There’s an increased clarity in Claire Boucher’s visions nowadays; musically, lyrically and politically. Born out of a frustrating duration of belittling, patronising and scrutinising. The fourth album as Grimes acts as an arrow-firing fort attacking numerous corners of the music industry. The media (in the vein of Lana Del Rey on ‘Venus Fly’), music blogs, male producers and even her own allegiance of fans are the targets of an attitude-fueled record; that’s brave, but many of its factors risk alienation.
Secondly in the clarity department, her once-obscured vocals – which caused contributors of lyric websites to debate over her words – are replaced by crystal clear speeches. It’s an advantageous development in understanding Boucher’s thoughts more accurately. As the Canadian intends on expressing disenchantment to various marks, it’s a calculated decision. ‘World Princess Part II’ could be interpreted as a stab at male producers with a superior and sexist complex with the line: “Call me your kind/You’re so far behind me.” A slight contradictory statement when the album seems to show off the same tricks.
Grimes rebels against the judgmental backlash for switching to a happier, less gloomy style of sound in ‘California’ and ‘Flesh Without Blood’, the latter pointing the finger at the indie scene’s love-hate indecisiveness. There’s also room for commentary on the environmental issues including on ‘Life in The Vivid Dream’ but the controversy over the music business protesting distracts from this intellectualism. Hopefully, this form of ecological clarity is explored more on her next album, but as for the music style that will encase that confrontation, it’s a roulette for the genreless wanderer.