Almost getting Top 10 is a pretty big achievement.
If y'all didn't already notice, "extras" got a higher average than every album that has been eliminated so far.
LISTEN V. RATE: The Official GRIMES Rate (WINNER REVEALED!)
- Thread starter Raichu
- Start date
Almost getting Top 10 is a pretty big achievement.
If y'all didn't already notice, "extras" got a higher average than every album that has been eliminated so far.
Kind of glad to see that these two leave the top10 so early...
"GO" is a solid track (I actually love bloodpops production because it always sounds so clean in a way) but its just not as interesting as many songs that have gone prior.
"Venus Fly" is super fun...I mean Claires adlibs alone are hilarious. They always make me think of the gender-fluid vampire/bat
"GO" is a solid track (I actually love bloodpops production because it always sounds so clean in a way) but its just not as interesting as many songs that have gone prior.
"Venus Fly" is super fun...I mean Claires adlibs alone are hilarious. They always make me think of the gender-fluid vampire/bat
He/Him
This rate is breaking my heart!! Venus Fly is THAT bop!!!
I missed quite a lot (I have some health issues). Be a Body is not even in Top 10?!?????
Yeah, the girls made some terrible choices while you were away.
Speaking of Be a Body, check this amazing live version performed at Glastonbury 2016. It's so reworked that it's basically an entirely new song. If you want a video, click here and go to 25:02. Enjoy!
Venus Fly, Artangels, and Belly of the Beat should've been top 3 in my unpopular opinion.
The only song truly out of its depth here is Butterfly though and it's an 8. Artangels is just a flawless album
The only song truly out of its depth here is Butterfly though and it's an 8. Artangels is just a flawless album
D
Deleted member 21339
He/Him/His
To be fair, I have less of a connection to Butterfly than I do to the rest of the songs remaining... Still a bop though.
This elimination hurts me...
#8
GENESIS
9.388888889
My Score: 10
(@Raichu, @japanbonustrack, @Xanax, @Cutlery, @Untouchable Ace, @caladan, @enjoy, @Mirwais Ahmadzaï, @constantino, @happiestgirl, @Sanctuary, @Remorque: 10) HIGHEST V. LOWEST (@HappyBirthday: 7)
I’m pretty stunned that this is out at #8. I think that it’s one of her very best songs, easily in the Top 5 of her discography. The moment I heard the distinctive bassline that’s just so much cooler than whatever other basslines y’all groove to, I knew that I was in for a special and unique experience. And while the bassline is good enough to elevate almost any song, nothing could have prepared me for those Japanese-sounding (for lack of a better term) synths. They sound like absolute wisdom and truth in sonic form. As somebody said in the write up for “Sardaukar Levenbrech,” she has gotten so much better at appropriating sounds from other cultures over the course of her career. For instance, this is in way better taste than “Sardaukar” because she’s using the Japanese influences as a bit of sonic flavoring for a fresh sound rather than engaging in stereotypical parody. And boy does “Genesis” sound fresh. Enhanced by a video that feels like California-in-a-funhouse-mirror, the song is unlike anything I’ve heard before or since. I mean, it’s quite modern and most people would probably describe it as indie or alternative, but it also has a spiritual, hymnal quality about it, especially with the mantra-like feel of the melodies. My brother, who is a Christian rapper, heard it and said, “This is what heaven probably sounds like. Why can’t Christians make music that sounds like this?” I think he was absolutely right. There is something mystical and downright heavenly about “Genesis,” but it has enough a contemporary flavor to keep things feeling cutting edge. Honestly, sometimes it’s almost hard to go back to more pedestrian sounding pop music after immersing myself in this soundscape. An absolute triumph from beginning to end.
