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ONEOHTRIX POINT NEVER

Progressive Electronic • United States


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Oneohtrix Point Never picture
Oneohtrix Point Never biography
Although the name may (or may not) suggest otherwise, ONEOHTRIX POINT NEVER surely has far more than just one trick to show. Behind this name stands Daniel Lopatin, born in 1982 in Wayland, Massachusetts. Deriving his name from the Boston-based radio station 106.7, since 2007 ONEOHTRIX POINT NEVER has released no fewer than seven full-length studio albums in addition to a tremendous number of EPs and cassettes.

Lopatin's early works, including Betrayed in the Octagon and Zones Without People, showcase the original OPN sound. The music of these releases could be described as dreamy and abstract yet dense synthesizer-based ambient with an audible influence of Rubycon-era Tangerine Dream and a healthy dose of mechanical grit. On 2010?s Returnal, his first more commercially-acclaimed release, Lopatin is perfecting that style while clearly looking for a new, fresh direction.

In 2010, using the moniker of Chuck Person, Lopatin released Chuck Person's Eccojams Vol. 1, which is often considered the forerunner of the internet-fueled genre of vaporwave. The style's main characteristic is plundering samples from 70's and 80's soul, pop, and smooth jazz, slowing them down substantially and adding echo in order for the music to sound like a nostalgic recollection of 1980?s consumerist culture.

A considerable break-off from the early sound can be heard on 2011's Replica. The dreamy quality is taken to extremes by employing sample-based repetition and some entirely new sounds, more reminiscent of the early digital age and the 80's. On R Plus Seven from 2013, an even more radical shift in the direction, silence and rhythm play a crucial role in the music. 2015 witnessed the release of Garden of Delete, something of an oddity in the already unusual catalog of ONEOHTRIX POINT NEVER: a raw, post-industrial glitch creation. On his most recent album as of March 2018, Good Time (Original Motion Picture Soundtrack), Lopatin can be heard very subtly alluding to his Berlin School roots with a sound similar to Tangerine Dream's Ricochet and the soundtracks of John Carpenter.

There are no two similar sounding releases in Lopatin?s vast catalog, but there is certainly a sense of continuity between them, for by diverse sonic means they express similar impressions or concepts. ONEOHTRIX POINT NEVER remains one of the great forward-thinking, progressive musicians of the late 00's and 10's.

(from the liner notes of the audio-visual release Memory Vague)...
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ONEOHTRIX POINT NEVER discography


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ONEOHTRIX POINT NEVER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Betrayed in the Octagon
2007
0.00 | 0 ratings
Transmat Memories
2008
0.00 | 0 ratings
A Pact Between Strangers
2008
0.00 | 0 ratings
Young Beidnahga
2009
5.00 | 1 ratings
Zones Without People
2009
0.00 | 0 ratings
KGB Nights/Blue Drive
2009
0.00 | 0 ratings
Russian Mind
2009
3.95 | 3 ratings
Replica
2011
2.00 | 1 ratings
R Plus Seven
2013
0.00 | 0 ratings
Age Of
2018

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ONEOHTRIX POINT NEVER Reviews


Showing last 10 reviews only
 R Plus Seven by ONEOHTRIX POINT NEVER album cover Studio Album, 2013
2.00 | 1 ratings

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R Plus Seven
Oneohtrix Point Never Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
2 stars A grand number of contemporay electronic music composers have chosen the technique of glueing and pasting pastiches of different electronic music elements and styles together in single tracks, but as any work of art ( high or pop), it requires a special talent and effort due to the fact of keeping each piece of the jigsaw puzzle enticing and at the same time on the same level of music composition quality as the rest of its sibling´s sections in the same track and the subsequent ones (or what we call here five stars) to avoid falling prey of luck´s uncontrollable whims.

Daniel Lopatin aka ONEOHTRIX POINT NEVER works with this technique and even with a somewhat irreverent and "rebellious" approach, no humor nor humorless satire can hide the lack of real, groundbreaking or at least original music composition solutions once the piece is glued together.

