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When I saw Grimes open for Austra last year, I saw a meek DIY artsy girl dressed in a grungy t-shirt and dark tights wail into a microphone while expertly mixing complex tracks to produce a seriously rhythmic dance spell. Now, as 2012 has unraveled before us, Claire Boucher, the Montreal-based mastermind behind Grimes, has become the “it girl” of the indie music blogosphere. Much more than just a buzz band, Grimes has sky-rocketed in popularity thanks to the success of her previous albums (Geidi Primes, Halafaxa, Darkbloom) as well as her signing onto 4AD records to release her latest album Visions. Now when I look at Grimes, I see a meek DIY artsy girl dressed in slightly less grungy t-shirts and dark tights that has created some of the most imperative and compelling songs in quite some time (or at least since the beginning of the year).

It was like one of those spell casting ceremonies you witness on National Geographic channel at four in the morning. Or something like a moody electronic recollection of the disco era’s theatrical flair for melody and movement. In either case, Austra’s performance at The First Unitarian Church on October 26 sent a vivacious chill throughout the audience that caused the room to swell with rhythmic impulses and infectious dancing.
I am standing in a room lined by paired up hipsters and post-hipster yuppies. I can spot the occasional 40-year-old too, clearly lost on his musical journey, hanging around the TLA on this 16th day of May, waiting for Grimes to open for Lykke Li. “Go home and listen to some Eric Clapton” I think, but I catch myself in the act and stop. Music is becoming more accessible, and along the way, DIY bedroom electro has managed to acquire new status: good. Enter Grimes and you have your proof.