In the lead-up to her 2012 opus, Visions, Claire Boucher went on record to profess her love for Mariah Carey and managed to spawn months of indie blog discourse. The next year, Stereogum’s Chris DeVille coined “the monogenre” to describe how the mass adoption of subscription-based music streaming had collapsed the long-held critical value system that privileged the niche over the mass. Appreciation for pop music was shifting, fitfully, from a guilty pleasure to the marker of a discerning palate, while independent artists were getting snapped up by major labels and fashioned into bona fide popstars. A decade-plus on, most early beneficiaries of that gold rush have carved out…