ONEOHTRIX POINT NEVER: R Plus Seven (2013), a 10 track release, travels a bumpy road which in a far fetched but explanatory and needed comparison, in able to rate it fair & square, I can only admire more and more The Residents use of this technique and their 2004 -THE 12 DAYS OF BRUMALIA (progarchives.com/Review.asp?id=1133014) as to pinpoint what this work lacks. The Residents do live and breathe in their blinding eerie world, Lopatin tries but it all ends sounding artificial and soulless (or what the money markets consider Art) and coming to terms, as mentioned, that there are countless acts who also work with this technique and some in far more interesting and original ways does not help much this work.

Well you dig your own grave, as they say, if you are not up to the challenge, and an impeccable choice of elements and its disposition requires great creative talent better yet original, if not even its highlights end up sounding uneven & unoriginal therefore flawed & predictable thus boring.

**

 Replica by ONEOHTRIX POINT NEVER album cover Studio Album, 2011
3.95 | 3 ratings

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Replica
Oneohtrix Point Never Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Daniel Lopatin has gone by many aliases (Chuck Person, Dania Shapes, Kaoss Edge, KGB Man) but is best known for his most famous alter ego ONEOHTRIX POINT NEVER, which he adopted in the mid-2000s when he began releasing a series of synthesized- based experimental electronic recordings. While sporadically releasing albums under versions of the newly adopted moniker (Magic Oneohtrix Point Never, Total System Point Never, OPN), Lopatin settled into his best known artist name with the success of his 2009 compilation album "Rifts".

His fifth album REPLICA released in 2011 was a departure from his primarily synthesized creations prior. This release explored various different approaches including sample-based composition and MIDI production which some have called one of the nascent examples of vaporwave however this stylistic hodgepodge of sounds is mostly described as an ambient plunderphonics album that utilizes healthy doses of glitch, hypnogogic pop as well as classic 70s progressive electronic which makes this one of the more innovative electronic albums of the new millennium.

Like the vaporwave that followed, REPLICA was produced by a series of sampling effects in this case from various VHS compilations of television commercials from the 1980s and 90s. The timbres, tones and myriad sonic treasures were then teased out into a series of harmonic manipulations and forced to perform strange rhythmic gymnastics. The result was a completely new methodology for crafting electronic based music with emphasis on not only the ambient textures but the strange pauses and incidental sounds as well. So successful was this experiment in its obfuscation of original material that it would be practically impossible to discern that these sounds for the most part came from TV commercials of yore.

Despite the attempt to create electronic song cycles that delivered loops of sound that spiral around on a blank canvas, the album surprisingly has an overall accessible feel as the vignettes display ambient glides that form catchy melodic hooks while the chaotic swirls of sound rhythmically pulse, flutter around and repeat. The album was lauded by critics by taking the world of electronic psychedelia beyond the Boards of Canada stylistic approach and by creating a glitchy ambient art pop styled of music that has been called hypnogogic pop but due to the heavy sampling is also cited as a key player in the development of the sample heavy genre called vaporwave that really took off in the 2010s.

Electronic music is always the most difficult to convey through words in a review. It offers a purely subjective experience that will inevitably vary from one listener to the next and even offer completely different experiences for a single person depending on the mood and circumstances when listening. The album cover gives away the intent. The skull gazing back in the mirror reflects the impermanence of everything especially our own temporary lives on this planet in our current form. Likewise REPLICA is no one trick pony and takes several journeys into a variety of ambient based sounds. While certain tracks like the herky jerky "Sleep Dealer" excel in bombastic percussive bloops and bleeps and designed to be unnerving, much of the album a la "Remember" also delves into dreamy ambience that drifts aimlessly like a zephyr wind lulling and pacifying.

Far beyond the 80s pop revival of Ford & Lopatin, ONEOHTRIX POINT NEVER took revolutionary steps on REPLICA that created tight loops out of samples sounds with the intent of creating textures free from the confines of linguistic reactions. Clever and against the grain, REPLICA was the innovative next frontier in electronic music that gave permission to dust off all those classic repositories of sound from the past and transmogrify them into something completely new. While plunderphonics in general was nothing new, the practice was more known for relishing in the avant-garde rather than craft easy to digest and emotionally fulfilling packets of sound that resulted in pointillistic melodies. This album works passively as a zone out album but also has a enough intricacy to engage the music nerd who relishes the subtle touches. Great album!

Thanks to rivertree for the artist addition.

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