Oneohtrix Point Never - Age Of

[jasondonervan]

Age Of Reviews Of Reviews Of Age Of

 

Age Of feels like a big old mess, I could like some of it but sooner or later every track does something that makes me cringe.

 

That said, I put on Replica today (my least favourite album until Garden Of Delete) and thoroughly enjoyed that, even its formerly rather annoying moments. So who knows.

 

[tokn]

After all your critical comments I was ready to hate this, but I actually really really like this. R Plus Seven and the earlier stuff does more to me and his natural voice is not interesting at all, but it's been a while that a record made me leave this world instantly. I even like "Black Snow" in the context of the LP which I hated when the video came out.

[species8472]

After all your critical comments I was ready to hate this, but I actually really really like this. R Plus Seven and the earlier stuff does more to me and his natural voice is not interesting at all, but it's been a while that a record made me leave this world instantly. I even like "Black Snow" in the context of the LP which I hated when the video came out.

 

all of this.

[manmower]

 

Age Of Reviews Of Reviews Of Age Of

 

Age Of feels like a big old mess, I could like some of it but sooner or later every track does something that makes me cringe.

 

That said, I put on Replica today (my least favourite album until Garden Of Delete) and thoroughly enjoyed that, even its formerly rather annoying moments. So who knows.

 

Capsule review of jasondonervan's review of my review of Age Of: delivered with gusto but lacking in substance, it cannot measure up to his earlier posts. Next!

[jasondonervan]

 

 

Age Of Reviews Of Reviews Of Age Of

 

Age Of feels like a big old mess, I could like some of it but sooner or later every track does something that makes me cringe.

 

That said, I put on Replica today (my least favourite album until Garden Of Delete) and thoroughly enjoyed that, even its formerly rather annoying moments. So who knows.

 

Capsule review of jasondonervan's review of my review of Age Of: delivered with gusto but lacking in substance, it cannot measure up to his earlier posts. Next!

 

 

I give your response a p4k 106.7

[d-a-m-o]

RA : https://www.residentadvisor.net/reviews/22585

[KovalainenFanBoy]

RA : https://www.residentadvisor.net/reviews/22585

 

 

 

"If it weren't for James Blake being like, 'Shut the fuck up with your shit,'" Lopatin told Red Bull Radio. "'Save that for your cute little opera. This is an album' … There's traces of me trying to do that and then traces of James being like, 'No.'"

 

I don't dislike James Blake, but Lopatin should cut him off asap imo

[dr lopez]

 

Norman Records

 

10/10 JAMIE STAFF REVIEW, 30 MAY 2018

 

Harpsichord! Daniel Lopatin has used a harpsichord, and it’s all over the opening, title track of this latest Oneohtrix Point Never opus which he has somewhat open-endedly named ‘Age Of’. Scarlatti has been summoned from the grave to party with Vangelis. This is OPN however, and Lopatin has used all manner of instruments in order to add that little extra touch of the Baroque, to that most baroque among electronic producers. Whatever Lopatin does though, he has always been able to reach out from within the notes, digits and grooves of his work and grasp you by the lapels to shake you out of your torpor; even if that sometimes wasn’t strictly necessary.

 

There are voices on this record. There are human voices, I mean (albeit by turns skewed, skewered and screwed) -- Prurient pops up three times(!), notably on track two, ‘Babylon’; adding (an alien) warmth to a body of work that can, I think, sound a touch mystifying. There’s Anohni also, on four tracks: the creeping ‘Black Snow’ (lyrically inspired, apparently by the Cybernetic Culture Research Unit: isn’t that so Oneohtrix? Such japes!) Garden of Delete sometimes seems such a long way behind us, out of sight of the rear view mirror even… Perhaps it’s due in no small part to the input of James Blake; his additional production and mixing desk duties have imbued a smooth soul sheen to certain passages: the space-ballad 'Toys 2’ slinks with a suave grace. There’s a low-key lurk always there however, hovering, frolicking; purposefully, out of hibernation.

 

Side 2 of the record opens with a page very closely relating to ‘Garden…’ : ‘Myriad.industries’ is peppered with shimmering, partially-glitched keys, bleepy harshness rising from the grooves once more with ghostly horror voices bursting forth, not totally unexpectedly. The trademark multi-mini-melodies are present. Welcome back, Daniel. I’ve only just realised how much I missed you; can I give you a hug? We all need one or two of those every day, don’t we? So the scattered beats, odd ambience, off-centre samples and disturbing voices are back, they’re all over this record and I bloody love them. Anohni is back and she sounds siren-like amid the gothic synth stabs and spectral noise Lopatin makes, every but like the celebrated genius he truly is.

 

However, I think there’s probably too much wondrous genius within these particular grooves to properly absorb in one (lonesome-reviewer) sitting. Possibly best to listen to solo; or alternatively, on second thought, in the company of a loved one from within the comforting folds of a nice soft blankie / crisp, freshly laundered linen bedsheet. So, to recap then: an album to treasure, along with all his previous stuff: nice one, Lopatin. Also, there are some additional James Blake-y moments near the end. Nice.

