There’s a moment on Grimes’ fantastic(al) new album Visions, about halfway through “The Colour of Moonlight” — just after the ‘chorus,’ for which Claire Boucher has swapped her flatly hooky ‘verse’ for an even-steadier one-note melody, as if she were walking some sort of tonal tightrope — when the tension splinters into a multitude of particulate voices. Steeped in traditions of R&B and emotional exorcism though she may be, and extraordinarily talented vocalist though she assuredly is, Boucher’s recorded selves eschew the spotlight: the more they project and the more they plead, the smaller they become.

• Grimes Visions Vinyl

By now, we’ve already at least subconsciously noted this trend, especially in the sub-two-minute Ed Banger dollhouse of “Eight.” It’s just one way Boucher uses the trendy to paradoxical ends: pitch-shift has never (“Why Don’t You Call Me” excepted) sounded so much like actual tininess, like the actual shrinking of vocal chords in response to want. Yeah, reverb and all that, we get that the world is this huge uncaring place whose abysses are to be shouted into, but this isn’t just the sound of the largeness of the world surrounding pop microcosms: this is the actual visceral experience of one person’s diminution. We, the listeners, are part of the uncaring city/scapes that rise around her.

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Part of the reason that Visions comes off as an ‘important’ album, despite in some ways converging on plenty of RIYL baggage and the selfsimilar black hole of pop itself, is that it’s constructed using different tools. Like, other TMT staffers made the connection to late Gang Gang Dance, which I can see, but no way is Grimes so hamfistedly “everything time”; no way is Grimes inviting you to that sort of globalized, post-cultural rave. I think, instead, of Burial, and all the untapped potential of what I guess dubstep used to be — vocal grotesques as a means to confront the impenetrably dark, lonely space between people. Grimes seems to be taking those expansive and unfurled tropes of examination-worthy acts like Burial and Grouper (think of those hypnotic clusters that emerge in the latter when all instincts are indulged simultaneously) and re(-)coiling them into something that resembles pop music but is also consistently unique and fascinating.

The shorthand is that if we have trouble getting behind an artist ‘selling out’ or indulging pop as flagrantly as Boucher does here, it’s because said indulgences rarely end up sharpening the contrast between the artist and the surrounding cultural landscape. Grimes’ first two albums winked in Visions’ direction but felt so enmeshed in DIY outsider art (her own shroomy Day-of-the-Dead cover art getting less and less accurate to her music) that their eccentricities were a little mushy or ill-defined by comparison. Another TMTer mentioned Maria Minerva, which seemed off to me at first, but then I started to hear how this could be the sort of acuity that exists inside Minerva’s head when she shimmies over some canned beat. The MJ-nodding bassline transposed to a midi keyboard octave in “Vowels=Space and Time” stands alone, sexy-because-affectless, and, like so much else on the album, ridiculous in a way that doesn’t derail the groove. Or, an even better example, that appliance-like hum in the middle of “Oblivion,” jamming out as if it weren’t at some oblique angle to the key of the song. It’s a rare, giddying thing to hear such blatant DIY accidentals over a high-fructose 4/4 electro whomp.

To some extent, it’s the audacity of Grimes’ presentation that sets her apart from likeminded contemporaries Fever Ray or, christ, I dunno, Glasser or whatever. The first track and so-called ‘intro’ “Infinite [Heart] Without Fulfillment” is actually a no-second-wasted strangle of chopped-up vocals designed to blast the hinges off of expectations for, in equal measure, either a homemade/experimental album or a strobing Top 40 contender. You’d think that by trying to do both, she’d fail at both, right? Yet the entire first third of the album is rife with such mind-boggling earworms, and if there’s any complaint to be leveled at Visions, it’s that it thereafter grows the slightest bit more complacent, the slightest bit less this-is-the-future-gnarly, as if her core vocal-whirlpool-dosing-on-sequencers aesthetic were fresh enough to bear repeating (it is).

But it’s worth examining why we might still not want Boucher to break her stride. It has to do with a uniquely 21st-century suspension of disbelief that comes more easily on Visions than on previous albums (one that, perhaps, her live show continues to burst). Like the blurry want-shapes of Burial or Grouper, Boucher’s words don’t typically demand to be heard — “see you on a dark night” is at most phantasmagorical, nocturnal, but certainly no invitation — so it can cramp up the ears to repeatedly miss her plain(tive) request on the longish “Skin.” The stakes of said request? “So I know I can be human once again.”

It’s a vulnerable, and melodically shy, sexual invitation — wiped mascara, hands folded neatly. No one knows if she can be human once again; we’ve enlisted Boucher, we had believed, to help us forget that. To be human; to be familiar; to be unadorned: if a kernel like that signals weakness, it’s weakness carefully-chosen and -cultivated, and on an album whose fabric is constantly bending around fears, uncertainties, and desires, its nakedness is as close to a spotlight and a promise of humanity as Boucher will get. For our part, now that she’s asking something of us, we feel we’ve been spoiled. And we have, absolutely — recall how our not caring has been taken as physical law on this album; recall the IV-drip of all we have dosed upon. Her intent is to get everyone sucked in before naysayers have a chance to WTF. Yet her humanness has been bleeding through the prints from the beginning. Yeah, she’s planted shit that can and will grow in the future, but make no mistake: we need pop music that sounds like this right now, because no one else seems quite so capable of confronting the tangle of expectations (or lack of expectations) in the post-capitalist music terrain; no one zeroes in on the tricky politics of cultural intercourse quite so graphically.

01. Infinite [Heart] Without Fulfillment
02. Genesis
03. Oblivion
04. Eight
05. Circumambient
06. Vowels = Space and Time
07. Visiting Statue
08. Be A Body
09. Colour of Moonlight (Antiochus) [feat. Doldrums]
10. Symphonia IX (My Wait Is U)
11. Nightmusic [feat. Majical Cloudz]
12. Skin
13. Know The Way (Outro)

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More about: Grimes

Links: Grimes - Arbutus

Visions is the third studio album by Canadian singer and songwriter Grimes, released on January 31, 2012. Her first since signing with 4AD,^[6] the album was recorded entirely on Apple's GarageBand software in Grimes' apartment over a three-week period.^[7][8] It was mixed by Grimes and her manager Sebastian Cowan at their La Brique Studio Space.^[9]Visions was streamed on the NPR website a week before it was released in the United States.^[10]

Visions received widespread acclaim by critics on its release and was included in several year-end lists. The album's two singles, 'Oblivion' and 'Genesis' were named one of the best songs of 2012 by many publications, with Pitchfork going so far as to name 'Oblivion' as, to date, the best song of the decade.^[11]Visions won a Juno Award^[12] and was also nominated for the 2012 Polaris Music Prize^[13]. The album is labeled as bringing the DIY music scene of the Mile End neighbourhood of Montreal to international popularity.^[14]

• 2Release and promotion
• 3Critical reception
• 6Charts

Background and recording[edit]

– Grimes

Claire Boucher released her debut album as Grimes, Geidi Primes on Canadian record label Arbutus Records in January 2010, followed by Halfaxa in September, when she began publicly promoting Grimes and started touring beyond Montreal. In 2011, she released a split 12'EP with fellow Montreal based musician d'Eon, Darkbloom and, beginning in May, opened for Swedish singer Lykke Li on her North American Tour,^[15][16] and the following August her debut album was re-released through No Pain in Pop Records, in CD and vinyl format for the first time.^[17] In May, Boucher performed early versions of new songs 'Genesis' and 'Nightmusic' at Festival Kinetik,^[18] and 'Be A Body' in July.^[19]

Growing frustrated with touring and a lack of stability in her life, Boucher began work on Visions in August 2011 over three weeks at her home in Montreal.^[7][20][21] While under a release deadline set before she had started the album by her then manager,^[22] she recorded the album at a 'psychotic pace' to meet the deadline.^[23] Most songs on the album were finished in a single day, without many demos being created beforehand.^[24] She described the process as being 'equally enjoyable and tortuous'.^[25] She created the album hoping to 'clear [her] mental slate. Overriding everything I’d done previously, too' stating the album 'is a pretty good representation of the beginning of the future.”^[7]Visions was recorded using Apple's GarageBand, primarily using a Roland Juno-G keyboard, vocal pedals, and a sampler.^[26] The album was mixed by Boucher and Sebastian Cowan at their La Brique Studio Space.^[27] She signed with record label 4AD in January 2012.^[28]

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Release and promotion[edit]

Visions was released on January 31, 2012 in Canada,^[29] and on February 21, 2012 in the US, UK and Europe.^[30] Worldwide releases followed throughout March. The album was streamed on the NPR website a week before it was released in the United States.^[31] The Canadian vinyl version of the album featured a different track listing; it featured 9 songs, including two previously unreleased song 'Life After Death' and 'Ambrosia'.^[32] 'Oblivion' was released onto the Internet in October 2011 as a promotional single, along with the announcement of the album.^[33][34] 'Genesis' was issued as the lead single on January 9, 2012.^[35]

The album debuted at No. 98 on the Billboard 200 albums chart on its first week of release,^[36] with around 5,000 sold in the United States. It also debuted at No. 8 on the Top Dance/Electronic Albums chart.^[37] As of December 2015, the album has sold 110,000 copies in the US.^[38] It has sold over 150,000 units. ^[39] In 2012 it was awarded a silver certification from the Independent Music Companies Association which indicated sales of at least 20,000 copies throughout Europe.^[40]

In November 2012, with the announcement that Visions was named album of the year by record shops Rough Trade and Resident, two exclusive bonus discs were made available with any purchase of the album in each shop, featuring remixes and rare tracks.^[41]

Visuals[edit]

The music video for 'Oblivion', directed by Emily Kai Bock,^[42] was shot in Montreal at Olympic Stadium and at McGill University's Molson Stadium,^[43][44] during a football game and a motocross rally.^[42][45] The video debuted on March 2, 2012, and shows Grimes amongst shirtless frat boys,^[45] as well as in a men's locker room surrounded by weightlifting athletes.^[46] 'Art gives me an outlet where I can be aggressive in a world where I usually can't be, and part of it was asserting this abstract female power in these male-dominated arenas—the video is somewhat about objectifying men. Not in a disrespectful way, though', Grimes explained.^[42] In an interview with Spin, she revealed that the song is about 'going into this masculine world that is associated with sexual assault, but presented as something really welcoming and nice. The song's sort of about being—I was assaulted and I had a really hard time engaging in any types of relationship with men, because I was just so terrified of men for a while.'^[1]

The video for 'Nightmusic' was directed by John Londono and premiered on May 10, 2012. It takes place in a 'barren, greywashed' landscape, and features Grimes wearing one of the 'pussy rings' she designed in collaboration with Montreal-based jeweler and sculptor Morgan Black.^[47][48]

The self-directed video for 'Genesis', which was released as the album's lead single on January 9, 2012,^[49] premiered on August 22, 2012.^[50] It was filmed in Los Angeles and co-stars rapper and stripper Brooke Candy, whom Grimes describes as 'a very contemporary muse'. In the video, Grimes is seen alongside a group of friends while driving an Escalade in the desert, holding an albino python in the back of a limousine, and posing in the woods. She said of the concept of the video: 'It's loosely based on this painting by my favorite painter, Hieronymus Bosch, called The Seven Deadly Sins and the Four Last Things. I wanted to play with Medieval/Catholic imagery. I was raised in a Catholic household and went to a Catholic school, and my childhood brain perceived medieval Catholicism as an action movie: There's this crazy omnipresent guy who can destroy you at any moment.'^[51]

Critical reception[edit]

Visions received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 80, based on 42 reviews, which indicates 'critical acclaim'.^[52] Lindsay Zoladz of Pitchfork awarded the album a 'Best New Music' designation, claiming it 'showcases a streamlined aesthetic, resulting in a statement that feels focused, cohesive, and assured. It's simple enough to leave room for Grimes to grow, but this thing is so compulsively listenable it's hard to come away from it wanting much more'.^[59]The A.V. Club's Evan Rytlewski commented that on Visions, Grimes 'continues her march toward accessibility, rendering hazy, quixotic sketches into tangible, hook-heavy electro-pop'.^[54] Jon Caramanica of The New York Times hailed Visions as 'one of the most impressive albums of the year so far'.^[63] Rebecca Nicholson of The Guardian described Visions as a 'smart, funny album, and it's almost impossible not to dance to it'.^[56]Clash's Matthew Bennett wrote, 'With 4AD's renewed vigor in all affairs electronique and Boucher's coherent elevation in both song quality and hook there'll be no stopping this creative, sensual explosion of humanity called Grimes.'^[64] Benjamin Boles of Now called the album 'richly textured and inventive', noting that 'while Visions is unmistakably 2012 sonically in its references to R&B and hip-hop, it also fits remarkably gracefully into 4AD's impressive back catalogue of dream pop'.^[3]

