oneohtrix point never

is anyone else who likes this having a hard time getting into the com truise record? to me it feels so one-dimensional and wallpapery in comparison

Is it me or does this feel like a very short album? Seems I put it on
And before I know it it's pretty much over. No draggy bits at all.

Com Truise is pretty one dimensional but I like it. Fatter low end than F&P

So instrumental disc on CD release but not Vinyl or Digital download?

that sucks.

com truise is soundtrack music ("wallpapery"), F&L is pop music

yeah i think part of the reason i like com truise & time wharp & milochondria &c &c better than this f+l release is cuz theyre a little more abstract/playful/'about the process' than channel pressure, which aims for pop

i realize what the fundamental differences between the f&l and com truise albums are, one just seems a lot more desireable to me. it's not like channel pressure is routine pop or anything, there are some legit carpenter/moroder-style synth interludes that would probably go down pretty well on the knew age thread among the pop moments. and even the pop songs are surprising and fairly distinct from other stuff in this vein

Com Truise sounds good and all, but Channel Pressure is another level of achievement entirely--songs-wise (I get that this isn't the "point" of Com Truise, but even compositionally speaking), textures-wise, production-wise. I dunno, that sounds like I'm bashing Com Truise when that's not how I mean it; I suppose I don't think there's much else out there at the moment even comparable to Channel Pressure aside from in some very superficial ways (and if there is, I need to hear it!).

F&L album is totally amazing, really summons up a Thomas Dolby circa "Golden Age of Wireless" vibe, and yeah I definitely hear Max Tundra in the vocal phrasing and in the overall intense "smarty pants"/cheeky sense of every musical gesture as one saturated with, to be pretentious, "historicity", i.e. it's not just "dated" but very self-consciously embraced-because-dated. Haven't read that "Retromania" book but this seems dying for application to its thesis. A little bit Prince, a little bit Scritti Politti/Ebn Ozn/Thomas Dolby, some of the same VHS Head/Daft Punk aggression in the chopping/editing syntax, lots of hilarious use of the bender/modwheel abuse. So much fun!

can somebody explain what is up with this "instrumentals disc"?

i have the CD in the lp-style cardboard sleeve and as far as i can tell there is no instrumentals disc in the package

maybe it is a bonus for illegal downloaders?

I've been wondering the same thing.

haha, i guess it is just an internet thing... not sure where they came from tbh (i sure as hell acquired them illegally)

maybe it was a college radio promo type-deal? the only thing that comes up with a google search are college station playlists and mediafire/megaupload/whathaveyou

part of the reason i like com truise & time wharp & milochondria &c &c better than this f+l release is cuz theyre a little more abstract/playful/'about the process' than channel pressure, which aims for pop

haha, I take my hat off to anyone who discards the shallow pleasures of this gluttonously produced catchy pop in favour of the Formalist Fun yr speaking about there.

but then does abstract/playful/'about the process' mean treatment of source material or do you mean it adopts that oblique indie pose rather than pull the same tricks off while gorging on all the treats?

uhm shit, wrong thread, sorry

How is Channel Pressure NOT sooo much 'about the process'?!

that was one of my points. I generally rate lamp's ears though, so maybe that shit is a blast too, I should probably check it out

Com Truise sounds good and all, but Channel Pressure is another level of achievement entirely

This is all a matter of what one's priorities are; I don't necc. subscribe to the whole "more details, more depth is always better thing". sometimes ye just want something simple with fat bass and no dorky vocals.

i guess i think of 'channel pressure' as being only partially about technology (and our relationship w/ progress or w/e) but stuff like time wharp & tom cruise is much more explcitally concerned w/ that stuff, with using the process of making music to comment on the 'idea' of making music?

like: this is a song called 'Oberheim Matrix-6' which was made on an oberheim matrix-6 vs. this is song called 'Synthetic Vision' and it was made on an [...] and has lyrics about a boy falling in love with a robot on telelvision

that is maybe the stupidest post in long history of stupid posts on ilm :/

No I think you pretty accurately described a very real aesthetic divide with this stuff.

com truise remix of hussle club's 'loose tights' wouldn't sound too out of place on channel pressure fwiw

after bad-mouthing this album earlier in the thread, I ended up impulse buying it the other day after seeing it on a New Releases rack. It's scratching an itch I didn't know I had. I guess I like it after all.