 

this is a joke post right

[YangYing]

lol

[Salvatorin]

lol

[Extralife]

lol

[YangYing]

lol

[WeAreOceans]

 

RA : https://www.residentadvisor.net/reviews/22585

 

 

 

"If it weren't for James Blake being like, 'Shut the fuck up with your shit,'" Lopatin told Red Bull Radio. "'Save that for your cute little opera. This is an album' … There's traces of me trying to do that and then traces of James being like, 'No.'"

 

I don't dislike James Blake, but Lopatin should cut him off asap imo

 

on the other hand it does sound like Lopatin is perhaps a bit inundated with ideas (as recent interviews show), I think he definitely needs someone to curate before his spirals out... evidently Blake wasn't the right person tho, I do agree with sentiments that a lot of tracks seem a bit stunted in their growth. Warning in particular, imo.

[jasondonervan]

NY Times interview: Oneohtrix Point Never’s Quest to Make Music That Freaks People Out

 

The Ringer: Usher Loves Him, but He Wants Pixar: Oneohtrix Point Never’s Moment Is Here

Edited May 31, 2018 by jasondonervan

[joshuatxuk]

 

 

Norman Records

 

10/10 JAMIE STAFF REVIEW, 30 MAY 2018

 

Harpsichord! Daniel Lopatin has used a harpsichord, and it’s all over the opening, title track of this latest Oneohtrix Point Never opus which he has somewhat open-endedly named ‘Age Of’. Scarlatti has been summoned from the grave to party with Vangelis. This is OPN however, and Lopatin has used all manner of instruments in order to add that little extra touch of the Baroque, to that most baroque among electronic producers. Whatever Lopatin does though, he has always been able to reach out from within the notes, digits and grooves of his work and grasp you by the lapels to shake you out of your torpor; even if that sometimes wasn’t strictly necessary.

 

There are voices on this record. There are human voices, I mean (albeit by turns skewed, skewered and screwed) -- Prurient pops up three times(!), notably on track two, ‘Babylon’; adding (an alien) warmth to a body of work that can, I think, sound a touch mystifying. There’s Anohni also, on four tracks: the creeping ‘Black Snow’ (lyrically inspired, apparently by the Cybernetic Culture Research Unit: isn’t that so Oneohtrix? Such japes!) Garden of Delete sometimes seems such a long way behind us, out of sight of the rear view mirror even… Perhaps it’s due in no small part to the input of James Blake; his additional production and mixing desk duties have imbued a smooth soul sheen to certain passages: the space-ballad 'Toys 2’ slinks with a suave grace. There’s a low-key lurk always there however, hovering, frolicking; purposefully, out of hibernation.

 

Side 2 of the record opens with a page very closely relating to ‘Garden…’ : ‘Myriad.industries’ is peppered with shimmering, partially-glitched keys, bleepy harshness rising from the grooves once more with ghostly horror voices bursting forth, not totally unexpectedly. The trademark multi-mini-melodies are present. Welcome back, Daniel. I’ve only just realised how much I missed you; can I give you a hug? We all need one or two of those every day, don’t we? So the scattered beats, odd ambience, off-centre samples and disturbing voices are back, they’re all over this record and I bloody love them. Anohni is back and she sounds siren-like amid the gothic synth stabs and spectral noise Lopatin makes, every but like the celebrated genius he truly is.

 

However, I think there’s probably too much wondrous genius within these particular grooves to properly absorb in one (lonesome-reviewer) sitting. Possibly best to listen to solo; or alternatively, on second thought, in the company of a loved one from within the comforting folds of a nice soft blankie / crisp, freshly laundered linen bedsheet. So, to recap then: an album to treasure, along with all his previous stuff: nice one, Lopatin. Also, there are some additional James Blake-y moments near the end. Nice.

 

this is a joke post right

 

 

lol

 

sorta - check out the AV Club review

[joshuatxuk]

"Age of" - Off to a good start. My first impression of the harpsichord driven track was that 0PN made a kosmische-y dungeon synth album, like the backdrop of a gnostic / esoteric themed experimental album. Different but not quite novel if one digs into the vast world 80s or 90s era avant-garde, sounded like something I'd hear off an Ulver album or Coil release. I always hope releases like this can serve as entry-points for listeners but often reviews fall short of highlighting such recs. Apparently this samples "Blow the Wind: Pie Jesu" by Jocelyn Pook which is the kind of deep cut niche music that's way beyond mine and most people's knowledge base.

 

"Babylon" - Here comes to autotune vocals, I'll be honest, immediately harkens Kirin Callinan's album last year but with more effects. Not a bad thing, as it goes on that first impression melts away as I get lost in the backing instrumentation. Pacing and scope wise it sounds similar to the Iggy Pop collab song "The Pure and the Damned." I like this a lot more than "Black Snow" which sounds kind of flat in comparison.

 

"Manifold" - Here we go, album is picking speed and cranking up the reliable unabashed 0PN weirdness.