Matt James of PopMatters praised the album as 'an absolute blast' and opined, 'Sure, it could have done without some of the interludes [..] but its overall sense of ambition is intoxicating. Visions' rebellious contrariness to evade classification is part of the design and certainly part of the charm'.^[5] Heather Phares of AllMusic concluded, 'Fresh and surprisingly accessible despite its quirks,Visions is bewitching'.^[53] Eric Harvey of Spin wrote, 'The pervasive sense on Visions is of a young woman carefully pushing out of her own introversion, which makes the moments where she sings from the gut instead of the throat [..] or strives for human-on-human sensuality [..] all the more thrilling'. Harvey continued, 'Boucher's talent lies in the balance of exploiting her gifts and leveraging what's come before her, but judiciously'.^[62] Kevin Liedel of Slant Magazine viewed the album as 'a flawed but intimate glimpse into the fantasies of its creator, and while it might not act as a springboard to greater fame for Grimes, it's just as satisfying to hear her take her bedroom music into a darkened basement, away from the prying world.'^[65] However, Luke Winkie of Under the Radar felt that Visions 'isn't as much of an evolution as it is an elongation; Boucher is still making warped, sparsely-populated electro-pop, and the potential still outweighs the content', adding that the album 'stands as a half-formed concept'.^[66] Reyan Ali of The Phoenix stated that 'the ever-fascinating Boucher clearly has unusual ideas sloshing around her skull', but ultimately criticized the album as 'unnecessarily oblique, listlessly long (48 minutes!), and painfully shapeless'.^[67]Rolling Stone's Jody Rosen expressed that 'Grimes isn't spooky enough to be 'ghostly,' and not substantial enough to hold your attention.'^[61]

Accolades[edit]

AllMusic proclaimed Visions the best album of 2012 and stated, 'On Visions, Claire Boucher honed the mix of little-girl-lost vocals and dark synth-scapes she'd forged on her first two Grimes albums, Geidi Primes and Halfaxa, into something just as unique, but far catchier.'^[68]The Guardian named it the second best album of 2012, calling it 'a masterpiece in gonzo pop that is weird, original and derivative at the same time'.^[69] The NME ranked the album at number two on its 50 Best Albums of 2012 list.^[70] The album appeared at number five on Clash's list of The Top 40 Albums of 2012, and the magazine referred to Grimes as a 'creative, sensual explosion of humanity'.^[71]Pitchfork placed the album at number six on its list of The 50 Best Albums of 2012 and praised it as 'a triumphant meeting of human and computer, an album that blows the traditions of both pop and experimental music to pieces and glues them back together in gorgeous, entrancing ways'.^[72]PopMatters included the album at number 11 on its list of The 75 Best Albums of 2012, concluding, 'Astoundingly catchy, occasionally haunting, and frequently brilliant, Visions is top-rate art and pop in equal measure, and deserves to be talked about for years to come'.^[73]

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British magazine Fact ranked Visions the 26th best album of 2012 and commented it 'moved beyond the circumstantially lo-fi character of her early offerings Geidi Primes and Halfaxa for a profoundly inventive and just plain weird take on electro-pop. While the shifty rhythms can get a bit repetitive, they're usually voiced differently, and they're always paired with otherworldly synth-work that darts into uneasy, industrial territory'.^[74]Rolling Stone placed Visions at number 33 on its 50 Best Albums of 2012 list, noting the album 'uses EDM extremism, medieval chants, sugar-crusted melodies and her own sky-high voice to rethink pop music'.^[75] The album was listed on Paste's The 50 Best Albums of 2012 at number 50, and the magazine wrote, 'With its constantly shifting tonal landscapes and non-standard structures, it's the kind of music that's exceptionally hard to peg on paper, but that never stops Visions' tracks from looping in your head long after it spins to a close'.^[76]

