Grimes has taken quite the journey since her Garageband sequencing days of albums Geidi Primes and Halfaxa. A self-made producer, artist, and songwriter from the start of her career, Grimes (also known as Claire Elise Boucher) takes lots of pride in her art, and rightfully so. For the most part, she has written and produced all of her previous records with little help from others, and stays loyal to each of her visions. Although her technical abilities have improved by far, Claire has always had a natural talent for bringing her signature sound to life, even when she only had access to a cheap mic and Garageband in college–starting out by creating various experimental loops combined with layers of delayed vocals. Her long-awaited release Miss Anthropocene is a post-apocalyptic masterpiece ahead of its time, showing outstanding growth and innovation from Claire. The record reveals a new side to the artist-producer, but still absolutely feels like a classic Grimes record at its core that fans can recognize and adore.
Opening ethereal-pop track “So Heavy I Fell Through the Earth” is the perfect introduction to Miss Anthropocene, an album centered around the future of our society and planet. As always, the production is intricate and complex with countless layers, but the soaring vocal melody will send shivers up your spine, making it the post-apocalyptic soundtrack that it is. Following up is “Darkseid”, a brooding trap influenced tune with Grimes boldly but truthfully stating “we don’t love our bodies anymore”, featuring Chinese rapper 潘PAN. Echoing some similarities with “SCREAM” (featuring Pan Wei-Ju) from 2015 album Art Angels, Grimes’ incorporation of foreign language adds even more variety to her music and brings attention to underground foreign artists, something we could surely use more of in today’s music.
“Darkseid” isn’t the only track on Miss Anthropocene to speak strongly on female empowerment–”We Appreciate Power”, the album’s lead single, does as well. Feminism is a subject Grimes doesn’t shy away from, and has spoken out about her experiences as a female producer in a male-dominated industry, not being taken seriously enough as a producer far too many times. The heavy, pulsing synth bass topped with lyrics like “I’ll evade the human race, putting makeup on my face” and “God’s creation, so misunderstood” make for an inspiring, futuristic feminist anthem.
One track that particularly stands out is “Delete Forever”, which veers more in a bubblegum pop direction–and is a nostalgic throwback to the lighter Art Angels sound. Even then, the contrast between the song’s downbeat words to the easygoing, bubbly production is ironic, but a very clever way to further enhance the song’s message. “You’ll miss me when I’m not around” is also one of the more radio-friendly songs of the album, and feels like the type of song running through the ending credits of a movie–yet fitting for the cinematic, fantastical album.
The rest of Miss Anthropocene’s stays within the borderlines of Grimes’ imaginary universe, while still exploring different sounds and subject matter. “Before the fever”, “IDORU”, “4/-EM” and “New Gods” are the most experimental, possibly appealing more to those who favor earlier works like Visions and Halfaxa. Overall, Miss Anthropocene is an impressive step forward for Grimes, and a thrilling modern art pop album that fans of similar contemporaries like FKA Twigs and Poppy will love.
If your music library has been sounding a bit dry lately, give Miss Anthropocene a listen: