kind of makes Easily her own take on the pop music predominant in its time.” Apparently we love a breakdown because caladan (9) says, “This one is underrated. I really dig that little instrumental break.” And then constantino (10) says, “Celestial, euphoric, hypnotizing, calming…this is just absolutely everything, and somehow even more?? Oh and that fucking drop/break she throws at us? Wig. I’m still bitter that I gave this my 11 in the alt-pop girls rate and it left at like #50.” I’m glad that this rate has been much more kind to it. Trouble in Paradise (9) wants a break, but from the squeaky synths: “This would have easily been a 10 if not for those squeaky synths.” Master of squeaky synths, Mirwais Ahmadzai (8), thinks it’s just cute: “Easily is cute, but it doesn’t quite hit the highs of some of the album’s other songs.” In constrast, Untouchable Ace (9.5) thinks it’s another reason Art Angel’s is easily “one of the best of the decade.”
Finally, Posh Spears (9.5) comes out of hiding to say: “Imagine interviewing an artist and they tell you your favorite song off their album is their least favorite? Such a kii. But the interviewer was low-key annoying so she deserved it. Anyway, this song is one of the most surprisingly vulnerable moments on Art Angels and I adore it.” At this point, I’m such a stan that if Grimes dissed one of my faves, I would wear that shit as some weird badge of honor. The mindblowing slayage of Art Angels did weird things to my psychology, man.
YouTube Comments Section
Violet Crawley: This gives me Regina Spektor feels and I love it
Mortifiend: Love how I can hear her sexy ass lisp the most in this beautiful song.
awil891: squeak squeak squeak squeak squeak squea-squea-squea-squeak
PHONE SEX
8.027777778
My Score: 7
(@constantino, @HappyBirthday, @happiestgirl: 10) HIGHEST V. LOWEST (@Hurricane Drunk, @Cutlery: 5)
I really don’t think this needed to go top 30, but this is rather unique in her discography. I haven’t ever heard her on tropical production before and I think this song does a good job of not sounding reductive despite the fact that there are about five zillion other tropi-bobs out there. Some Grimes fans were probably horrified at this production style, but I think it’s actually the song’s best feature. The song on top of it is not great (but not bad either) but issa bop all the same. The single artwork, which I used for the elimination pic, is delightfully tacky though. I would totally put that game into my Sega Genesis.
Phone sex has never seemed a particularly sexy concept to me, but this song is putting the sex in phone sex for Satyress (8), who calls the song “Romantic and erotic.” Earth Intruders (7) thinks it’s more bizarre than sexy: “Really weird. I kind of like it though.” For HappyBirthday (10), it’s memorable because it represented the first time he gave Grimes his coin: “Not the first Grimes song I heard, but the first I bought. Still as brilliant as when I first heard it.” Mirwais Ahmadzai (9) is turned on by the auto-tune: “Oh yes, oh yes! We love a dance diva! As I said re: autotuned vocals, I’d love Grimes to play with this sound for a side project or collaboration.” constantino (10), on the other hand, is turned on by the nostalgia: “A serious contender for my 11, this is easily one of her best songs. It’s just so...moving? It takes me back to a really pure time in my life and I know that I’ll never get to experience it again, but this gets me as close to that time as I can get.” As for me, I’m not as cute as loveable as y’all think. The song that takes me to the best times in my life is Weregild...Anyway, this song seems to be nostalgic for a lot of you. Xanax (8.5) says, “First heard this live which was such an experience! I think the original edit of this isn´t the strongest version existing but the pre-chorus and chorus itself have such a magical, melancholic quality to them.” While he might have outright despised Entropy, Cutlery’s (5) relationship with with Phone Sex is more complicated: “Such an awkward mess! It's not even on the experimental-gone-wrong side, it is simply all over the place and the lyrics are such a kiki (on purpose, but still) that I kinda simultaneously cringe and slightly hum to it whenever this comes up. Since I'm so divided on this track I'm throwing a halfway score at it.” caladan’s (7) relationship with it is decidedly uncomplicated: “Catchy.”
The final two comments were all about the great drums, beautiful drums. Untouchable Ace (7.5) says, “Not too fond of the tropical drums but otherwise solid,” while Trouble in Paradise (9) exclaims: “You know what I didn’t realize was missing from Grimes’s discography until the moment I started listening to this song? STEEL DRUMS! Yes daddy! What a bop!” And that does it for this elimination. Now if you’ll excuse me, I have an “appointment” on my cellphone.
