Miss Anthropocene – Grimes Album Review
There will never be a story like Grimes’. Otherwise known as Claire Boucher, we have reached the release of her fifth studio album, Miss Anthropocene. Since her last album, Grimes has been involved of a flurry of media attention, swaying from acclaim to critique. Whether clashing with her label, a tall tale from Azealia Banks, or media scrutiny from a high-profile romance, Miss Anthropocene is a very Grimes way of dealing with the collusion of her stardom.
In Grimes fifth record, she projects the bad reputation she’s received onto a being of ultimate destruction, the goddess of climate change named Miss Anthropocene. The name stems from the two words “misanthrope” and “Anthropocene”. This fifth studio album touches upon darker themes such as drug abuse, death, misanthropy, and destruction.
While a new creative peak for Grimes, the album concept is not fully realized as interjections of Grimes’ personal life take center stage besides our titular villainess. And that’s the beauty in the flawed project. What shines through the character, are the most vulnerable sides to this captivating artist the public has ever seen. But, in terms of Grimes, and her reputation of cohesive work falls short sonically with this uneven album.
So Heavy I Fell Through the Earth (Art Mix): A cinematic album opener. “So Heavy” touches upon Grimes accepting her new role as a mother. Via genius, Grimes described the feeling as a “loss of power”. The almost sinister production is a promising opening to the album, but we’ve already steered away from the concept of the project.
Darkseid (with 潘PAN): Named after a Justice League villain, “Darkseid” welcomes back 潘PAN (formerly known as Aristophanes). On the track, Grimes only sings “Unrest is in the soul, we don't move our bodies anymore”, while 潘PAN raps about the suicide of one of her friends. It’s a mixed bag of anguish, for different reasons. Makes me think, “Is grimes alluding to Instagram culture?” On account of constant filters and modifications so we can present ourselves. “Slim thick is that you?” The song features atmospheric industrial beats.
Delete Forever: A more stripped-down tone. Complete with guitar and echoing violins. The song touches about both losses from Grimes personal life, fellow contemporaries, and an epidemic plaguing the world, opioid addiction. Vulnerable is an understatement. Arguably an element to the destruction of the Miss Anthropocene, the personified viewpoint of Grimes overshadows our villainess.
Violence (with i_o): A pixie-like club banger. While enjoyable, the song deviates from the story of the album. Interpretations of the song have lead fans to believe that the song is a personification of humans versus climate change. It’s a fair metaphor but isn’t weighted by much since Grimes admitted this song was just a fun project to make. While direct, that song contributes to misanthropy in terms of violence against others.
4Æm: The tipping point of the Miss Anthropocene project. This was the first song made in preparation for the new sonic direction of Grimes’ fifth album. Indian instruments and Grime’s notable fairy like vocals rule the song, as it transitions into techno reverberation. The loose connection to this overarching theme is the pending weather change.
New Gods: Over a looming piano ballad, we prepare for new servitude. Grimes sings about the new Gods of our superficial culture. All seem to be coated in plastic.
My Name is Dark (Art Mix): Nu metal guitars swell into a chorus of Hell escaped pixies. Relating to her philosophy of cynicism, Grimes reflects about embracing her negativity to be creative. This touches upon the album’s theme of misanthropy.
You’ll miss me when I’m not around: Simple yet telling. Grimes reminds us that her impression will not be forgotten, despite the blows of her image. Lyrically, the songs is about an angel who kills itself and makes it to Heaven, begrudgingly. Yep, not too far from story created by Grimes. Insecurity from the misanthrope? Seems plausible.
Before the fever: Bleak and Beautiful. Grimes performs her stylized version of the end of times. All instruments are slower and muddled. There is no clear instrumental interjection besides Grimes voice, in a notably deep register.
IDORU: We open to a stereotypical fairy soundscape, birds chirping, Grime’s infantized vocals and mellotron production. For Grimes, the production value is kickass, and one of her best. Compared to the rest of album, lyrically and sonically, it does not fit at all. Grimes described the track as a hopeful ending to such a dark project, but it once again challenged the fluidity and cohesion of the record.