oneohtrix point never

pleasantly surprised by this new EP, was expecting basically more of what we heard from Commissions I. Like, obviously this -sounds- like Lopatin but I didn't expect those specific dance elements in the Bullet Hell pieces.

listening to this now. wow. that digital cut up thrash metal/video game boss music that kicks off Bullet Hell 1 melted my face.

Gabi album on Software is everything i wanted, it's great!

https://www.youtube.com/watch?v=YcnegYwiQII

http://www.thewire.co.uk/in-writing/columns/emily-bick_ben-zimmerman_s-the-baltika-years

the second commisions is the first thing ive liked from him in a while

'gabi' has potential for a comtemporary updating of this niche-ish classsic
So, How much of an Insufferable Music Snob are you?

new?

http://pointnever.com

Yay!

Don't suppose anyone saw this at Edinburgh Festival last night?

http://www.eif.co.uk/2015/oneohtrix#.VdomGUIdIlI

Did Bullet Hell Abstractions with accompanying visuals from 80s Japanese shoot em up and then a score for Manga film Magnetic Rose. Magnetic Rose was a bit more conventional than his normal output but still packed an emotional wallop.

Really nice gig in lovely surroundings.

new.

https://www.youtube.com/watch?v=jt5tRaV3iY0

Better after repeated listens. Looking forward to the record.

g0d is out there

"next level" (??) what? the fuck are these people on?

i really respect Lopatin for doing something drastically different for each record while maintaining a singular and instantly recognizable voice

agreed.

it always takes me about 8 listens before i really come to like each new record.

He's like a punk ambient Autechre.

kinda .. I don't get a punk vibe so much as, honestly, a millenial hipster vibe - and i mean that in the best possible way. pop/r&b as foundational. self-reflexivity, the ecstasy of influence.

and all of that coexists in his work with sounds and melodies so beautiful it makes me feel like i understand life's possibilities better ... shit.

the sound palette of R Plus Seven is still somewhat off-putting.. super synthetic, plastic, devoid of 'dirty' textures. it's interesting how the 'lush' parts (subjective) are so brief and fleeting, where returnal is super lush throughout (for the most part). lost interest with replica, parts of it recall philip jeck for me, but more rigid. the cut-up, repetitive, pitched up/down elements felt one-dimensional (moreso w/r+7). this (Garden of Delete) sounds more developed than r+7.. still haven't heard it in its entirety, but "Mutant Standard" is kick-ass. the music feels more rigid than autechre's, as plastic and fluid as it might be.. with autechre i get a sense of multiple patterns moving simultaneously, interlocking at parts, and completely ignorant of one another at parts.

"Child of Rage" sorta recalls late-period oval, with the physical modeling (guitar?) elements, but way more fleshed out (OPN)

the sound palette of R Plus Seven is still somewhat off-putting.. super synthetic, plastic, devoid of 'dirty' textures.

R+7 is my favorite of his bc of this. "Problem Areas" is one of the meanest and most disturbing songs I've ever heard

it's definitely the cleanest, shiniest, most sterile-sounding music in my CD collection, which is why i've held onto it.

the sound palette of R+7 is awesome

I get the punk vibe from his attitude on the more recent releases, I guess. Maybe it's just the confidence he's displaying. Either way, he's awesome and I'm looking forward to GoD

The punk vibe is the randomness of the edits, sounds etc. - a kind of homespun thing where limitations become strengths. It occassionally sounds like he's just messing about but obviously I've no idea if that's true - he just as likely slaved over every random snippet.

electric guitar on "Lift" is so ridiculous.. haha. the abundance of pitched up/down vocal snippets kills it for me, as with Holly Herndon's recent full-length. there's a flimsiness about those vocal bits, they're just sort of shit-sounding.

It occassionally sounds like he's just messing about but obviously I've no idea if that's true - he just as likely slaved over every random snippet.

I mean he said for Replica that he kinda put some loops together and jammed, so I'm sure you're right sometimes, but Returnal has crazy sculpted noise, R+7 is eerily shiny chrome ... haven't made enough electronic music to judge but dude strikes me as having crazy technical chops. but i think what you're saying about limitations becoming strengths is definitely part of his aesthetic.

some parts recall Ufabulum-era, super glossy/stadium squarepusher.. minus all of the excess. that sort of amped-up, 'hot' crotch rocket bombast. "Sticky Drama" for example, it sounds like a future emo metal song, well-grating and twisted. "Mutant Standard" continues to fuck w/my head. it all sounds very deliberate and laboured-over

i feel like djp would love the new one

it's so intense, really punishing to listen to all the way through...still good though, a grower

yeah it really organizes itself the more you listen to it. very impressive and insane

realized last night that Lopatin sampled this video at the beginning of Child of Rage: https://www.youtube.com/watch?v=VDVaiwzU8yc

gonna build a pure moods compilation around "child of rage"

or "pure mods"

def a grower, too bad it leaked so early.

https://youtu.be/VBP3otlHTAA

not sure if this has been linked.. Kaoss Edge MIDIs

http://thequietus.com/articles/18922-oneohtrix-point-never-garden-of-delete-interview

picked up the CD today, first listen through, verdict: not so hot

i guess it's a "grower", though?

i was really into R plus 7 so i was like hey cool i like this dude now, but then i heard this aaaaand guess not

i'm not sure what to make of this feeling but to me this sounds very "modern IDM" to me, whereas the older albums, "returnal" and "replica" in particular, sounded unmoored from time

"rifts" and "r+7" i guess sound very 70s/80s to me which is maybe more interesting to me than sounding very 2015

perhaps predictably i like the non-metal-referencing parts (like "child of rage") more than the rest

what did you think of the pre "r plus 7" material karl?

i don't mean to say that i didn't enjoy this, i'm just not as into it as the older stuff

at the time they came out i just wasn't in the mood for noise and formless droning stuff so i never gave him enough of a chance, i've been meaning to go back to his older stuff since i like R plus 7. i'd probably start with rifts as i'm guessing that's the closest to R plus 7

i would start with rifts but to my ears it sounds less like r plus 7 and more like mid-period tangerine dream or klaus schulze

it's all slow synth arpeggios

i'll prob dig it then

as w/ everything from Replica onward, i suspect this will be a grower. off the bat i think what he's doing here is ~interesting~ but not so much enjoyable to listen to.

SDFK->mutant standard->child of rage series of tracks is good, other parts are hard to stomach.

so who or what does this new one sound like?

it sounds like a shmup

https://youtu.be/td-e4i2BL_Q

'sticky drama' video rules

that was genuinely an xpost, lol

the tinymixtapes review is heavy

http://www.tinymixtapes.com/music-review/oneohtrix-point-never-garden-delete

The joy of OPN has offered a vision of avant music away from the concept that one must transgress a symbolic hierarchy, or even legislate new ones. Rather, he has explored dealing with the immanent processes of creation and culture keenly. Far from bold, OPN hasn’t pretended to heal old forms. He traces the wounds that exist within the decaying structures of authentic experimentation corroding along the continuum of contemporary music. And here, with Garden of Delete, he sets out to implode his art in a brilliant display of cultural denial, a reflexive operation that claims a “total loss” of cultural net-worth by damaging itself with the same semiotic structures that it indicts: the pomp of a cryptic press strategy, the “rock record” rider that proclaims it as a new installment in his analects, the moment when the signature of culture meets, cancels out, or enhances the signature of the artist.