YouTube Comments Section
skinnyman: why do I find this song unbelievably disturbing
Stichnbitch: I always hated this song because it says daddy so much and I dont like thinking about my dad but then I realised it's a fucking tune
Joseff Williams: At the beginning does she say, "feels like there's a needle up my bum"? 0:15
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The whole performance slays, but I especially love the lighting. It's so appropriate for the song.
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Easily doesn't deserve the hate it gets. On most albums it would be a highlight. The melody is solid, the breakdown is solid, the singing is solid. As for Phone Sex, it's a fun and catchy song, but certainly not better than Symphonia IX.
Here's a rare live performance (broadcasted on TV) of Phone Sex for y'all.
Here's a rare live performance (broadcasted on TV) of Phone Sex for y'all.
Laughing and Not Being Normal has a hidden video too. Right after Easily.
He/Him/His
The YouTube comments stealing my heart once again...#22/22
ROSA
8.111111111
My Score: 8.5
(@caladan, @Mirwais Ahmadzaï, @Remorque: 10) HIGHEST V. LOWEST (@Untouchable Ace: 5.5)
This is the last Giedi Primes song to fall and it’s not hard to see why. That insistent bassline is an earworm and it’s funky. Like some of you said in your commentary, the song is serving that indie rock band realness, but most of all it’s the cut on the album that best demonstrates Grimes’s ability to reference a sound and make it her own. The bassline may be the glue that holds it all together, but the keyboard/synth parts really give it a unique flavor. Then there are the lyrics, which are possibly some of the most interesting in her entire discography. They express the common theme of feeling different about a lover in the sober light of day in a way that’s fresh and narrative compelling. I also really love the melody, but I would have liked her to sing with a tad more enthusiasm. I don’t think the nonchalant delivery works here quite as well as it does in “Zoal, Face Dancer.” But that’s a small complaint. Whenever someone tells me that they don’t want to fuck with Grimes's early work, I point them to “Rosa.”
We’ll start with Cutlerystradamus (9), whose prediction came true: “A sis served her breakthrough alternative rock band single! I know this will likely be the last GP song standing, and it's not undeserving at all! From the drums and repetitive guitar in the background, it is pretty accessible while still retaining the quirkiness of her early works.” As for predictions that didn’t pan out, Remorque (10) didn’t think he’d like Rosa, but then lost his wig to her sorcery: “I never thought I'd like this as much as I do, but here we are... It's hypnotic.” Sanctuary’s (6) wig, on the other hand, only twitches a bit: “There are so many bits in the musical structure that shine through, but even as one of the highs of this era, the execution loses the momentum.” Earth Intruders (6.5) has similar thoughts: “To me this is quite reminiscent of her later pop work, but like many of her early songs it's content to just plug along without much development.” But enough about Justin Timberlake’s emotional/social maturity.
In other news, holy shit! happiestgirl gives an early Grimes song a 9!: “I love this sweet little indie ditty.” *checks the new to see if there’s also going to be a solar eclipse* No solar eclipse, but Xanax (9) takes us into another dimension: “The most pop song on Geidi Primes for sure! It follows a very clear structure and does such a good job at sounding familiar enough, yet taking use of the very alien/foreign instrumentation. This almost sounds like a Grimes from a parallel universe who is singing in an indie-band. The keyboard-solo is my favorite part of this!” caladan (10) also loves the keyboard solo, though he doesn’t call it that: “Such a simple yet great song. That bassline and the singing are very catchy. Another thing that I love is that little instrumental breakdown. This is probably the highlight of Geidi Primes." Mirwais Ahmadzai (10) agrees: “When I finally explored Grimes’ pre-Visions albums, Rosa was probably the greatest revelation. Unlike anything else on the album. My first 10 of the rate!” Meanwhile, constantino (9) may or may not be lighting up while that funky bassline plays over and over in the background: “I forget how much of a curveball this is in the context of the album. I LIVE for an downtrodden 90s stoner rock ~moment~ on an early Grimes album.” Trouble in Paradise (7.5) offends “Rosa’s” indie cred by referring to it as “jaunty”: The jaunty bass line keeps this moving and her voice stays close to center which lets the lyrics shine.” Last but not least, Satyress (9) describes the song with the perfect marketing buzzwords: “Indie meets Electronic meets Pop meets French folk songs.” I hear French folk songs are the new up and coming trend in pop music. Perhaps Geidi Primes will get its summer smash after all.
