This Oneohtrix Point Never article was written by Dan Martin, a GIGsoup contributor. Edited by Gavin Wells. Header image by Shawn Brackbill
Oneohtrix Point Never is the pseudonym of electronic producer and experimental musician Daniel Lopatin. He is often credited as the major pioneer of the ‘vaporwave’ genre with his album ‘ECCOJAMS VOL I’ as Chuck Person, a genre that splices samples spanning from late ’70s to the early 2000s as well as infomercial music commonly found in elevators.
Lopatin is perhaps one of the most thrilling musicians we currently have performing as he constantly attempts to reinvent himself with each record, from the beautiful but haunting ambient record ‘Replica’ (2011) to the emotional, atmospheric and at times quirky ‘R Plus Seven’ (2013). He always keeps searching for territories that startle, beguile and excite us via his unconventional compositions.
It’s not just his music that’s avant-garde, but even in his advertising and PR. Prior to the release of ‘Garden of Delete’, Lopatin created a fictional ‘hyper grunge’ band called Kaoss Edge, an interview with a mysterious alien called Ezra who helped make the album with additional links to academic papers on semiotics .
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His new album draws much inspiration from his touring with Nine Inch Nails & Soundgarden, a chance that may not have happened had Death Grips not cancelled. In essence, the whole album feels like a dirty grunge album from the 90s that’s been ripped and torn apart by various electronica and MIDI melodies from a demented Yukihiro Takahashi.
‘Ezra’ fleets through synth arpeggios that are sometimes pretty, sometimes intimidating whilst the first half of ‘Sticky Drama’ sounds like it was pulled straight from the top 40 charts before morphing into a transformer. ‘Mutant Standard’ is the longest and most chaotic track on this album that builds and thumps, ascending to what can only be described as vampires at a cyber-rave.
‘I Bite Through It’ is one of the standout tracks which sounds like what Korn should have produced when making ‘The Path of Totality’ with Skrillex. ‘Freaky Eyes’ begins with church organs before mutating into oddly pitched voices until it melts into sinister radio static. ‘Garden of Delete’ is Lopatin’s most aggressive and chaotic album than any of his previous efforts, but unlike his previous efforts, this is his most accessible yet. Lopatin has an apt way of engaging his listeners through his musical odyssey that is both beautiful and terrifying and its absolutely enthralling in every sense of the word.
‘Garden of Delete’ is out now via Warp Records.