Once again I seem to have picked the wrong horse in Triple J’s Hottest 100: it seems inevitable that “Oblivion” is going to outperform “Genesis” by a significant margin, which is a shame as the latter is by far more interesting.
“Genesis” feels unique; though it’s clearly the sum of familiar parts – a meandering, breathy melody with ethereal vocals, reminiscent of chillwave, but anchored on a driving synthesizer pulse. The synthesizer gives momentum to an otherwise dreamy track, and is gradually replaced by a gentler piano ostinato that eases the song away. Grimes’ vocals are ever-present; there’s few moments without one layer or another of her voice permeating the atmosphere. Her voice warrants the description “angelic” …not because it is sweet or pure, but because it evokes an omnipresent angel, part of the world, yet separate, deific.
The music video above begins with a minute long introduction that is a clear homage to Lynch’s Lost Highway; an appropriate choice. Lynch’s films are largely composed of populist, entertaining moments constructed in a way that feels utterly different, and Grimes’ music is the same; there’s no one element in “Genesis” that you haven’t heard before, but as a whole it feels inimitable.