YouTube Comments Section
Micah Buzzan: Each one of her songs is like it's own solar system of sounds.
andrea reyes: i used stick and poke to tattoo "ROSA" onto my thigh this song is the best
Sheldon Gregward: Helga Pataki from Hey Arnold.
SKIN
8.111111111
My Score: 8.5
(@Cutlery, @caladan, @Trouble in Paradise, @constantino, @enjoy: 10) HIGHEST V. LOWEST (@Untouchable Ace: 4)
Skin is a rather subtle song, so it took me awhile to appreciate its beauty. The beginning is deceptively simple, almost sounding like lounge music, but then it slowly unfolds into one of the most sensual songs in Grimes’s discography. The melodies are given room to breath and they work their way into your consciousness like a good massage. I also really love the transformation into a more synth-poppy digital sound, with the melodies becoming more chant-like. One of my complaints about Halfaxa is that many songs last too long, but this song (along with a few others) shows that by Visions, she was getting much more skilled at the longer form. The song is six minutes but I don’t find myself getting bored at all. Most of all, I appreciate the song’s sensuality. With the mostly non-sensual Art Angels being her most famous work, I don’t think people appreciate that side of her.
For the second time in the rate, Trouble in Paradise (10) gets vulnerable: “There’s such a foreboding moodiness to the verses that breaks into the aching anxiety of the chorus that speaks to my shakey anxious heart.” Speaking of vulnerability, constantino (10) says, “Probably her most beautiful and touching song. The key is its simplicity, which allows the emotion and vulnerability to radiate and become the main focus. Gets me every time, and the length only makes it more immersive and easy to get lost in.” Xanax (7) is also hearing the human fragility: “Such an alien ballad. It feels so sparse and cold…still totally relatable, human and full of emotion.” I totally agree about the duality between coldness and warmth in this one. It’s an interesting dynamic. For caladan (10), it’s both emotional and hummable: “Even her ballads are very catchy. The instrumental is really good and her voice sounds better than ever.” The one voter not really feeling the emotion is Untouchable Ace, who gives it a 4, but it’s not a total bust for him: “The beginning sounds like a demo with too much focus on the keyboard. Towards the end it gets better.” We’ll end with Cutlery (10), whose rhapsodizing commentary suggests that this could have been in the running for his 11: “Grimes’ own and original spin on an acoustic ballad, the longest Visions cut soars through sorrow, sadness and rejection in intimacy. The emotional effect of the lengthy verses and choruses is maximized by the slowly-progressing melody in its keyboard and drowned out guitars. Lyrically, it holds a lot of raw power with lines such as “You touched me within / And so I know I could be human once again”, and Grimes’ high-pitched vocals only enhance the sense that she's running breathless. Intense and flawless, basically.” As much as I appreciate the compliment, we’re supposed to be commenting on the songs, not the rate host.
YouTube Comments Section
Douglas Robertson: Claire must have been deeply hurt by a relationship....now she suffers
gender sisyphus: pretty sure this songs about gender dysphoria some how ;_;
sad bear: if you replace "soft skin" with "sasuke" it becomes a narusasu love ballad
This fan-made video is a choice, but your mileage may vary:
ROSA
8.111111111
My Score: 8.5
(@caladan, @Mirwais Ahmadzaï, @Remorque: 10) HIGHEST V. LOWEST (@Untouchable Ace: 5.5)
This is the last Giedi Primes song to fall and it’s not hard to see why. That insistent bassline is an earworm and it’s funky. Like some of you said in your commentary, the song is serving that indie rock band realness, but most of all it’s the cut on the album that best demonstrates Grimes’s ability to reference a sound and make it her own. The bassline may be the glue that holds it all together, but the keyboard/synth parts really give it a unique flavor. Then there are the lyrics, which are possibly some of the most interesting in her entire discography. They express the common theme of feeling different about a lover in the sober light of day in a way that’s fresh and narrative compelling. I also really love the melody, but I would have liked her to sing with a tad more enthusiasm. I don’t think the nonchalant delivery works here quite as well as it does in “Zoal, Face Dancer.” But that’s a small complaint. Whenever someone tells me that they don’t want to fuck with Grimes's early work, I point them to “Rosa.”
