Oneohtrix Point Never
Age Of

It is at least disgusting to think that Daniel Lopatin has almost unreservedly abandoned the scepter of secular avant-garde. The fact that he has given up most of his worries, left behind the randomness of his sounds, and integrated vocal parts into his project might sound like a blemish too large to fix for his fans (and non-fans alike). However, the images do not change, and his artistic and sonic maturation has definitely reached its peak, the typical OPN sounds are present: from the sinister harpsichord to the sacred organ, from cosmic brass to controlled white noise.

.---- It's a sunny, bugged day, lying on sands #2A6FA2 while mercury thickens and liquefies at just a glance. Flattened to the ground, I can be picked up like jelly with a fork, dispersed in the ether. The neoclassical palace just barely lifted by the wind has an imperceptible horizontal motion, jagged shapes interpenetrate each other, a polygonal orgy.

We can say that the kraut obsession and plasticity has turned pop and the best moments are those with the voices of Prurient and Anonhi:
.- The epicness of Same, a descent into the underworld à-la Peter Gabriel.
-... The synchronized flashes with closed eyes of Black Snow.
-.-. The semi-cheerful autotuned ballad Babylon that unsettles in its imperceptible semi-tone changes on a post-Waters Floydian carpet.

The most accessible work of Daniel Lopatin, who after the success of the Good Time soundtrack has ventured into experimental Vangelism, folk in some aspects, kraut as substance.

--- .--. -. Every object conceals another