Album Review: Miss Anthropocence
Henri Robbins | Online Editor
With a large part of the album released as a series of singles over the last year, one might think that they knew what to expect from Grimes’ most recent project, but even from an artist known for her experimental stylings, the diversity in sound in Miss Anthropocene is astounding. Creating an eclectic yet cohesive mix of sauntering lyricism, frayed yet cohesive instrumentals, and crippling basslines, Grimes has somehow released an album which is totally jarring, yet inexplicably leaves listeners aching for more. The diversity of tracks is astounding, as the engrossingly obtrusive Darkseid, which is nothing if not powerfully oppressive, uses its rippling ending tones to open into the unexpectedly acoustic first notes of Delete Everything, which is the closest to a traditional track on the album yet still unnervingly atypical. As it leads into tracks like New Gods and IDORU, the album continues to push the atypical, with Grimes following her typical whispered, cryptic verbiage and enchanting, evocative instrumentation, all of which she takes into a new, fully-formed experience. Past the music itself, it allows a small glance into the twisted, strange worlds that she is able to create, evoking images of both modern technology and centuries-old ideas, morphing them into an entirely imagined, yet all-too-real investigation of the digital age.