oneohtrix point never

it's pretty singular, yeah. broad sound palette, tidy song structures, and 'lush' bits. thank god for AE_LIVE, though.. people digging on this OPN might be into the recently released, 'official' autechre live recordings. Garden of Delete feels sort of slight, where the AE stuff is just packed with rad sounds. maybe they're not comparable, but there are some similar sounds going on.

listened to this in the car, dope shit

I really loved this on first listen, some of the techniques and treatment of sounds are similar to previous records but the song structures + trashy stadium EDM sound palette make for a very very different experience.

Helps that I read Sherburne's review before listening for the first time and it sounded almost exactly as the article suggested it would.

I love I Bite Through It but I am just getting into it and then it ends. Years of listening to techno has made me need long tracks.

The rest is still digesting for me.

What a distressing sound this is, it sounds like strip lighting, I've fought so long and hard to be away from strip lighting and here it is again

:D

I suspect he may turn out to be a better producer/collaborator than a lead artist - without a vocalist to give the whole thing shape I don't find his music particularly sonically or compositionally interesting. What all the artists Sherburne lists have in common (and I'd stick the Ford + Lopatin and James Ferraro albums in there as well) is this sense that someone's turned on all the lights really brightly. I'm used to electronic music feeling either noctural or sunny, there's a really stark neon glare to all of these artists, with varying degrees of success.

― Matt DC, Sunday, November 9, 2014 7:54 PM (1 year ago)

I wrote that about Arca but I think the striplighting thing is very deliberate with a lot of these producers.

classic post

ok i've been playing this this morning and i'm warming up to it. once the chaos shock wears off, i'm understanding the "rock record"/it has riffs!/opn-album-you-can-thrash-to descriptors and the emotional center is starting to reveal itself. ordered the LP.

2nd half is good. first half annoys teh fuck out of me

conceptually interesting and somewhat difficult but was nonetheless capable of connecting on a strange emotional level. Kinda magic.

thank you, people on my fb talking about him like he's just some kinda shock jock and it makes me feel like i'm in crazytown

increasingly convinced of this record's brilliance. the naysaying only makes it stronger

https://thump.vice.com/en_ca/article/oneohtrix-point-never-told-us-the-story-behind-every-single-track-on-garden-of-delete

absolutely <3 this album

I do kinda wish it got even more metal but then... I guess it would just be a venetian snares album or something?

speaking of which, is there something like the chaotic industrial parts of "sticky drama" that lasts more than 30secs and is just as cool?

the naysaying only makes it stronger

watch say nay

more like watch me say nay

speaking of which, is there something like the chaotic industrial parts of "sticky drama" that lasts more than 30secs and is just as cool?

― (⊙_⊙?) (original bgm), Wednesday, November 18, 2015 5:11 AM (6 hours ago) Bookmark Flag Post Permalink

i'm about to make a heavily, heavily qualified recommendation

but the song 'blackjazz deathtrance' by norwegian jazz-techno-metal outfit 'shining' kind of fits the bill

the qualification is that it is garish and horrible :D but it's also kind of amazing. also the really good bit doesn't kick in until near the end

anyway i think the 0pn song is better and handles the chaotic industrial thing better. will continue to try and think of examples

games still the best thing he's done

that shining track is cool but doesn't scratch the same itch for me. I feel like there's probably some breakcore album that would... but finding it would require listening to tons of breakcore :-/

there's probably an autechre song

this album is a work of genius

saw him live two nights ago and there was way more distortion and the whole thing was super loud. when he talked to the audience he would still use the filter that rendered what he said indecipherable and it was a pretty funny gag.

My ears were definitely ringing afterwards. There's a surprising amount of bass engineered into his later work as well.

he's playing at a pretty small club here in march - 300 capacity - i don't know if he's announced a full spring tour yet, but i'm curious if the idea is to play at mostly "rock"/"punk" type venues as part of the whole G.O.D. project

seeing him tonight, can't wait - hope it's not just songs from G.O.D.

i'll be there too. i can see GoD stuff being really great live. psyched for whichever way he takes it tbh.

he's playing Thursday in NYC. what are his live shows like? does he have backup dancers or anything like that?

