She continues her march toward accessibility, rendering hazy, quixotic sketches into tangible, hook-heavy electro-pop.
It's an album to live in and love, to dance to and to wallow in.
Although Visions feels too light (but not lightweight) to indicate intentions on Boucher's part to create a record of capital-S Significance, ignoring Visions' considerable weight as a fully formed work of art discredits her achievement.
Visions, Boucher’s fourth formal release in just under two years and the best thing she’s yet put her name to by far, is very likely to be weird music’s worldwide coming out party.
Visions finds Boucher mining not just the clean brightness of Aphex Twin-like atmospherics but also the immediacy of straight-up mall-pop
Visions’ rebellious contrariness to evade classification is part of the design and certainly part of the charm.
Fresh and surprisingly accessible despite its quirks, Visions is bewitching.
It’s like skipping through a thousand excellent tracks on your iPod shuffle and isolating 13 perfect moments.
Visions is beautifully conceived and executed, musically, lyrically and thematically.
Delicious yet uncomplicated, satisfying but hardly filling, Visions showcases an artist with clear talent and potential.
Were this an EP, it might have been a perfect release, but as it stands Visions, while improving on previous work, is not yet the career defining moment that Boucher seemed to suggest it might be.
Visions is a remarkable outing for Boucher in that it manages to showcase her knack for spinning bits and pieces from all points on the musical spectrum into crafty, easily digestible pop.
Boucher's talent lies in the balance of exploiting her gifts and leveraging what's come before her, but judiciously.
As time wears on you start to feel that things are a bit too ethereal, as ideas fall short of solidifying into concrete hooks and structures begin to feel just slightly aimless
Everything on Visions smells crisp and clean, doused in eco-friendly laundry detergent; there is no stench of compromise here.
Visions isn’t as much of an evolution as it is an elongation
|# 1 -||AllMusic|
|# 5 -||Clash|
|# 2 -||Cokemachineglow|
|# 17 -||Consequence of Sound|
|# 2 -||DIY|
|# 5 -||Exclaim!|
|# 26 -||FACT Magazine|
|# 3 -||FILTER|
|# 19 -||Gigwise|
|# 1 -||Gorilla vs. Bear|
|# 24 -||musicOMH|
|# 2 -||NME|
|# 15 -||No Ripcord|
|# 41 -||Obscure Sound|
|# 50 -||Paste|
|# 9 -||Pazz & Jop|
|# 17 -||Piccadilly Records|
|# 6 -||Pitchfork|
|# 11 -||PopMatters|
|# 8 -||Pretty Much Amazing|
|# 33 -||Rolling Stone|
|# 10 -||Spinner|
|# 26 -||Stereogum|
|# 2 -||The Fly|
|# 2 -||The Guardian|
|# 41 -||Time Out London|
|# 11 -||Tiny Mix Tapes|
|# 17 -||Uncut|
|# 10 -||Under the Radar|
|# 37 -||Drowned in Sound|
|# 5 -||NME (2010-2014)|
|# 252 -||NME Top 500 of All Time|
|# 15 -||Pitchfork (2010-2014)|
|# 6 -||Pitchfork Readers|
|# 1 -||Rough Trade|
|# 22 -||Stereogum (First Half)|
|# 7 -||Urban Outfitters|