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I'm starting to hate OPN Replica+. This type of publicity is really annoying.

 

GODDFUCKINGDAMMIT PUBLICITY

 

 

 

you guys i listened to artist x when he only had release x and it made me feel y and no one will ever feel y like i y'd ever again

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Guest zaphod

i don't hate him, he's one of my favorite artists, i just find it amusing how much press he's doing in relation to this album. it's such a weird disconnect where the music still isn't exactly accessible, but it's being treated like a cultural event, like he's been this major figure in electronic music for years. i dunno, he popped up on fucking grantland talking about the nba. lol

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"there's also jams inside of jams inside of jams all over the record based on straight up intuitive jamming. even macro level structures on the album are intuitive."

Edited by yshf
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i don't hate him, he's one of my favorite artists, i just find it amusing how much press he's doing in relation to this album. it's such a weird disconnect where the music still isn't exactly accessible, but it's being treated like a cultural event, like he's been this major figure in electronic music for years. i dunno, he popped up on fucking grantland talking about the nba. lol

 

it is surreal - but that's power the tastemaker outlets yield - I can say the same of Grimes, Nicolas Jaar, James Blake, the entire labels of UNO and Tri Angle. I didn't check out Grimes out of stubborness. It's even more surreal when the fall on the wayside as genre hype dies (microhouse, dance-punk, and electrohouse all took a dive in popularity after the mid-00s - likewise Kompakt, DFA, and Ed Banger are simply not spoken of much anymore on pfork, RA, xltronic, etc)

OPN's sudden press is arguably the strangest. It was quite gradual until, seemingly, a few weeks ago.
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None of this is helping me make heads or tails of the album. It's impenetrable, but not obtrusive enough to bother turning it off. :shrug:

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Guest Ron Manager

 

 

3. do you pal around with any of the other warp artists? it's my dream to hang out with autechre or richard james someday.

3. all of them. give me your number i'll put you in touch

lol

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None of this is helping me make heads or tails of the album. It's impenetrable, but not obtrusive enough to bother turning it off. :shrug:

 

 

 

That about sums it up. As it DKC hadn't caused me enough grief.

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Guest murphythecat8

I'm actually not surprise. The album has that special uniqueness quality, crazy videos, a couple of masterpiece tracks like still life, chrome country, problem areas, americans, possibly zebra. This album is damn excellent, 10/10 in my book.

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there is an awful rolling stone review of R+7 which describes you as "On the rise from an experimental underground that prizes...spaced-out vintage synths." but, your music doesn't really place such a high premium on these vintage, analog synths as it used to; in fact, you've kind've gone the opposite way, using progressively less 'cool' sounds, to the point where you're often using just generic midi presets. could you talk more about this move, and how you kind've untethered yourself from your old Juno and began to work in the more abstract way you do now?

[–]0neohtrixVerified[S] 26 points

1 day

ago

final one --

'generic' is an idea about presets that is mostly cultural. its a problematic differentiator because it presupposes that there is a 'real'. when i remove the difference between real and generic i can approach music production in a materials-oriented way, manipulating the affects themselves, instead of being used by them, to reinforce their stereotypes, histories, etc. this doesn't disqualify 'real' sounds, in fact it gives them a chance to morph which is crucial for me. its about flattening all those differences. midi is just a way to deal w/ digital events in time, so its kind of interesting that its thought of as a 'texture'. i actually love that. in reviews also i notice a lot of references to plastic-sounding things, but little conversation about plasticity, which is what its all about for me

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while that's a nice sounding answer, he seems to be avoiding entirely the crux of that assessment. It seems like he'd rather be really casually obtuse about his answers regarding the 'preset' sounds rather than just answering it in a straight forward understandable manner. Sort of a running theme I've noticed since he's been couching his techniques in a quasi intellectualism post Replica era

edit: for example his 'meta' take on what midi means, as events in time. clearly the person asking him that was referring to an era of general midi sound libraries that defined an era of computer gaming, which had a very specific dated and cheesy sound.

Edited by John Ehrlichman
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He is definitely going on the do-not-read list as far as interviews go. I can only hope he pissed himself in laughter as he typed that.

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while that's a nice sounding answer, he seems to be avoiding entirely the crux of that assessment. It seems like he'd rather be really casually obtuse about his answers regarding the 'preset' sounds rather than just answering it in a straight forward understandable manner. Sort of a running theme I've noticed since he's been couching his techniques in a quasi intellectualism post Replica era

 

edit: for example his 'meta' take on what midi means, as events in time. clearly the person asking him that was referring to an era of general midi sound libraries that defined an era of computer gaming, which had a very specific dated and cheesy sound.

 

quasi intellectual is a really good description of his recent interviews. i read them and come away not really knowing anymore about his intent than before.

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there is an awful rolling stone review of R+7 which describes you as "On the rise from an experimental underground that prizes...spaced-out vintage synths." but, your music doesn't really place such a high premium on these vintage, analog synths as it used to; in fact, you've kind've gone the opposite way, using progressively less 'cool' sounds, to the point where you're often using just generic midi presets. could you talk more about this move, and how you kind've untethered yourself from your old Juno and began to work in the more abstract way you do now?

 

 

 

[–]0neohtrixVerified[S] 26 points

 

1 dayago

 

 

 

final one --

'generic' is an idea about presets that is mostly cultural. its a problematic differentiator because it presupposes that there is a 'real'. when i remove the difference between real and generic i can approach music production in a materials-oriented way, manipulating the affects themselves, instead of being used by them, to reinforce their stereotypes, histories, etc. this doesn't disqualify 'real' sounds, in fact it gives them a chance to morph which is crucial for me. its about flattening all those differences. midi is just a way to deal w/ digital events in time, so its kind of interesting that its thought of as a 'texture'. i actually love that. in reviews also i notice a lot of references to plastic-sounding things, but little conversation about plasticity, which is what its all about for me

 

omflol is this really lopatin? this is how this guy talks? haha, what an ass.

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He talks almost exactly like my schizophrenic friend: in lofty-sounding abstract buzzwords, with what seems like a complete disregard for clarity.

Edited by LimpyLoo
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