Totes. The choreography between Lopatin and his backup dancers is really some next level shit.

position position is lying

i will be there thursday too btw.

at his shows, there is a light component, but mostly it's just him up there pressing buttons and turning knobs and singing.

saw him live two nights ago and there was way more distortion and the whole thing was super loud. when he talked to the audience he would still use the filter that rendered what he said indecipherable and it was a pretty funny gag.

― Treeship, Sunday, November 22, 2015 6:09 PM (3 months ago) Bookmark Flag Post Permalink

position position is lying

― Treeship, Tuesday, March 15, 2016 8:48 PM (3 minutes ago) Bookmark Flag Post Permalink

yeah. i just thought the imagery was funny, art rock show with william hung-style backup dancers.

make sure to catch Jason Lescalleet.. i believe he's opening for a few of the current shows

i wish i saw him on the Replica and R Plus Seven tours. G.O.D. and Returnal are still a bit too harsh for me. Last night he played most of G.O.D. and the song "Returnal" (which i love). He also played a completely rearranged version of "Zebra" with none of its original elements except for a minute of the outro. the set was all a bit samey after a while. The unrelenting bass made me and all my friends really tired, bizarre feeling walking out of the show, felt like i took an ambien. During Jason Lescalleet's set, he played this tone that made me feel like time had slowed down - it was hard to breathe, my girlfriend said she almost fainted. we though it was neat. i enjoyed Lopatin's crowd banter processed beyond recognition. also, there were signs pasted all over the venue that read "PHOTOGRAPHERS: You are welcome to photograph ONEOHTRIX POINT NEVER for the *FIRST* song of their set. That's it. Thanks!" Doors opened an hour and a half late, too. Can't help but think it was all part of the rock band cliche concept of G.O.D., which was cool. I enjoyed all the conceptual accoutrement more than the music. There was someone in front of me that inexplicably knew every word to "Freaky Eyes" and was belting it out, beer in the air.

this was interesting: https://soundcloud.com/hrishihirway/song-exploder-oneohtrix-point-never

I went to the SF show on the R+7 tour. Audience seemed like they were very much there for the beats, not so much the kosmische stuff. Everybody staring at him cheering for the drops.

lol i saw him saturday and i mentioned in another thread that i fell asleep in the front row but this is really more my issue than with the music. it was cute how he kept circling his hand to illustrate that he was playing loops. yes i know you are playing loops.

― ℗⎣▲✘ (ico), Monday, August 8, 2011 1:48 PM (4 years ago) Bookmark Flag Post Permalink

I am here yall.

This is way looser than the last set I saw from him.

Can anyone please suggest anything that has the same kind of sound as his pre 'R plus Seven' work?

http://www.factmag.com/2016/11/22/oneohtrix-point-never-remastered-chuck-person-eccojams-vol-1/

ohhkayyyyy http://www.factmag.com/2017/05/11/david-byrne-working-with-oneohtrix-point-never-promises-new-album-next-year/

Congratulations, Daniel Lopatin!

Oneohtrix Point Never (Daniel Lopatin) has won the Soundtrack Award at Cannes Film Festival 2017. He was honored for his original score for Good Time, a new crime thriller directed by Josh and Benny Safdie. The film stars Robert Pattinson and Jennifer Jason Leigh. Lopatin beat out Radiohead’s Jonny Greenwood, Jed Kurzel, and Ibrahim Maalouf for the award. He joins former winners Red Hot Chili Peppers’ Cliff Martinez, Howard Shore, Jim Jarmusch’s band SQÜRL, Lim Giong, and more. Lopatin’s score features a collaborative song with Iggy Pop called “The Pure and the Damned,” which can be heard in the film’s trailer below. Good Time hits theaters August 11.

0PN is goat

can someone please come up with a good analogy for him working with iggy, this is bugging me. it's like ... uh ... al capp, working with chris onstad ... or ...ida b wells, working with bell hooks (ok that's sorta an obscene comparison sorry)

<div style="position:relative;height:0;padding-bottom:56.25%"><iframe src="http://www.youtube.com/embed/MRPc2b9i2oc?ecver=2"; width="640" height="360" frameborder="0" style="position:absolute;width:100%;height:100%;left:0" allowfullscreen></iframe></div>

Ha, well. That failed. His new song with Iggy Pop, as part of the aforementioned score, was released.

I've got a wicked cold and I'm listening to Eccojams, I think I'm going to puke