We’ll start with Cutlerystradamus (9), whose prediction came true: “A sis served her breakthrough alternative rock band single! I know this will likely be the last GP song standing, and it's not undeserving at all! From the drums and repetitive guitar in the background, it is pretty accessible while still retaining the quirkiness of her early works.” As for predictions that didn’t pan out, Remorque (10) didn’t think he’d like Rosa, but then lost his wig to her sorcery: “I never thought I'd like this as much as I do, but here we are... It's hypnotic.” Sanctuary’s (6) wig, on the other hand, only twitches a bit: “There are so many bits in the musical structure that shine through, but even as one of the highs of this era, the execution loses the momentum.” Earth Intruders (6.5) has similar thoughts: “To me this is quite reminiscent of her later pop work, but like many of her early songs it's content to just plug along without much development.” But enough about Justin Timberlake’s emotional/social maturity.
In other news, holy shit! happiestgirl gives an early Grimes song a 9!: “I love this sweet little indie ditty.” *checks the new to see if there’s also going to be a solar eclipse* No solar eclipse, but Xanax (9) takes us into another dimension: “The most pop song on Geidi Primes for sure! It follows a very clear structure and does such a good job at sounding familiar enough, yet taking use of the very alien/foreign instrumentation. This almost sounds like a Grimes from a parallel universe who is singing in an indie-band. The keyboard-solo is my favorite part of this!” caladan (10) also loves the keyboard solo, though he doesn’t call it that: “Such a simple yet great song. That bassline and the singing are very catchy. Another thing that I love is that little instrumental breakdown. This is probably the highlight of Geidi Primes." Mirwais Ahmadzai (10) agrees: “When I finally explored Grimes’ pre-Visions albums, Rosa was probably the greatest revelation. Unlike anything else on the album. My first 10 of the rate!” Meanwhile, constantino (9) may or may not be lighting up while that funky bassline plays over and over in the background: “I forget how much of a curveball this is in the context of the album. I LIVE for an downtrodden 90s stoner rock ~moment~ on an early Grimes album.” Trouble in Paradise (7.5) offends “Rosa’s” indie cred by referring to it as “jaunty”: The jaunty bass line keeps this moving and her voice stays close to center which lets the lyrics shine.” Last but not least, Satyress (9) describes the song with the perfect marketing buzzwords: “Indie meets Electronic meets Pop meets French folk songs.” I hear French folk songs are the new up and coming trend in pop music. Perhaps Geidi Primes will get its summer smash after all.
YouTube Comments Section
Micah Buzzan: Each one of her songs is like it's own solar system of sounds.
andrea reyes: i used stick and poke to tattoo "ROSA" onto my thigh this song is the best
Sheldon Gregward: Helga Pataki from Hey Arnold.
SKIN
8.111111111
My Score: 8.5
(@Cutlery, @caladan, @Trouble in Paradise, @constantino, @enjoy: 10) HIGHEST V. LOWEST (@Untouchable Ace: 4)
Skin is a rather subtle song, so it took me awhile to appreciate its beauty. The beginning is deceptively simple, almost sounding like lounge music, but then it slowly unfolds into one of the most sensual songs in Grimes’s discography. The melodies are given room to breath and they work their way into your consciousness like a good massage. I also really love the transformation into a more synth-poppy digital sound, with the melodies becoming more chant-like. One of my complaints about Halfaxa is that many songs last too long, but this song (along with a few others) shows that by Visions, she was getting much more skilled at the longer form. The song is six minutes but I don’t find myself getting bored at all. Most of all, I appreciate the song’s sensuality. With the mostly non-sensual Art Angels being her most famous work, I don’t think people appreciate that side of her.