"The Station" - Okay, really starting to dig this. At first sounds like more subdued G.O.D. era stuff. I always felt like that album was channeling regurgitated cathartic teenage angst via Nickelodeon GAK visuals, nu metal / post-grunge noise, and geocities sites. If that cathartic reconciliation embarrassing past of was G.O.D. then this sounds like epiphany moment a kid jumps from Linkin Park to Radiohead.

 

"Toys 2" Build-up from the start sounds like a toy orchestra and MIDI synth rendition of John Murphy's Adagio in D Minor from Sunshine 2:00 shifts to something more akin to 80s/90s new age music honed into more abstract noise and drone, akin to Dedekind Cut or Claude Speeed. Some interesting sounds here, including like what I take as a synth modelled after steel guitar timbres. This reminds me I still need to watch the film Toys, a film I mentioned looks like a vaporwave aesthetic sampling goldmine.

 

"Black Snow" - Ironically the least exciting 0PN single I've heard yet was also the biggest earworm - the melody of this creeped into my head more than just about any previous 0PN track. I had the same dilemma in the past when Grimes released "Go" - I all but hated it at first but it grew on me. Same phenomenon with this one. I get the context of it now but still not the strongest track.

 

"myriad.industries" - interlude, sounds like an AI musician bot improv jamming off the melody of video game menu muzak.

 

"Warning" - Some tense shit, def more past 0PN vibes on this, arpeggios, suspenseful build-ups, percussive elements coming in and out.

 

"We'll Take It" - Goddamn, the beats are something else. Reminds me of the hella underrated early work of Vex'd. Lot of post-grime vibes on this (Logos, Rabit, Sd Laika, Antwood, Amnesia Scanner, Lotic) Dig the vocal sample, find it intriguing. Beyond the cinematic, almost trip-hop stomps of sound some shimmery Lone sounding synth lines emerge at the end, not to mention akin to early 0PN's Juno stuff.

 

"Same" - I like how ANOHI's voice fits into the track. This sounds crazy but's almost like an Alt-J-esque melody but with some aggression and teeth.

 

"RayCats" - Is this the James Black collab track? I kid,.Solid track. Not much else to say other than it's refreshing to hear some actual dynamism on a track volume and reverb wise, not just brick walled walls of sound.

 

"Still Stuff That Doesn't Happen" - Ok, I hear Harmonimix influence all over this. Pretty goddamn poppy, still left-field enough to recognize as 0PN. R&B influenced avant-garde electronic music has been done to death but this is still in pretty good company of producer decostructing the hell out of pop. If you dig this I'd check out Giant Claw's album Dark Web. One of the better tracks.

 

"Last Known Image of a Song" - Wonderful closer, I could listen to a whole LP of music like this. Again, lot of touches of 70s/80s new age jazz, ambient, etc. But beyond that not exactly memorable. Def a coda with a cute little abrupt finish, not a huge closer but I like it nonetheless.

 

"Trance 1" - Bonus track but not sure if it's from the sessions for Age Of. I guess I'd only know for sure if there was some harpischord noodling. Classic 0PN vibes. Lovely bonus track but note sure if it's from the same headspace, at least not in the sense that this was an outtake. Then again it would of also made a nice closer.

[Zephyr_Nova]

Cultural detritus.

[zaphod]

NY Times interview: Oneohtrix Point Never’s Quest to Make Music That Freaks People Out

 

The Ringer: Usher Loves Him, but He Wants Pixar: Oneohtrix Point Never’s Moment Is Here

music journalism is such dogshit

[species8472]

what is this:

 

https://www.amazon.ca/Well-Vinyl-Oneohtrix-Point-Never/dp/B07D9GR4B9/ref=sr_1_7?ie=UTF8&qid=1527789544&sr=8-7&keywords=oneohtrix+point+never

[Silent Member]

I don't know!

[joshuatxuk]

what is this:

 

https://www.amazon.ca/Well-Vinyl-Oneohtrix-Point-Never/dp/B07D9GR4B9/ref=sr_1_7?ie=UTF8&qid=1527789544&sr=8-7&keywords=oneohtrix+point+never

 

whaddahell

[YangYing]

lopatin is reading this thread, saw that people seemed to like that track the most and quickly put that up on amazon

Edited May 31, 2018 by MIXL2

[jasondonervan]

what is this:

 

https://www.amazon.ca/Well-Vinyl-Oneohtrix-Point-Never/dp/B07D9GR4B9/ref=sr_1_7?ie=UTF8&qid=1527789544&sr=8-7&keywords=oneohtrix+point+never

 

It's someone at Amazon done fucked up, is what it is 

 

[joshuatxuk]

makes me want to read Goosebumps and watch the Sid scenes from Toy Story

 

 

[jasondonervan]

Vids from the egg:

 

"the day Toys 2 locked in. note that chair behind the other chair. that’s a health and safety perimeter so that I wouldn’t bang my head against that draconian fixture lol. incidentally some GRM feedback kicks in right when I zoom in on the stone bench Jul ‘17" (instagram)

 

"“still stuff” early demo before the more spacious reharm. we play the first verse “the demo way” live, before switching to final ver. Chorus and v2. it’s nice to remember days of dripping cantilevers." (instagram)