Sanctuary (10) starts us off by reminiscing about simpler times: “This really is such a time capsule from the time. You weren’t a true artsy gay if you weren’t bopping to this in 2012.” I’m not sure if they’re artsy gays or not, but the nymphs are back and they’re bringing light and positivity. constantino (10) has the scoop: “The song that took me from a casual fan to a stan. This is just...ethereal, and not to mention timeless. This radiates light and positively, and never fails to serve me a full nymph fantasy no matter what the mood or context I’m in.” If you’re still in Belly of the Beat breakdown mode, maybe this will help? Cutlery (10) is also getting positivity and light: “Only a legend like her could make such a bright and happy-sounding alt pop song with fairy vocals and barely intelligible lyrics! From all the brilliance displayed here, I can highlight the piano chords in the «choruses» that bring the Bible passage-like feeling of the track to life, as well as the backing, airy vocals during the last minute of the “Home and I know / Playing the deck above" goodness. She succeeded in making this fantastic mythical song, and I can't thank her enough for it.” Xanax (10) tries to thank her, but words fail him: “I cannot even put in words what I felt when I first listened to this song. This song is just otherworldly beautiful. The melody, the lyrics, the vocals….ugh. Just perfection. I literally have no words. I really, really love the bold mix of synths, the improvised piano and again these kind of “asian“-sounding instrumentation-elements… an Elfenlied indeed.” I don’t know what an Elfenlied is, but it sounds like something Claire would be into.
Some of y’all talked about how this song took your Grimes virginity. Mirwais Ahmadzai (10) assumes that everybody’s first time was like his---“Like most people(?), this is the first Grimes song I heard. Absolutely magical. A masterclass in songwriting. Great video”---while Happy Birthday (7) says, “This was the first Grimes song I ever heard. It sounds like a song I’ve forgotten most of that got stuck in my head anyway, just hooks repeating in cycles.” Trouble in Paradise (9.5) has quite a different memory expedition: “I love the piano lines and just about everything else about this song, but I can’t bring myself to give it a 10. I always sort of forget the melody of the song and in most other discographies/rates it would be an easy 10 when compared with Grimes’s other highs this just isn’t quite there.” But enough about your 11. While we’re on the subject of how this song stacks up with the rest of Grimes discography, let’s hear from Untouchable Ace (10), who says, “The first evidence of her complete greatness.” Taking this into consideration, I feel like this rate is my very own Genesis. caladan (10) also think it represents Grimes greatness: “This is one of her best songs and for a good reason. Everything from the amazing keyboard solo intro to the perfect bassline and catchy chorus is spot on.” Posh Spears (9.5) describes it as brilliant, but seemingly takes off a half point because of Brooke Candy: “I always forget how brilliant this is but whenever I revisit it I’m left shook. I’m mad at her for enabling Brooke Candy in the video though.” I won’t further enable her by commenting.
We’ll end on happiestgirl (10), who has a pressing question: “"A bop! I love the keyboard. Why does it sound like she's saying 'I am the one who knocks' tho.’” I don’t hear that, but Grimes’s vocals are like clouds. You can hear anything you want in them.
YouTube Comments Section
Oliver Fouquet: This song makes me uncontrollably bubbly and happy. It is fucking magical. I want to hug everyone I see! I want to hug the wall! HELP!
tatiana jh: Beautiful. Played this to a friend and she called it ''Weird Japanese shit''. We are no longer friends.
Indy Rose: I'm probably the only emo here.
#8
GENESIS
9.388888889
My Score: 10
(@Raichu, @japanbonustrack, @Xanax, @Cutlery, @Untouchable Ace, @caladan, @enjoy, @Mirwais Ahmadzaï, @constantino, @happiestgirl, @Sanctuary, @Remorque: 10) HIGHEST V. LOWEST (@HappyBirthday: 7)
I’m pretty stunned that this is out at #8. I think that it’s one of her very best songs, easily in the Top 5 of her discography. The moment I heard the distinctive bassline that’s just so much cooler than whatever other basslines y’all groove to, I knew that I was in for a special and unique experience. And while the bassline is good enough to elevate almost any song, nothing could have prepared me for those Japanese-sounding (for lack of a better term) synths. They sound like absolute wisdom and truth in sonic form. As somebody said in the write up for “Sardaukar Levenbrech,” she has gotten so much better at appropriating sounds from other cultures over the course of her career. For instance, this is in way better taste than “Sardaukar” because she’s using the Japanese influences as a bit of sonic flavoring for a fresh sound rather than engaging in stereotypical parody. And boy does “Genesis” sound fresh. Enhanced by a video that feels like California-in-a-funhouse-mirror, the song is unlike anything I’ve heard before or since. I mean, it’s quite modern and most people would probably describe it as indie or alternative, but it also has a spiritual, hymnal quality about it, especially with the mantra-like feel of the melodies. My brother, who is a Christian rapper, heard it and said, “This is what heaven probably sounds like. Why can’t Christians make music that sounds like this?” I think he was absolutely right. There is something mystical and downright heavenly about “Genesis,” but it has enough a contemporary flavor to keep things feeling cutting edge. Honestly, sometimes it’s almost hard to go back to more pedestrian sounding pop music after immersing myself in this soundscape. An absolute triumph from beginning to end.