For the second time in the rate, Trouble in Paradise (10) gets vulnerable: “There’s such a foreboding moodiness to the verses that breaks into the aching anxiety of the chorus that speaks to my shakey anxious heart.” Speaking of vulnerability, constantino (10) says, “Probably her most beautiful and touching song. The key is its simplicity, which allows the emotion and vulnerability to radiate and become the main focus. Gets me every time, and the length only makes it more immersive and easy to get lost in.” Xanax (7) is also hearing the human fragility: “Such an alien ballad. It feels so sparse and cold…still totally relatable, human and full of emotion.” I totally agree about the duality between coldness and warmth in this one. It’s an interesting dynamic. For caladan (10), it’s both emotional and hummable: “Even her ballads are very catchy. The instrumental is really good and her voice sounds better than ever.” The one voter not really feeling the emotion is Untouchable Ace, who gives it a 4, but it’s not a total bust for him: “The beginning sounds like a demo with too much focus on the keyboard. Towards the end it gets better.” We’ll end with Cutlery (10), whose rhapsodizing commentary suggests that this could have been in the running for his 11: “Grimes’ own and original spin on an acoustic ballad, the longest Visions cut soars through sorrow, sadness and rejection in intimacy. The emotional effect of the lengthy verses and choruses is maximized by the slowly-progressing melody in its keyboard and drowned out guitars. Lyrically, it holds a lot of raw power with lines such as “You touched me within / And so I know I could be human once again”, and Grimes’ high-pitched vocals only enhance the sense that she's running breathless. Intense and flawless, basically.” As much as I appreciate the compliment, we’re supposed to be commenting on the songs, not the rate host.
YouTube Comments Section
Douglas Robertson: Claire must have been deeply hurt by a relationship....now she suffers
gender sisyphus: pretty sure this songs about gender dysphoria some how ;_;
sad bear: if you replace "soft skin" with "sasuke" it becomes a narusasu love ballad
This fan-made video is a choice, but your mileage may vary:
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GIEDI PRIMES
6.428030303
"Despite its modest production values and relative simplicity, it's a cohesive, enchanting, and surprisingly assured debut."---Pitchfork.
"There is something so unusual about this record, an artifact that sounds as if it is being transmitted from space, as if it were coming from a more creative place than could be found on earth."---Consequence of Sound.
"Despite the esoteric veneer of this bedroom-born debut, Grimes (aka Claire Boucher) has packed ‘Geidi Primes’ with enough ideas to make for an instantly accessible and intimate listen."---NME.
64. Shadout Mapes-5.277777778
62. Gambang-5.611111111
60. Beast Infection-5.75
57. Grisgris-6
54. Sardaukar Levenbrech-6.111111111
52. Venus in Fleurs-6.305555556
50. Zoal, Face Dancer-6.361111111
40. Feyd Rautha Dark Heart-6.888888889
37. Caladan-6.972222222
35. Avi-7.138888889
22. Rosa-8.111111111
Highest Scorers
@caladan: 8.727272727
@japanbonustrack: 8.227272727
@Xanax: 7.75
Lowest Scorers
@Untouchable Ace: 3.090909091
@happiestgirl: 4.363636364
@Sanctuary: 4.636363636
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D
Deleted member 21339
Just catching up now. Skin and Easily both could've gone a bit further but besides that this has gone great. I mean, we been knew the top 20 was gonna be over 90% Visions and Art Angles but I have no complaints.
Because elimination #20 is a tie, we know our Top 20:
Top 20
Halfaxa (1/16)=6% Remaining
Dreamfortress
Darkbloom (2/5)=40% Remaining
Vanessa
Crystal Ball
Visions (6/13)=46% Remaining
Genesis
Oblivion
Circumambient
Vowels = Space And Time
Be A Body
Nightmusic
Art Angels (11/14)=78% Remaining
California
Flesh Without Blood
Belly Of The Beat
Kill V. Maim
Artangels
Pin
Realiti
World Princess II
Venus Fly
Life In The Vivid Dream
Butterfly
Extras (1/12)=8% Remaining
Go (featuring Blood Diamonds)
Top 20
Halfaxa (1/16)=6% Remaining
Dreamfortress
Darkbloom (2/5)=40% Remaining
Vanessa
Crystal Ball
Visions (6/13)=46% Remaining
Genesis
Oblivion
Circumambient
Vowels = Space And Time
Be A Body
Nightmusic
Art Angels (11/14)=78% Remaining
California
Flesh Without Blood
Belly Of The Beat
Kill V. Maim
Artangels
Pin
Realiti
World Princess II
Venus Fly
Life In The Vivid Dream
Butterfly
Extras (1/12)=8% Remaining
Go (featuring Blood Diamonds)
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