'Oblivion' was ranked the best song of 2012 by both Pitchfork and PopMatters; the former called it 'beautifully fragmented' and stating it 'sound[s] both chilly and machine-like but also radiate[s] human warmth and imperfection',^[77] while the later opined that 'this nouveaudream pop triumph is surely the album's calling card, the definitive encapsulation of everything that makes the record (not to mention the musician behind it) so beguiling to listen to'.^[78] The NME named 'Oblivion' and 'Genesis' the sixth and 16th best tracks of 2012, respectively.^[79]Rolling Stone included 'Oblivion' at number 28 on its list of the 50 Best Songs of 2012, writing that on the song, Grimes 'drops sugar-dust vocals over a thwunking synthloop, sounding perfectly dreamy until you listen to the words: 'I never walk alone after dark../Someone could break your neck/Coming up behind you and you'd never have a clue.' The catchiness only makes it creepier'.^[80]

Visions was shortlisted for the 2012 Polaris Music Prize on July 17, 2012, but lost out to Feist's Metals.^[13] The album won Electronic Album of the Year at the Juno Awards of 2013.^[12]

Track listing[edit]

All tracks written by Claire Boucher.

Personnel[edit]

Credits adapted from the liner notes of Visions.^[85]

• Grimes – vocals, production, poetry
• Anna Akhmatova – poetry
• Jasper Baydala – layout
• Sebastian Cowan – mastering, mixing
• Mark Khair – alien head design

Charts[edit]

Release history[edit]

References[edit]

