The disinformation angle to Grimes is that her music honestly conveys a feeling of submission as an effective cover for her propagation of submission itself.

What makes her interesting rather than merely symptomatic is that the guilt is real. She knows something is wrong. The circling without resolution isn’t just aesthetic because it’s someone who absorbed the obedience structure completely enough that she can’t find the exit.

Her little boy “choir” voice keeps singing because stopping would mean confronting what the choir was for in the first place.

The Catholic boy choir format is literally a discipline technology. Children standing still, breathing in unison, subordinating individual voice to institutional sound, producing beauty through self-erasure. The director’s authority is total and invisible by the time it works correctly. You don’t hear the suffering under hierarchy directly, it’s implicit when you hear transcendence.

The pre-pubescent androgyny of the trained chorister, before the male voice drops into authority, is a power statement. The boy chorister is a voice that hasn’t yet been conscripted into patriarchal register. She permanently inhabits that pre-conscription space, refuses the drop.

Her music pushes the listener to feel awe before something that can’t quite be located. The source of authority is so embedded it is diffuse, architectural, everywhere. That’s how effective ideological music works, as you’re not obeying anyone specific, you’re just feeling appropriately small and helpless.

She performs this as a lone white woman multiplying herself into a compliant chorus. The self becomes the institution. She is simultaneously the choirmaster and the obedient child. That’s a particular psychic structure that maps directly onto her political trajectory. She didn’t just submit to Musk. She became her own apparatus for producing her submission, propagating white male dominance, and called it art.