She continues her march toward accessibility, rendering hazy, quixotic sketches into tangible, hook-heavy electro-pop.
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.
There's no doubt that Visions is an excellent album. Though it may be Boucher's third proper LP as Grimes, it sounds like the debut of a young artist, which is to say there are some missteps—albeit a rare occurrence.
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
She’s got her own dreamy, glitchy art-pop. And yes, she’s still cooler than you.
Visions’ rebellious contrariness to evade classification is part of the design and certainly part of the charm.
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.
It's fit to burst with bone-bending synths, insistent beats and a sometimes shrill vocal that manages to both charm and unsettle.
Grimes just raised the bar even further with her richly textured and inventive new album (the third in just two years).
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.
|# 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|
|# 1 -||Rough Trade|
|# 10 -||Spinner|
|# 26 -||Stereogum|
|# 2 -||The Fly|
|# 2 -||The Guardian|
|# 41 -||Time Out London|
|# 11 -||Tiny Mix Tapes|
|# 17 -||Uncut|
|# 10 -||Under the Radar|
|# 7 -||Urban Outfitters|
|# 37 -||Drowned in Sound|
|# 5 -||NME (2010-2014)|
|# 252 -||NME Top 500 of All Time|
|# 15 -||Pitchfork (2010-2014)|
|# 6 -||Pitchfork Readers|
|# 22 -||Stereogum (First Half)|