1. ^ ^abHopper, Jessica (December 6, 2012). 'Grimes Comes Clean: Synth-Pop Provocateur on Her Big Year'. Spin. Retrieved October 27, 2015.
2. ^Resident Advisor
3. ^ ^abBoles, Benjamin (February 16–23, 2012). 'Grimes – Visions'. Now. 31 (25). Retrieved October 27, 2015.
4. ^PopMatters
5. ^ ^abJames, Matt (February 21, 2012). 'Grimes: Visions'. PopMatters. Retrieved October 27, 2015.
6. ^Derdeyn, Stuart (February 15, 2012). 'Going in a dance direction'. The Province. Postmedia Network. Retrieved February 20, 2012.^{[permanent dead link]}
7. ^ ^abcd'Visions: Grimes'. Clash Magazine. March 13, 2012. Retrieved September 28, 2018.
8. ^Lau, Melody (February 13, 2012). 'Q&A: Grimes'. National Post. Postmedia Network. Retrieved October 28, 2015.
9. ^Flood, Kathleen (February 1, 2012). 'Siren Seduction: Q&A With Electronic Musician Grimes'. The Creators Project. Vice Media. Retrieved October 28, 2015.
10. ^Kagan, Eleanor (February 12, 2012). 'First Listen: Grimes, 'Visions''. NPR. Retrieved February 20, 2012.
11. ^'The 200 Best Tracks of the Decade So Far (2010-2014) - Page 10'. Pitchfork. Retrieved 2019-01-19.
12. ^ ^abStevenson, Jane (April 21, 2013). 'Carly Rae Jepsen dominates Juno Awards'. Toronto Sun. Sun Media. Retrieved May 14, 2013.
13. ^ ^ab'The 2012 Polaris Music Prize Short List Nominees'. Polaris Music Prize. Retrieved October 28, 2015.
14. ^Olbrich, Suze (July 10, 2013). 'The Warehouse Pop of Arbutus Records'. Dazed. Retrieved November 23, 2016.
15. ^Christiansen, Lisa. Today on Appetite for Distraction: Grimes^{[permanent dead link]}. BBC Radio 3 (live radio broadcast). Retrieved June 7, 2011
16. ^Lucas, John (February 16, 2012). 'grimes-taps-eclectic-set-influences'. Retrieved June 17, 2012.^{[dead link]}
17. ^Riewer, Brian (12 July 2011). 'Grimes Set To Re-Release Debut Album'. Sun on the Sand. Archived from the original on 15 July 2012. Retrieved 19 February 2012.
18. ^https://www.setlist.fm/setlist/grimes/2011/metropolis-montreal-qc-canada-bdce97e.html
19. ^https://www.setlist.fm/stats/songs/grimes-4bd2b352.html?song=Be+a+Body
20. ^'Grimes: nine days without food, sleep or company gave me Visions'. The Guardian. April 28, 2012. Retrieved September 28, 2015.
21. ^Lau, Melody (February 13, 2012). 'Q&A: Grimes'. National Post. Postmedia Network. Retrieved October 28, 2015.
22. ^http://the-talks.com/interview/grimes/
23. ^https://www.rollingstone.com/music/music-features/grimes-the-triumph-of-a-self-made-oddball-40059/
24. ^https://www.fuse.tv/videos/2015/12/grimes-fuse-first-art-angels-visions-interview
25. ^'Interview: Grimes'. 7digital. 2012. Archived from the original on May 2, 2012. Retrieved June 26, 2012.
26. ^Battan, Carrie (February 16, 2012). 'Interviews: Grimes'. Pitchfork. Retrieved October 27, 2015.
27. ^Flood, Kathleen (February 1, 2012). 'Siren Seduction: Q&A With Electronic Musician Grimes'. The Creators Project. Vice Media. Retrieved October 28, 2015.
28. ^Battan, Carrie (4 January 2012). 'Grimes Signs to 4AD, Listen to New Track 'Genesis' From Visions'. Pitchfork. Retrieved 28 September 2018.
29. ^Cite error: The named reference hmvcanada was invoked but never defined (see the help page).
30. ^https://www.discogs.com/Grimes-Visions/release/3419668
31. ^Kagan, Eleanor (February 12, 2012). 'First Listen: Grimes, 'Visions''. NPR. Retrieved February 20, 2012.
32. ^https://www.discogs.com/Grimes-Visions/release/9045830
33. ^https://www.refinery29.com/this-is-our-jam-grimes-oblivon
34. ^https://www.stereogum.com/846762/grimes-oblivion/mp3s/
35. ^'Genesis – Single by Grimes'. iTunes Store (US). Apple. Retrieved September 29, 2018.
36. ^'Billboard 200'. Billboard. March 10, 2012.
37. ^'Top Dance/Electronic Albums'. Billboard. March 10, 2012.
38. ^'Upcoming Releases'. Hits Daily Double. HITS Digital Ventures. Archived from the original on December 1, 2015.
39. ^http://www.secretlydistribution.com/resources/abt014.pdf
40. ^http://www.vut.de/index.php?id=42&tx_vutnews_pi1%5Barticle%5D=210&cHash=b7db7c5c120f55ac6c06cd370dbeec86
41. ^ ^abc'Grimes' Visions Announced As Album of the Year at Rough Trade and Resident'. 4AD. November 30, 2012. Retrieved December 16, 2012.