Sanctuary (10) starts us off by reminiscing about simpler times: “This really is such a time capsule from the time. You weren’t a true artsy gay if you weren’t bopping to this in 2012.” I’m not sure if they’re artsy gays or not, but the nymphs are back and they’re bringing light and positivity. constantino (10) has the scoop: “The song that took me from a casual fan to a stan. This is just...ethereal, and not to mention timeless. This radiates light and positively, and never fails to serve me a full nymph fantasy no matter what the mood or context I’m in.” If you’re still in Belly of the Beat breakdown mode, maybe this will help? Cutlery (10) is also getting positivity and light: “Only a legend like her could make such a bright and happy-sounding alt pop song with fairy vocals and barely intelligible lyrics! From all the brilliance displayed here, I can highlight the piano chords in the «choruses» that bring the Bible passage-like feeling of the track to life, as well as the backing, airy vocals during the last minute of the “Home and I know / Playing the deck above" goodness. She succeeded in making this fantastic mythical song, and I can't thank her enough for it.” Xanax (10) tries to thank her, but words fail him: “I cannot even put in words what I felt when I first listened to this song. This song is just otherworldly beautiful. The melody, the lyrics, the vocals….ugh. Just perfection. I literally have no words. I really, really love the bold mix of synths, the improvised piano and again these kind of “asian“-sounding instrumentation-elements… an Elfenlied indeed.” I don’t know what an Elfenlied is, but it sounds like something Claire would be into.
Some of y’all talked about how this song took your Grimes virginity. Mirwais Ahmadzai (10) assumes that everybody’s first time was like his---“Like most people(?), this is the first Grimes song I heard. Absolutely magical. A masterclass in songwriting. Great video”---while Happy Birthday (7) says, “This was the first Grimes song I ever heard. It sounds like a song I’ve forgotten most of that got stuck in my head anyway, just hooks repeating in cycles.” Trouble in Paradise (9.5) has quite a different memory expedition: “I love the piano lines and just about everything else about this song, but I can’t bring myself to give it a 10. I always sort of forget the melody of the song and in most other discographies/rates it would be an easy 10 when compared with Grimes’s other highs this just isn’t quite there.” But enough about your 11. While we’re on the subject of how this song stacks up with the rest of Grimes discography, let’s hear from Untouchable Ace (10), who says, “The first evidence of her complete greatness.” Taking this into consideration, I feel like this rate is my very own Genesis. caladan (10) also think it represents Grimes greatness: “This is one of her best songs and for a good reason. Everything from the amazing keyboard solo intro to the perfect bassline and catchy chorus is spot on.” Posh Spears (9.5) describes it as brilliant, but seemingly takes off a half point because of Brooke Candy: “I always forget how brilliant this is but whenever I revisit it I’m left shook. I’m mad at her for enabling Brooke Candy in the video though.” I won’t further enable her by commenting.
We’ll end on happiestgirl (10), who has a pressing question: “"A bop! I love the keyboard. Why does it sound like she's saying 'I am the one who knocks' tho.’” I don’t hear that, but Grimes’s vocals are like clouds. You can hear anything you want in them.
YouTube Comments Section
Oliver Fouquet: This song makes me uncontrollably bubbly and happy. It is fucking magical. I want to hug everyone I see! I want to hug the wall! HELP!
tatiana jh: Beautiful. Played this to a friend and she called it ''Weird Japanese shit''. We are no longer friends.
Indy Rose: I'm probably the only emo here.
Last edited:
He/Him/His
What?! That's... really surprising. The averages are already so high though.
Yeah. As far as averages are concerned, just wait until we get to #1.
D
Deleted member 21339
Okay but a ~9.4 average at #8? Miss Claire did that.