stuff like time wharp & tom cruise is much more explcitally concerned w/ that stuff, with using the process of making music to comment on the 'idea' of making music?

okay, but what's the comment being offered? or is it just "a comment?"

http://youtu.be/pukb_scv1Ao

hoops fan in me loves that he's called this chuck person

also the chuck person tape is sooooo good, i say this as someone who has regularly googled sunsetcorp so i can listen to the eccojams

I just picked up volume 7 of the "FRKWYS" series with Lopatin, Laurel Halo, James Ferarro, David Borden, and Samuel Godin, just out on RVNG records. It's really, really good, and I particularly like the last track "Twilight Pacific" with its endlessly repeating Oneohtrix slow melty Juno arpeggio. There's a graininess, a delacquered quality, to Lopatin's ambient stuff that I think sets it apart (in a good way) from the smoother sounds of the Emeralds crew (especially the few Spectrum Spools releases so far), etc. I hear there's a new Oneohtrix LP in the works for release this fall.

Last two tracks on the FRKWYS album are fantastic, a fine listen.

Oneohtrix playing live this Saturday night at The Stone NYC, 8:00 PM...

I've seen him live just this Friday and tbh it kinda disappointed me. but I guess the joke's on me - expected more slow melty Juno arpeggios / "chillwave'y" kind of ambient, got more noisy (at times real noisy) stuff instead. at least, in the end it wasn't boring.

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.

was it a nice sleep? or just the sleep you could have had on the couch, falling asleep to the **channel pressure**

That's the nicest kind! I'm definitely going Saturday, and I look forward to seeing what he does... The venue doesn't sell tickets in advance, and I have a long history of underestimating how much NYC crowds will be into a given artist, so I'm trying to figure out how far in advance to line up.

http://www.dummymag.com/news/2011/08/17/oneohtrix-point-never-announce-replica/

Excellent news.

Clips from the two non-OPN forthcoming releases on Software here:

http://alteredzones.com/posts/1805/software-label-preps-releases-opn-harmonizer-airbird/

Airbird is Ford solo, Harmonizer is Toby Aronson and Greg Davis.

Harmonizer sounding gooooood first time around.

have u heard the tape they did on nna?

harmonizer track seems to be channeling jon hassell, nice. dig the sparseness.

I had the exact same thought. It's terrific in any case.

yeah, and I'll second the nna tape that lamp mentioned. def worth a listen.

have found greg davis' stuff to be a bit spotty but the stuff that clicks really does the trick. and I am really liking the new angle (I think? I certainly haven't heard it all) he's working w/the harmonizer material. could be aronson, I'm not really familiar.

The first OPN single off Replica sounds really freaking promising--creepy cut-off loops that sort of line up with recent Andy Stott and Actress stuff to these ears:

http://www.pitchfork.com/reviews/tracks/12350-sleep-dealer/

hrm... i am a huge lopatin stan but this seems like the kind of tune that could really use some of the immersive sound engineering skills of an actress or andy stott, but instead he's doing the same old midi-fied schtick. i could still maybe be persuaded by a better quality mp3

yeah this is good

kinda reminds me of oval

kept expecting a kick drum to come in but really glad it didn't

what does "same old midi-fied schtick" mean

it means he keeps making his sound more and more lo-fi yet it's still very digital (ie: everything released as games / ford and lopatin), and i think this new track could benefit from the attention to detail you'd find on an oval record. it's like he's approaching the creepy cut-off loops with a chillwave aesthetic and it just sounds kinda flat and annoying to me?

"attention to detail"

U trollin

can you explain? do you hear some level of intricacy in the sound design on this track that my ears are too ignorant to pick up? it's a style that forces you to pay attention to texture, and this texture sounds muddy imo. and whatever pitch that distortion is in gives me a headache every time (not that i can't handle extreme/high pitched tones, just give me ryoji ikeda over this any day)

these criticisms don't apply to any other opn material fwiw

this harmonizer thing with greg davis on the software label sounds awesome tho, some definite jon hassell vibes

ha, looking upthread i realize i am a bit late on the harmonizer woops

This song seems kind of a chore to listen to

its like a rubbish footwork remix of a opn track. the ominous chillwave undertow is the best thing about it