42. ^ ^abcDombal, Ryan (March 5, 2012). 'Director's Cut: Grimes: 'Oblivion''. Pitchfork. Retrieved January 6, 2013.
43. ^Govind, Jacinta (April 16, 2012). 'The Grime on Grimes'. Music Feeds. Retrieved January 6, 2013.
44. ^Aaron, Charles (December 9, 2012). 'SPIN's 40 Best Songs of 2012'. Spin. Retrieved October 27, 2015.
45. ^ ^abDobbins, Amanda (March 2, 2012). ''Oblivion' Video: Grimes Knows a Lot of Shirtless Frat Boys'. Vulture. Retrieved January 6, 2013.
46. ^'Video: Grimes – 'Oblivion''. Fact. The Vinyl Factory. March 2, 2012. Retrieved January 6, 2013.
47. ^Battan, Carrie (May 10, 2012). 'Watch the (NSFW) Video for Grimes' 'Nightmusic' [Featuring Majical Cloudz]'. Pitchfork. Retrieved May 11, 2012.
48. ^Pelly, Jenn (April 27, 2012). 'Grimes Launches Jewelry Line With 'Pussy Rings''. Pitchfork. Retrieved January 6, 2013.
49. ^'Genesis – Single by Grimes'. iTunes Store (US). Apple. Retrieved February 22, 2012.
50. ^'Watch The New Video for 'Genesis' by Grimes'. 4AD. August 22, 2012. Retrieved January 6, 2013.
51. ^Battan, Carrie (August 27, 2012). 'Director's Cut: Grimes: 'Genesis''. Pitchfork. Retrieved January 6, 2013.
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53. ^ ^abPhares, Heather. 'Visions – Grimes'. AllMusic. All Media Network. Retrieved March 1, 2012.
54. ^ ^abRytlewski, Evan (February 21, 2012). 'Grimes: Visions'. The A.V. Club. Retrieved October 28, 2015.
55. ^Maerz, Melissa; Rahman, Ray; Wood, Mikael (February 24, 2012). 'Albums: March 2, 2012'. Entertainment Weekly. Retrieved October 28, 2015.
56. ^ ^abNicholson, Rebecca (March 8, 2012). 'Grimes: Visions – review'. The Guardian. Retrieved October 27, 2015.
57. ^'Grimes: Visions'. Mojo (221): 91. April 2012.
58. ^Elan, Priya (March 12, 2012). 'Grimes – 'Visions''. NME. Archived from the original on January 20, 2016. Retrieved October 28, 2015.
59. ^ ^abZoladz, Lindsay (February 17, 2012). 'Grimes: Visions'. Pitchfork. Retrieved February 21, 2012.
60. ^'Grimes: Visions'. Q (309): 100. April 2012.
61. ^ ^abRosen, Jody (February 28, 2012). 'Visions'. Rolling Stone. Wenner Media. Retrieved March 1, 2012.
62. ^ ^abHarvey, Eric (February 22, 2012). 'Grimes, 'Visions' (4AD)'. Spin. Retrieved October 27, 2015.
63. ^Caramanica, Jon (February 20, 2012). 'Reviews of Albums From Grimes, Galactic and Tyga'. The New York Times. The New York Times Company. Retrieved February 21, 2012.
64. ^Bennett, Matthew (March 7, 2012). 'Grimes – Visions'. Clash. Retrieved March 8, 2012.
65. ^Liedel, Kevin (February 17, 2012). 'Grimes: Visions'. Slant Magazine. Retrieved October 28, 2015.
66. ^Winkie, Luke (January 30, 2012). 'Grimes: Visions (Arbutus)'. Under the Radar. Retrieved August 7, 2012.
67. ^Ali, Reyan (January 31, 2012). 'Grimes Visions'. The Phoenix. Retrieved March 13, 2012.
68. ^'AllMusic Best of 2012'. AllMusic. All Media Network. Archived from the original on January 5, 2013. Retrieved January 5, 2013.
69. ^Iqbal, Nosheen (December 13, 2012). 'Best albums of 2012, No 2: Grimes – Visions'. The Guardian. Retrieved October 27, 2015.
70. ^Lewis, Luke (November 20, 2012). '50 Best Albums Of 2012'. NME. Time Inc. UK. Retrieved October 28, 2015.
71. ^Bennett, Matthew (December 14, 2012). 'The Top 40 Albums Of 2012: 5 – 1'. Clash. Retrieved December 17, 2012.
72. ^Battan, Carrie (December 20, 2012). 'The Top 50 Albums of 2012'. Pitchfork. Retrieved December 27, 2012.
73. ^Ramirez, AJ (December 10, 2012). 'The 75 Best Albums of 2012'. PopMatters. Retrieved October 28, 2015.
74. ^'The 50 best albums of 2012'. Fact. The Vinyl Factory. December 3, 2012. Retrieved December 17, 2012.
75. ^'50 Best Albums of 2012: Grimes, 'Visions''. Rolling Stone. Wenner Media. December 5, 2012. Retrieved December 17, 2012.
76. ^Kane, Tyler (November 26, 2012). 'The 50 Best Albums of 2012'. Paste. Retrieved December 17, 2012.
77. ^Richardson, Mark (December 17, 2012). 'The Top 100 Tracks of 2012'. Pitchfork. Retrieved December 27, 2012.
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Grimes Visions Vinyl

External links[edit]

• Visions at 4AD
• Visions at Arbutus Records