A few days ago I had discussed the probabilities of Oneohtrix Point Never getting the coveted “Best New Music” from Pitchfork. Normally Pitchfork doesn’t dig that ambient sound, since the reviewers fail to understand experimental music, but this time they gave their seal of approval. Heck, they liked this Daniel Lopatin so much they even decided to say “Go listen to this guy’s mix CD thing that includes some groovy tracks.” I found it a bit interesting how Pitchfork decided to report about their own review on their own website. “Enjoy the album? Well it just got ‘Best New Music’ bestowed on it by none other than the great music review site ‘Pitchfork’”. To me that felt a little strange. Why would you report on yourself?
That mix was for the site “Drowned In Sound”. It included some former label mates such as Forma, another synthesizer group located in Brooklyn. Wait, Brooklyn that must be it! Pitchfork wanted to give another fellow Brooklynite a Best New Music score. Sadly it has been a while since they focused on their home, where their heart allegedly is. Even Daniel’s name for the Mix CD ought to have clued you in “A SURVEY OF VARIOUS ARTISTS LIVING IN BROOKLYN I BELIEVE”. Daniel called it “Brooklyn Bombers Mixes” in an attempt to sound cool before he played his ultra-excellent music while stroking his beard. Well he succeeded. You’ve heard of Not-in-my-back-yard (NIMBY). Now meet Please-in-my-back-yard (PIMBY) where residents yearn for actual culture to grow up around them. Keep in mind this only explains how cities are settled, I’m still uncertain why people live in the suburbs.
I have to hand it to Oneohtrix Point Never. There’s been nothing but positive reactions from this excellent sound. Perhaps Daniel finally managed to penetrate our senses, and what’s ironic is he’s done it with some of the shortest track times ever (normally his songs stretch out, but here they manage to be relatively brief). So great is his stature they got the guy who writes Thesauruses to write a review about him on TinyMixTapes. Don’t believe me, check out whatever this collection of words means:
“The pith of Replica: a latticework of sibilants, laminals, clicks, implosives, ejectives, fricatives, pulmonics: a consonantal chorus of lost voices, the vocabulary of a glossa sans logos — a weave of desecrated smidgeons kindling ablaze the embers of a braked and stuttering exotica.”
Reading that, I feel I’d hear most of those words if my roof was collapsing. “Oh no, I knew it was the latticework. This looks like the work of those damned desecrated smidgeons!” Probably it took the guy roughly an hour and a half to write that sentence before he had to finish his thesis on leftist propaganda films of the early 60s. Not in my most pretentious dreams could I outdo whatever that quote is. But I still salute his enthusiasm.
Whoever writes about Oneohtrix Point Never makes me happy. I’ve tried to figure out what’s cool, what’s terrible. Normally I never get anywhere with it. People pick bands for coolness rather than outright talent. 2011 has definitely created some critically lauded head scratchers. With Oneohtrix Point Never I feel perhaps a bit happy knowing that quality has been rewarded. And oh yeah I totally called it.
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